88th Annual Bach Festival Program Book

J O H N V. S I N C L A I R , A R T I ST I C D I R E C TO R & CO N D U C TO R

88 TH ANNUAL BACH FESTIVAL

FEBRUARY 3­– 26, 2023 PRESENTED BY THE BACH FESTIVAL SOCIETY OF WINTER PARK AT ROLLINS COLLEGE SINCE 1935

OFFICERS Dr. Jack Schott, Chair Richard Russell, President Dr. Bill Oelfke, Vice President Michael Kakos, Treasurer Beverly J. Slaughter, Secretary TRUSTEES Dr. Grant H. Cornwell Betsy Gardner Eckbert Dr. Jeff Flowers Dr. Grant Hayes Hon. Cynthia Mackinnon Sam Stark Alex Tiedtke TRUSTEES EMERITI M. Elizabeth Brothers J. Michael Murphy Eric Ravndal, III

ARTISTIC STAFF Dr. John V. Sinclair, Artistic Director and Conductor Rhonda Burnham, Artistic Manager Sondra Jones, Education Manager Sherry Orr, Assistant to John Sinclair Regunia Griggs, Choir Liaison Jodi Tassos, Young at Heart Chorale Director Lynn Peghiny, Accompanist ADMINISTRATIVE STAFF Kathy Johnson Berlinsky, Executive Director Logan Landry-Jennings, Operations Manager Nicole Fournier, accountant Jane Secrist Newnum, Marketing & Development Consultant Ruby Abreu, Marketing Manager Harry Otero-Rivera, Box Office Assistant

MAJOR SUPPORT PROVIDED BY Photo by Scott Cook

88 TH ANNUAL BACH FESTIVAL SPECIAL EVENTS Pre-concert talks, masterclasses, and more!

Visit BachFestivalFlorida.org/special-events for a complete schedule and details.

All special events are free and open to the public.

Our 88th Season is supported by many generous individual donors as well as the Jessie Ball duPont Fund; Winifred Johnson Clive Foundation; Edyth Bush Charitable Foundation; Joe & Sarah Galloway Foundation; Elizabeth Morse Genius Foundation; Orange County Government through the Arts & Cultural Affairs Program; United Arts of Central Florida, host of OrlandoAtPlay.com and UAArtsEd.com; the State of Florida, Department of State, Division of Arts and Culture and the Florida Council on Arts and Culture; City of Winter Park’s Community Redevelopment Agency; and Rollins College.

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WELCOME

JOHN V. SINCLAIR

Greetings and welcome!

We are all here for the same reason! Whether you are in the audience, the Choir, the Orchestra, or one of our world-class guest soloists, I believe we all are here to celebrate and to be inspired by the beauty and power of great music.

The music for this, our 88th Festival, was carefully curated in the effort of offering you, our loyal patrons, music that will speak to both the soul and intellect.

We are grateful that you have chosen to join us for Central Florida’s grandest musical tradition and we hope to see you often throughout the Festival.

Warmest regards,

Photo by Mike Thomas Imagery

John Sinclair Artistic Director and Conductor Bach Festival Society of Winter Park

ABOUT THE BACH FESTIVAL SOCIETY OF WINTER PARK 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 88th Season offers a dynamic array of world-class musicians and vocalists performing classical masterworks and contemporary compositions that will delight, challenge, and inspire listeners. Founded in 1935 at Rollins College, the Bach Festival Society continues to secure critical acclaim for its artistic excellence and its commitment to elevating new music while celebrating traditional composers.

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ARTISTIC DIRECTOR AND CONDUCTOR John V. Sinclair enjoys a national reputation as a conductor 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 33rd season as Artistic Director and Conductor of the Bach Festival Society, 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.” He has appeared as conductor for more than a thousand performances in addition to his work as clinician and lecturer throughout the United States and other countries. 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.

Dr. Sinclair holds a masters and doctoral degree 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 Wall Street Journal’s arts critic, Terry Teachout 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.

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PAUL JACOBS, ORGAN

Bach Festival Society of Winter Park Presents

PAUL JACOBS, ORGAN Friday, February 3, 2023 | 7:30 pm Knowles Memorial Chapel

PROGRAM Fantasia for Organ (10’)

John Weaver (1937-2021)

Trio Sonata in E minor, BWV 528 (11’) I. Adagio-Vivace II. Andante III. Un Poco Allegro

Johann Sebastian Bach (1685-1750)

Prelude, Fugue, and Variation, Opus 18 (11’)

Cesar Franck (1822-1890)

Concert Variations on The Star-Spangled Banner, Opus 23 (9’)

Dudley Buck (1839-1909)

INTERMISSION Sonata No. 1 in D minor, Opus 42 (29’) I. Introduction and Allegro II. Pastorale III. Finale

Alexander Guilmant (1837-1911)

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.

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Photo by Claudio Papapietro Heralded as “one of the major musicians of our time” by Alex Ross of The New Yorker and as “America’s leading organ performer” by The Economist, the internationally celebrated organist Paul Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the fifty United States. The only organist ever to have won a Grammy Award—in 2011 for Messiaen’s towering “Livre du Saint-Sacrément,”—Mr. Jacobs is an eloquent champion of his instrument both in the United States and abroad.

Mr. Jacobs has transfixed audiences, colleagues, and critics alike with landmark performances of the complete works for solo organ by J.S. Bach and Messiaen. He made musical history at age 23 when he gave an 18-hour marathon performance of Bach’s complete organ works on the 250th anniversary of the composer’s death. As a teacher he has been a vocal proponent of the redeeming nature of traditional and contemporary classical music.

As a pioneer for the revival of symphonic music featuring the organ, Mr. Jacobs regularly appears with the Chicago Symphony, Cincinnati Symphony, Cleveland Orchestra, Edmonton Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Montreal Symphony, Nashville Symphony, National Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, and Utah Symphony, among others.

During the 2020-21 season Mr. Jacobs performed with the Philadelphia Orchestra led by Yannick Nezet-Seguin for their digital streaming series including the Poulenc Organ Concerto, as well as chamber versions of Mahler’s Symphony No. 4 and Das Lied von der Erde and with the Cleveland Orchestra conducted by Franz Welser-Most for the Poulenc Concerto.

Mr. Jacobs studied at the Curtis Institute of Music, double majoring with John Weaver for organ and Lionel Party for harpsichord, and at Yale University with Thomas Murray. He joined the faculty of The Juilliard School in 2003 and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. In addition to his concert and teaching appearances, Mr. Jacobs is a frequent performer at festivals across the world, and has appeared on American Public Media’s Performance Today, Pipedreams, and Saint Paul Sunday, as well as NPR’s Morning Edition, ABC TV’s World News Tonight, and BBC Radio 3. In 2017 he received an honorary doctorate from Washington and Jefferson College.

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SPIRITUAL SPACES

Bach Festival Society of Winter Park Presents

Flow, My Tears

SPIRITUAL SPACES

Vocalise

Members of the Bach Festival Choir and Orchestra John V. Sinclair, Artistic Director and Conductor Saturday, February 4, 2023 |3:00 pm and 5:00 pm Knowles Memorial Chapel

Edvard Grieg

Joni Roos, violin and Adam Brakel, organ

Adagietto from Suite in E Major

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arr. John Maclane Schirard Guilio Caccini

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.

Tomaso Albinoni

Elaine Hagenberg

Jessica Speak, clarinet

Wolfgang Amadeus Mozart

Caitlin Mohr and Maya Claussen, sopranos

Lullaby

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John Maclane Schirard, tenor

Arthur Foote

Munera Pacis from Illuminaire

Morceau de Concours

George Chadwick

Ottorino Respighi

Våren (Letzter Frühling)

Lascia ch’io pianga from Rinaldo

Noël from Symphonic Sketches

Johann Sebastian Bach

Villanella from Antique Danzie ed Arie, Suite 1

O Salutaris Hostia

Sergei Rachmaninoff Johann N. Hummel

Dona Nobis Pacem (Prayer for Peace) Caitlin Mohr, soprano

Wachet Auf from Cantata #140

Adagio from Clarinet Concerto

Caitlin Mohr, soprano

Agnus Dei from Mass in Bb Major

Time in a Bottle

PROGRAM

Adagio in g minor

John Dowland

Eriks Estenvalds

George Gershwin

Caitlin Mohr, soprano

Nora Lee Garcia, flute

George Frideric Handel

Gabriel Faure

FEATURED ARTIST CAITLIN MOHR, soprano Caitlin Mohr is in demand as a performer, vocal technician, and teacher of singing. Mohr has been featured in Faure’s Requiem, Vivaldi’s Judith Triumphans, Graupner’s Magnificat, and Handel’s Messiah. Mohr’s vocal, artistic, and theatrical versatility allow her to flourish in many musical genres and is an alumna of Amalfi Coast Music & Arts Festival, New York Musical Festival, Cambridge Summer Opera, Manhattan School of Music Summer Vocal Institute, and Boston Conservatory Vocal Institute. As part of a ten-day cultural exchange, Mohr performed with the State Symphony Orchestra of Turkmenistan and conducted outreach workshops for the American Embassy. Promoting female composers, she created a Ladies of Note recital, showcased highlights at the Celebrating Women of 2018 event in Orlando, Florida, developed a college course called Women in Music, and curated a lecture recital of Art Songs and Spirituals of African American Women (Margaret Bonds, Florence Price, Undine Smith Moore). Dr. Mohr earned her BA at Davidson College, her MM at Longy School of Music of Bard College, and her DMA at the University of North Texas. She currently teaches at Rollins College in Winter Park, Florida as an Assistant Professor of Music.

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ODES AND A HYMN FOR ST. CECILIA

Bach Festival Society of Winter Park Presents

Hymn to St. Cecilia, Opus 27 (12’)

BACH VOCAL ARTISTS

ODES AND A HYMN FOR ST. CECILIA BY PURCELL, HANDEL, AND BRITTEN Members of the Bach Festival Orchestra John V. Sinclair, Artistic Director and Conductor John Grau, Co-Artistic Director

In a Garden Shady

II.

I Cannot Grow

III.

O Ear Whose Creatures Cannot Wish to Fall

INTERMISSION Ode for St. Cecilia’s Day, HWV 76 (50’)

Sunday, February 5, 2023 |3:00 pm Knowles Memorial Chapel

PROGRAM Hail! Bright Cecilia: Ode to St. Cecilia 1692, Z. 328 (60’)

I.

Henry Purcell (1659-1695)

I.

Overture

II.

Recitative and Aria: From Harmony; When Nature Brad Diamond, tenor

III.

Chorus: From Harmony, from Heavenly Harmony

IV.

Aria: What Passion cannot Music Raise and Quell Rebecca Myers, soprano

V.

Aria and Chorus: The Trumpet’s Loud Clangour Kyle Stegall, tenor

VI.

La Marcha

VII.

Aria: The Soft Complaining Flute Meg Dudley, soprano

I.

Symphony/Canzona

II.

Hail! Bright Cecilia Anna Eschbach, soprano; Morgan Peckels, alto; John Grau, tenor; Stephen Mumbert, bass

III.

Hark! Each Tree Gabriela Estephanie Solís, alto; Thaddeaus Bourne, bass

VIII.

Aria: Sharp Violins Proclaim their Jealous Pangs Stephen Soph, tenor

IV.

Thou tun’st this World

IX.

Aria: But Oh! What Art can Teach Jessica Beebe, soprano

X.

Aria: Orpheus could Lead the Savage Race Meg Dudley, soprano

XI.

Recitative: But Bright Cecilia Raised the Wonder Higher Catherine Psarakis, soprano

XII.

Solo and Chorus: As from the Power of Sacred Lays Catherine Psarakis, soprano

Jessica Beebe, soprano V.

Wondrous Machine!

Brian Ming Chu, bass

VI.

The Airy Violin Angela Young Smucker, mezzo-soprano

VII.

In vain the Am’rous Flute Mary Jane Knight, alto; Jacob Perry, tenor

VIII.

The Fife and all the Harmony of War Patricia Thompson, alto

IX.

Hail! Bright Cecilia, Hail to thee!

Benjamin Britten (1913-1976)

George Frideric Handel (1685-1759)

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 VOCAL ARTISTS

TEXT Hail! Bright Cecilia: Ode to St. Cecilia

Melissa Attebury

HENRY PURCELL

Jessica Beebe* Thaddaeus Bourne* Brian Ming Chu*

I.

Overture

II.

Hail! Bright Cecilia, Hail! fill ev'ry Heart!

With Love of thee and thy Celestial Art; That thine and Musick's Sacred Love May make the British Forest prove As Famous as Dodona's Vocal Grove.

III.

Hark! hark! each Tree its silence breaks, The Box and Fir to talk begin!

This is the sprightly Violin That in the Flute distinctly speaks!

‘Twas Sympathy their list'ning Brethren drew, When to the Thracian Lyre with leafy Wings they flew.

Amanda Crider Dann Coakwell Brad Diamond* Meg Dudley* Anna Eschbach* Brian Giebler Jos Milton John Grau*

IV.

Brandon Hendrickson* Mary Jane Knight* Stephen Mumbert* Rebecca Myers* Morgan Davis Peckels* Jacob Perry* Catherine Psarakis* Margot Rood Clara Rottsolk

V.

Kunya Rowley Angela Young Smucker* Gabriela Estephanie Solís* Steven Soph* Kyle Stegall* Patricia Thompson* Joseph Trumbo* *Artists for this concert BachFestivalFlorida.org

Soul of the World! Inspir'd by thee, The jarring Seeds of Matter did agree, Thou didst the scatter'd Atoms bind, Which, by thy Laws of true proportion join'd, Made up of various Parts one perfect Harmony.

VI. Thou tun'st this World below, the Spheres above, Who in the Heavenly Round to their own Music move.

Laura Choi Stuart

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'Tis Nature's Voice; thro' all the moving Wood Of Creatures understood: The Universal Tongue to none Of all her num'rous Race unknown.

From her it learnt the mighty Art To court the Ear or strike the Heart; At once the Passions to express and move; We hear, and stright we grieve or hate, rejoice or love; In unseen Chains it does the Fancy bind; At once it charms the Sense and capivates the Mind.

VII. With that sublime Celestial Lay Can any Earthly Sounds compare?

If any Earthly Music dare, The noble Organ may.

From Heav'n its wondrous Notes were giv'n, (Cecilia oft convers'd with Heaven,) Some Angel of the Sacred Choire Did with his Breath the Pipes inspire; And of their Notes above the just Resemblance gav Brisk without Lightness, without Dulness Grave.

VIII. Wondrous Machine!

To thee the Warbling Lute, Though us'd to Conquest, must be forc'd to yield: With thee unable to dispute.

IX.

The airy Violin And lofty Viol quit the Field; In vain they tune their speaking Strings To court the cruel Fair, or praise Victorious Kings.

Whilst all thy consecrated Lays Are to more noble Uses bent; And every grateful Note to Heav'n repays The Melody it lent.

X.

In vain the am'rous flute and soft guitar Jointly labour to inspire Wanton heat and loose desire, Whilst those chaste airs do gently move Seraphic flames and heav'nly love.

XI.

The Fife and all the Harmony of War, In vain attempt the Passions to alarm, Which thy commanding Sounds compose and charm.

XII. Let these amongst themselves contest, Which can discharge its single Duty best.

Thou summ'st their diff'ring Graces up in One, And art a Consort of them All within thy Self alone.

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TEXT XII. Hail! Bright Cecilia, Hail to thee!

Great Patroness of Us and Harmony!

Who, whilst among the Choir above Thou dost thy former Skill improve, With Rapture of Delight dost see

TEXT Thy Favourite Art Make up a Part Of infinite Felicity.

Hail! Bright Cecilia, Hail to thee!

Great Patroness of Us and Harmony!

Hymn to St. Cecilia

Ode for St. Cecilia’s Day, HWV 76 G.F. HANDEL

I.

Overture

VII. March

II.

Recitative From harmony, from heav’nly harmony, This universal frame began.

III.

Accompagnato When nature underneath a heap Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high: “Arise! Ye more than dead.”

Then cold, and hot, and moist and dry, In order to their stations leap, And music’s pow’r obey.

VIII. Air The soft complaining flute In dying notes discovers The woes of hopeless lovers, Whose dirge is whisper’d by the warbling lute.

BENJAMIN BRITTEN

I. In a garden shady this holy lady with reverent cadence and subtle psalm, like a black swan as death came on poured forth her song in perfect calm: and by ocean’s margin this innocent virgin constructed an organ to enlarge her prayer, and notes tremendous from her great engine thundered out on the Roman air.

Blonde Aphrodite rose up excited, moved to delight by the melody, white as an orchid she rode quite naked in an oyster shell on top of the sea; at sounds so entrancing the angels dancing came out of their trance into time again, and around the wicked in Hell’s abysses the huge flame flickered and eased their pain.

Blessed Cecilia, appear in visions to all musicians, appear and inspire: translated Daughter, come down and startle composing mortals with immortal fire.

II. I cannot grow; I have no shadow to run away from, I only play.

I cannot err; there is no creature whom I belong to, whom I could wrong.

I am defeat when it knows it can now do nothing by suffering.

All you lived through, dancing because you no longer need it for any deed.

I shall never be different. Love me.

Blessed Cecilia, appear in visions to all musicians, appear and inspire: translated Daughter, come down and startle composing mortals with immortal fire.

III. O ear whose creatures cannot wish to all, O calm of spaces unafraid of weight, where Sorrow is herself, forgetting all the gaucheness of her adolescent state. Where Hope within the altogether strange from every outworn image is released, and Dread born whole and normal like a beast into a world of truths that never change: restore our fallen day: O re-arrange.

O dear white children casual as birds, playing among the ruined languages, so small beside their large confusing words, so gay against the greater silences of dreadful things you did: O hang the head, impetuous child with the tremendous brain, O weep, child, weep, O weep away the stain, lost innocence who wished your lover dead, weep for the lives your wishes never led.

A cry created as the bow of sin is drawn across our trembling violin. O weep, child, weep away the stain. O law drummed out by hearts against the still long winter of our intellectual will. That what has been may never be again. O flute that throbs with the thanksgiving breath of convalescents on the shores of death. O bless the freedom that you never chose.

O trumpets that unguarded children blow about the fortress of their inner foe. O wear your tribulation like a rose.

Blessed Cecilia, appear in visions to all musicians, appear and inspire: translated Daughter, come down and startle composing mortals with immortal fire.

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Air Sharp violins proclaim Their jealous pangs, and desperation, Fury, frantic indignation, Depths of pain, and height of passion, For the fair disdainful dame.

IV.

Chorus From harmony, from heav’nly harmony, This universal frame began, From harmony to harmony, Through all the compass of the notes it ran, The diapason closing full in man.

X.

Air But oh, what art can teach, What human voice can reach The sacred organ’s praise?

Notes inspiring holy love, Notes that wing their heav’nly ways To join the choirs above.

V.

Air What passion cannot music raise and quell!

When Jubal struck the chorded shell, His list’ning brethren stood around, And wond’ring, on their faces fell, To worship that celestial sound.

Less than a god they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well.

What passion cannot music raise and quell!

XI.

Air Orpheus could lead the savage race, And trees, unrooted, left their place, Sequacious of the lyre.

VI. Air and Chorus The trumpet’s loud clangor Excites us to arms, With shrill notes of anger, And mortal alarms.

The double, double, double beat Of the thund’ring drum Cries: “Hark! the foes come; Charge, charge! ‘Tis too late to retreat.”

XII. Accompagnato But bright Cecilia raised the wonder high’r: When to her organ, vocal breath was giv’n, An angel heard, and straight appear’d, Mistaking earth for Heav’n.

XIII. Solo and Chorus As from the pow’r of sacred lays The spheres began to move, And sung the great Creator’s praise To all the bless’d above; So when the last and dreadful hour This crumbling pageant shall devour, The trumpet shall be heard on high, The dead shall live, the living die, And music shall untune the sky.

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PROGRAM NOTES

PROGRAM NOTES Ode to St. Cecilia (Hail! Bright Cecilia) HENRY PURCELL

By 1683 Purcell had been the first composer commissioned to write an Ode to celebrate St. Cecilia’s Day by the newly formed ‘Musical Society’. Nine years later the Society was flourishing and the ‘Gentleman Lovers of Musick’ once again turned to Purcell to ‘propagate the advancement of that divine Science’. As Motteux wrote, ‘A splendid entertainment is provided, and before it is always a performance of Music by the best voices and hands in town’. With Hail! Bright Cecilia Purcell excelled himself and was the first to call for obligato instruments and the first to suggest that Cecilia invented, rather than simply played, the organ. The text by the Anglo-Irish Anglican cleric and poet, Nicholas Brady, was derived directly from John Dryden’s 1687 A Song for St. Cecilia. Most of Purcell’s Odes were written for the relatively small forces available at Court, but on this occasion, he was given the opportunity to write for a large group of performance [employing his choir at Westminster Abbey]. Purcell chose to mix large, contrapuntal choruses with a sequence of airs for soloists and obligato instruments.

With a text full of references to music and musical instruments . . . everywhere we find writing of great originality, word-setting of the highest calibre, and music of startling individuality.

-Robert King

Hymn to St. Cecilia BENJAMIN BRITTEN

In 1942 after three years of living in New York where he composed, among other things, his first opera (Paul Bunyan) and a choral work (Ballad of Heroes), Benjamin Britten boarded a Swedish cargo ship, returning to his home in England in the midst of World War II. The U boat threat was very real at the time and yet while sailing across the Atlantic ocean Britten composed two of his most joyful choral works, Hymn to St. Cecilia and 7 Christmas Carols which became A Ceremony of Carols.

Upon boarding the ship Britten’s draft for the first section of Hymn to St. Cecilia was confiscated by customs officials thinking it might be coded information!) but Britten simply wrote out the words and what he had already composed from memory and proceeded with the work – a piece in honor of St. Cecilia (the patron saint of music), whose birthday (November 22) is the same as Britten’s. As there is a long tradition in England of writing odes and songs to St.Cecilia he wished to do the same. Poet W.H. Auden had supplied the composer with the text for the hymn in 1940.

In the opening section Auden’s text celebrates an aesthetic and spiritual appeal as well as an erotic one, moving in the second section (“I cannot grow”) to words spoken by music itself. The third section begins by praising music for its power to express all emotion innocently (“O dear white children, casual as birds”) but then moves to an admonition of failure. Auden concludes by asking the reader to accept one’s loss of innocence and celebrate it (“O wear your tribulation like a rose”).

to each other while altos and basses offer us a quasi-cantus firmus on the same text. Once again this section concludes with the invocation, harmonized this time. The final section is more instrumental in feeling (St. Cecilia odes traditionally describe different instruments), beginning with a ground which comments on Auden’s reference urging us (with solo voices) to end the struggle and concluding with the solo tenor’s trumpet call, which brings us back to the tonality of the opening of the work. The final invocation comes to a sublime, peaceful cadence in E major.

And so Britten arrived back in England with a work of great joy and beauty, having completed it on 2 April 1942. It was first performed that year on St. Cecilia’s Dau, one of the marvelous choral treasures of our time.

-Philip Brunelle

Ode for St. Cecilia’s Day GEORGE FRIDERIC HANDEL

George Frideric Handel composed his Ode for St. Cecilia’s Day (HWV 76) in September 1739. It received its first performance on Cecilia’s Day, on 22 November of the same year in the London theatre of Lincoln’s Inn Field. At the end of the 17th century English musicians celebrated this day with concerts dedicated to St. Cecilia, who is the patron saint of music. With his setting of John Dryden’s Song for Saint Cecilia’s Day Handel began to revive this tradition dating from the time of the Restoration.

The eight strophes Dryden’s Ode sings the praises of the power of music: in accordance with the idea of “musica speculative,” creation is born out of chaos through the harmony of the spheres and it dies again with the inaudible sounds of the music of the heavens on the Day of the Last Judgement.

After the model of earlier Cecilian odes, Handel employs the charming practice of assigning individual tone colors to specific passions in that an instrument is introduced for each aria and is given a lengthy prelude. In the interpretation of the text, Handel’s music portrays the ‘vagueness of chaos, disorder of the elements, harmony and order, and the creation of man as the choir ascends to the perfect interval of the octave.” The closing chorus begins as a solemn anthem, which is a genre in English church music related to the cantata. The final choral fugue passes through all the harmonies of the music of the spheres.

Handel’s Cecilian Ode came at a turning point: following the financial ruin of his opera company in 1736, Handel distanced himself from Italian opera and transferred his vivid musical pictorial skills and their dramatic power to the English oratorio and to its related ode compositions. It was not in vain that the Ode for St. Cecilia’s Day has proven to be a lasting inspiration even for Mozart’s Requiem and Haydn’s The Creation.

Musically, Britten opens the Hymn with a spacious, graceful lilt – the women’s voices in triplets floating on simple triads while the men in duple time descend in fourths, coming together at each cadence. The first section, as is true of all three sections, concludes with an invocation (“Blessed Cecilia, appear in visions to all musicians”), the first being soft and in unison. The second section is a scherzo, light and fast, playful and childlike, with the sopranos and tenors tossing the words 14

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BACH VOCAL ARTISTS MELLISSA ATTEBURY, alto Praised by the New York Times as a “rich-toned alto who brought a measure of depth to her performance,” Melissa Attebury appears regularly in oratorio concerts where her skill in music of the Baroque is in particular demand. Recent appearances include Messiah, Christmas Oratorio, the St. Matthew and St. John Passions, and Elijah. Venues where she has recently appeared include Carnegie Hall with conductor Alan Gilbert and the New York Philharmonic, The Washington Chorus and The Choir of Trinity Wall Street. Ms. Attebury is featured on the Grammy-nominated Israel in Egypt with the Choir of Trinity Wall Street and as a skilled ensemble musician, appears on Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields, recorded with Bang on a Can All-Stars. Melissa is the Associate Director of Music at Trinity Wall Street, is on the faculty of the Berkshire Choral Festival, and manages Trinity’s music outreach program in the public schools.

JESSICA BEEBE, soprano Jessica Beebe interprets repertoire spanning four centuries from the Renaissance to the contemporary and has a voice that “bounced like a beam of light throughout the sanctuary” (Broad Street Review). She has performed with New York City Chamber Orchestra, Los Angeles Philharmonic, Indianapolis Symphony Orchestra, and Utah Symphony.

Jessica’s concert and oratorio repertoire includes major works by Monteverdi, Bach, Mozart, Haydn, Brahms, and Orff. She also performs modern works such as John Adam's El Niño, Rutter's Requiem, and Richard Einhorn's Voices of Light. She is a member of many Grammy-nominated and winning vocal ensembles, such as Clarion Society, Seraphic Fire, The Crossing, Lorelei Ensemble, and Choral Arts Society of Philadelphia. Earning her BM from the University of Delaware, her MM in Early Music from Indiana University, and a Performance Certificate from London's Royal College of Music she currently serves on the faculty at both Muhlenberg and Franklin & Marshall Colleges.

THADDAEUS BOURNE, baritone Thaddaeus Bourne currently maintains an active performing schedule, having sung over forty roles in the US and abroad.

Praised for his rich baritone, appearances include Fauré’s Requiem, Bach’s Cantata BWV 86, Mozart’s Requiem, Beethoven’s Choral Fantasy, and Mahler’s Lieder eines fahrenden Gesellen, as well as recitals and masterclasses with the Longy School of Music at Bard College, the Crane School of Music at SUNY Potsdam, and EIU Concert Series at the National Opera Center. An accomplished flutist, Dr. Bourne completed undergraduate and graduate degrees in flute performance embarking on his DMA in voice after training as a singer to improve his breath support.

His dissertation focused on Zwischen voices and vocal faults that impact voice classification and was presented this summer at the National Association of Teachers of Singing. Dr. Bourne is on the faculty of the University of Florida.

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BACH VOCAL ARTISTS BRIAN MING CHU, baritone Hailed by the Washington Post for his “rich, authoritative tone” and “range, agility, and expressive storytelling ability”(Monterey Herald), Brian Ming Chu has established himself onstage and in recital as a dynamic interpreter of music of the Baroque to the 21st century. An oratorio soloist with the Bethlehem Bach Choir, Brandywine Baroque, the Dryden Ensemble, The King’s Noyse, Piffaro, Portland Baroque, and the Washington Bach Consort, he has performed the title role of Mendelssohn’s Elijah, the Bach Passions, Haydn’s Creation, the Brahms, Mozart and Verdi Requiems, and Handel’s Messiah on three continents. Additional credits include Orff’s Carmina Burana, Finzi’s In terra pax, Vaughan Williams’ Dona nobis pacem, and Beethoven’s Ninth Symphony. On the operatic stage, he has performed with opera companies around the country, in signature roles including Marcello (La Bohème), the Count in Le nozze di Figaro, and Figaro (The Barber of Seville). Recent engagements include the title role of Anton Rubinstein's opera, The Demon, Mahler’s songs from Des Knaben Wunderhorn, and Monteverdi’s Vespers of 1610 with the Choral Arts Society of Washington at the Kennedy Center.

A dedicated teacher and advocate for contemporary art song, Mr. Chu has been cited for “vocal and interpretive confidence” (Philadelphia Inquirer) with the ensemble Network for New Music, collaborating with composers such as Aaron Jay Kernis, Lori Laitman, Daniel Asia, and Steven Stucky. He has appeared in recital at Carnegie’s Weill and Merkin Halls in New York, Washington's Phillips Collection, and as a US Embassy Cultural Mr. Chu did his graduate studies at the Peabody Conservatory, and has a bachelor’s in architecture from Cornell University. He has served on the voice faculty of Muhlenberg College (PA) for 18 years.

DANN COAKWELL, tenor Dann Coakwell has been praised as a “clear-voiced and eloquent … vivid storyteller” (The New York Times) and frequently performs the Bach’s major oratorios, including St. Matthew Passion, St. John Passion, Christmas Oratorio, and Mass in B minor. He can be heard on numerous Grammy-nominated and-winning recordings, such as Conspirare: A Company of Voices. Internationally, he has performed under Helmuth Rilling, Masaaki Suzuki, Nicholas McGegan, and Matthew Halls. His repertoire includes prominent works by Rameau, Handel, Haydn, Mozart, Mendelssohn, and Beethoven. Dr. Coakwell holds an Artist Diploma from the Yale School of Music/Institute of Sacred Music, a Bachelor of Music degree from the University of Texas at Austin, and masters and doctorate degrees from Texas Tech University. Dr. Coakwell serves on the Ithaca College voice faculty.

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BACH VOCAL ARTISTS AMANDA CRIDER, mezzo-soprano Amanda Crider has been recognized for her “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). As a busy soloist and recitalist, Crider has appeared regularly with Seraphic Fire, Apollo’s Fire, the Bach Festival Society of Winter Park, the International Contemporary Ensemble, and the Cooperstown Chamber Music Festival.

She made her Carnegie Hall debut in the fall of 2007 in Handel’s Messiah and returned the following season for Haydn’s Lord Nelson Mass. She has performed in Beethoven’s 9th Symphony, Bach’s B minor Mass, Monteverdi’s L’Orfeo, Mozart’s Requiem and Mass in C minor, Britten’s Phaedra, Bach’s St. John Passion, Bernstein’s Jeremiah Symphony, 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 is a grant recipient from the Pittsburgh Concert Society and the Oratorio Society of New York Vocal Competition.

Crider is the Founder and Artistic Director of Miami’s Art Song concert series, IlluminArts.

BRAD DIAMOND, tenor Brad Diamond, known for his musicianship and style, has an active professional career in the United States and Canada, appearing regularly with Seraphic Fire and the Santa Fe Chorale. A specialist in oratorio repertoire, he has sung the Evangelist role in Bach’s St. John Passion and St. Matthew Passion with the Bach Festival Society of Winter Park and Trinity Wall Street. Dr. Diamond completed his Bachelor of Music degree from Westminster Choir College and received his master’s and doctorate degrees from the University of Cincinnati’s College Conservatory of Music.

While attending Westminster, he soloed under the baton of the late Leonard Bernstein. Dr. Diamond, whose recording discography includes multiple Grammy nominations, is a Professor of Voice and Vocal Pedagogy at Samford University.

MEG DUDLEY, soprano Hailed for her “full-toned soprano,” Meg Dudley has established herself as a versatile vocal artist in a variety of genres. She is a featured soloist with Trinity Wall Street, the Berkshire Bach Society, Paul Taylor Dance Company, Manhattan Concert, St. George Choral Society, and the renowned Bach Vespers series at Holy Trinity.

Ms. Dudley’s recent solo appearances include Debussy’s Nocturnes with the Boston Symphony Orchestra; Haydn’s Lord Nelson Mass with the New York City Chamber Orchestra in Carnegie Hall; Poulenc’s Gloria with the Orchestra of St. Luke’s; Bach’s St. Matthew Passion with the Hudson Valley Singers; and Barber’s Knoxville: Summer of 1915 with the Lamont Symphony Orchestra. Ms. Dudley sings regularly with renowned vocal ensembles, including the Lorelei Ensemble, the Santa Fe Desert Chorale, New York Polyphony, the Choir of Trinity Wall Street, Oregon Bach Festival, New York Virtuoso Singers, New York Choral Artists, Bard Festival Singers, Manhattan Chorale, and the Collegiate Chorale.

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BACH VOCAL ARTISTS 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, 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, serves on the voice faculty at Rollins College, and performs full time with the Basilica Choir of Mary, Queen of the Universe.

BRIAN GIEBLER, tenor Praised for his “lovely tone and deep expressivity” (New York Times) Brian earned his first Grammy Award nomination for Best Classical Solo Vocal with his debut album a lad’s love in 2020. He has appeared with Music at Trinity Wall Street (Bach’s St. Mathew Passion), Apollo’s Fire, Santa Fe Pro Musica (Haydn’s Creation), and the Oratorio Society of NY (Bach’s Mass in B minor) at Carnegie Hall. He has performed Stravinsky with the Cleveland Orchestra under Franz Welser-Möst; Mozart at Carnegie Hall and Lincoln Center; Bach cantatas with the Handel & Haydn Society; Musica Sacra (Handel’s Messiah); and made his debut with Boston Early Music Festival in Germany singing in Charpentier’s Les Plaisirs and de Lalande’s Les Fontaines.

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 and Oratory Bach in Minneapolis, Minnesota. John, a strong advocate for contemporary music, 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 ColoradoBoulder 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.

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BACH VOCAL ARTISTS BRANDON HENDRICKSON, baritone

STEPHEN MUMBERT, baritone

As a performer on the concert stage, Brandon is hailed for his “mellifluous,” and “beautiful baritone.” His credits include performances at Carnegie Hall, the Piccolo Spoleto Music Festival, the Canterbury Choral Society, the Bach Festival Society of Winter Park, and the American Festival Chorus. Recently he has performed Carl Orff’s Carmina Burana, Mozart’s Requiem, Brahms’ Ein Deutsches Requiem, Duruflé’s Requiem, and Mahler’s 8th Symphony. An active recitalist, Hendrickson has been invited to perform in Italy, Malaysia, Canada, Ireland, the United Kingdom, and throughout the United States. Hendrickson was in the Emmy Award Winning Production of Benjamin Britten’s Billy Budd and the American Prize in Musical Theater First Place Prize Winning production of Titanic: The Musical. Dr. Hendrickson was the recipient of an SEC Travel Grant for master classes and a recital titled “I Was There,” at the University of South Carolina. Currently, Dr. Hendrickson is an Assistant Professor of Voice at Louisiana State University.

Quickly gaining attention on the concert and opera stage throughout the United States and England, Stephen was recently praised for being vocally the most promising singer and for possessing an assured and stylish technique at the Aldeburgh Festival in England.

Recent performances have included Amahl and the Night Visitors and Mozart’s Requiem with the Dakota Valley Symphony (which was broadcast on Twin Cities Public Television) and several appearances in Handel’s Messiah, including the Oratorio Society of Minneapolis.

Mr. Mumbert is active in the Central Florida area as a voice adjunct professor for the Rollins College Department of Music and is a frequent guest soloist with the Messiah Choral Society of Orlando and the Bach Festival Society of Winter Park. Stephen earned his BA from Stetson University, his MM degree at Boston Conservatory at Berklee, and is currently working toward a doctorate at the University of Minnesota.

MARY JANE KNIGHT, mezzo-soprano

Rebecca Myers, soloist, vocal chamber singer and recording artist specializes in vocal repertoire from the Medieval to scores written especially for her and has gained a reputation for her “timbral clarity and flawless pitch.” This season includes her New World Symphony debut in Carmina Burana, performances with Apollo’s Fire Baroque Orchestra in Monteverdi’s Vespers of 1610, the Enlightenment Festival with Seraphic Fire, and performances with Lorelei Ensemble and the Boston Ballet.

Rebecca is a core member of the Crossing, the country’s premiere chamber choir dedicated to new music that include world premieres, commercial recordings, a Grammy-winning award (best choral performance 2018), and many Grammy nominations. Rebecca is co-artistic director and founding member of the genrebending, cutting-edge vocal ensemble, Variant 6, and will join Filament Baroque in a program of recently discovered French Baroque Music from a Ursuline Manuscript in a Louisiana abbey.

Considered a “renaissance woman of music,” Mary Jane Knight is noted for her warm, rich vocal tone, versatile style, soulful connection, and magnetic stage presence. As a concert soloist, she has sung with the Memphis Symphony in Bach’s B Minor Mass as well as Jennifer Higdon’s Ruminations, featured on a PBS special Articulate, and a live film score showing of Joan of Arc with the composer George Sarah. Other major works include Bach’s Ein feste Burg ist unser Gott, Britten’s Ceremony of Carols, Handel’s Messiah, and a performance of Haydn’s Harmonie Messe at Carnegie Hall. A talented and diverse musician, Mary Jane is an opera and musical theater performer, director, choral conductor, pianist, organist, and a graduate of Simpson College (BM) and the University of Nebraska (MM). She currently teaches voice at Kirkwood College and maintains a private voice studio in her historic home in Iowa City.

JOS MILTON, tenor Jos Milton’s vigorous schedule includes a vast array of diverse programs with the Carmel Bach Festival Chorale, and he is a professional chorister with the Grammy Award-winning ensemble, Conspirare.

Milton’s debut solo album, Southerly - Art Songs of the American South has garnered critical acclaim “…one of the most enthralling art song releases of the last twenty years” (Journal of Singing). A graduate of Trinity University (BM), the University of Massachusetts (MM), and the Peabody Institute of the John Hopkins University (DMA), he is a respected pedagogue who gives master classes at many universities, has presented his research to College Music Society conferences, and has been published in The Choral Scholar journal. He currently serves as Associate Professor of Music at the University of Mississippi, where he teaches studio voice as well as various courses in vocal literature.

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BACH VOCAL ARTISTS

BachFestivalFlorida.org

REBECCA MYERS, soprano

MORGAN DAVIS PECKELS, mezzo-soprano Residing in Florida, Morgan is an educator and concert soloist and is active in many ensembles in Central Florida including the Bach Festival Society of Winter Park, the Messiah Chorale Society, the Orlando Philharmonic, the Space Coast Symphony Orchestra, and Opera Orlando.

Most recently she was seen with the Bach Festival Society of Winter Park in Vivaldi’s Juditha Triumphans and Richard Einhorn’s Voices of Light where she was praised for her “hauntingly lamenting tones” and was a soloist in Bach’s B Minor Mass. On the opera stage she was most recently seen in Amahl and the Night Visitors with Opera Orlando and has an extensive background in musical theatre. Morgan earned her bachelor’s degree from Elon University and her MM from the Boston Conservatory at Berklee. She is currently on the voice faculty at Rollins College in Winter Park, FL and runs a thriving private studio out of her home in Winter Springs, FL.

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BACH VOCAL ARTISTS JACOB PERRY, tenor Praised for his “gorgeous and stylish” interpretations of Renaissance and Baroque repertoire, Jacob Perry is a tenor based in the Washington metro area. He has been featured as a soloist with Apollo’s Fire, Les Délices, Portland Baroque Orchestra, Tempesta di Mare, Washington Bach Consort, and the Washington National Cathedral. Deeply immersed in vocal chamber music, Mr. Perry enjoys playing with Les Canards Chantants, a soloist-ensemble based in Philadelphia of which he is the core tenor, as well as engagements with ensembles such as the Art of Early Keyboard, Cathedra, New Consort, Seraphic Fire, and TENET Vocal Artists. As Co-Artistic Director of Bridge, a genre-defying vocal collective based in Washington, he draws on his instincts for theatricality and story-telling, as the group explores the connections between early masterpieces and ground-breaking new works.

Jacob was the tenor Virginia Best Adams fellow at the 2022 Carmel Bach Festival.

CATHERINE PSARAKIS, soprano Noted for her “precise and focused coloratura”, Catherine Psarakis has appeared with the Chicago Summer Opera and the New England Conservatory production of Bernstein’s Candide. As an advocate of intimate performance through art song and chamber music, Catherine has performed in NEC’s Liederabend Series and the Boston Art Song Society.

Catherine made her oratorio debut in Handel’s Messiah with the Messiah Choral Society in Orlando, FL, conducted by Dr. John Sinclair. She recently performed with the European Orchestral and Choral Association in Rossini’s Petite Messe Solennelle. She is a recipient of the Presser Award, and she was a first place winner of the Medici International Music Competition, the Toronto Mozart Vocal Competition, the London Classical Music Competition, and the Constantine the Great International Solo Singing Competition. She was a finalist in the Vienna Summer Music Festival Competition and the International Brahms Competition. Catherine received her BA from Rollins College on a full merit scholarship and her MM from the New England Conservatory of Music.

MARGOT ROOD, soprano Margot Rood performs a wide range of repertoire that includes return appearances with Washington Bach Consort, Handel & Haydn Society, Seraphic Fire, True Concord, and Kinnara Ensemble.

Solo appearances include Handel’s Messiah with Tafelmusik Baroque Orchestra and Bach Collegium San Diego. Margot has been featured in Bach’s St. Matthew Passion with Edinburgh’s Dunedin Consort, Bach’s Mass in B minor with the Handel and Haydn Society, and Vivaldi’s Gloria with Seraphic Fire. She has recorded with Boston Early Music and Blue Heron, whose recording of Music from the Peterhouse Partbooks Vol. 5 won the Gramophone Award for Early Music. She is a recent recipient of the St. Botolph Club Foundation's Emerging Artist Award for her work in new music as a core member of Boston’s Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music.

She made her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold.

Margot holds performance degrees from the University of Michigan and McGill University.

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BACH VOCAL ARTISTS CLARA ROTTSOLK, soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction.” With repertoire ranging from the Renaissance to the contemporary, her appearances have taken her across the United States, the Middle East, Japan, and South America. She specializes in historically informed performance practice, singing with ensembles that include American Bach Soloists, Santa Fe Pro Musica, Colorado Bach Ensemble, Trinity Wall Street Choir, and Seraphic Fire. Clara’s Bach repertoire includes his Mass in B minor, St. Matthew Passion, St. John Passion, and the Easter, Ascension, and Christmas Oratorios along with Mozart’s Grand Mass and Requiem, Handel’s Messiah, Vaughan Williams’ Dona nobis pacem, and Richard Einhorn’s Voices of Light.

She has performed at the Carmel Bach Festival, Philadelphia Bach Festival, Whidbey Island Music Festival, and Boston Early Music Festival. A native of Seattle, Ms. Rottsolk earned music degrees at Rice University and Westminster Choir College and was awarded recognition for musical excellence by the Metropolitan Opera National Council. Currently she is based in Philadelphia and teaches voice at Swarthmore, Haverford, and Bryn Mawr Colleges.

KUNYA ROWLEY, tenor Director of Music Access, Arts, and Culture at The Miami Foundation, Kunya Rowley leads focused efforts on bringing access to music for all youth in Miami. Kunya holds a Bachelor of Music from The University of Florida and is an alum of the New World School of the Arts. A 2017 recipient of the John S. and James L. Knight Foundation’s Knight Arts Challenge Grant for his performance series Hued Songs, which explores and celebrates black history through the lens of black music and artists, he serves on the National YoungArts Foundation’s voice program.

Prior to joining the Miami Foundation, his experience in overseeing key strategic technologies and marketing and sales initiatives helped develop the skills needed to successfully increase access to the arts.

ANGELA YOUNG SMUCKER, mezzo-soprano Bringing her “robust, burnished timbre” (Chicago Classical Revue) to the stage, arts administration, and education, Angela has appeared on A Prairie Home Companion and Chicago’s WFMT and WTTW. As a classical singer, Angela has soloed with the Chicago Symphony Orchestra, Oregon Bach Festival, Bach Collegium San Diego, Carmel Bach Festival, Newberry Consort, and Haymarket Opera Company as well as professional vocal ensembles such as Santa Fe Desert Chorale, Conspirare, Seraphic Fire, and VocalEssence Ensemble Singers. Angela serves as executive director at Chicago’s Third Coast Baroque, and along with her co-founders uses 17th- and 18th-century repertoire as a tool to explore 21st-century lives. Angela received her BM from Valparaiso University and MM from the University of Minnesota. At Stetson University and Valparaiso University, she mentors students in developing their vocal technique and the skills needed to be an entrepreneurial artist. Angela is pursuing her doctorate at Northwestern University where she is currently working on a lecturerecital on Vivaldi’s rarely heard opera Orlando furioso.

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BACH VOCAL ARTISTS GABRIELA ESTEPHANIE SOLÍS, mezzo-soprano Noted for her “rich tone” and “seemingly effortless melismatic lines” (San Francisco Classical Voice), Gabriela Solís enjoys a varied performance career throughout the US. A committed ensemble musician and concert soloist, she has performed with Seraphic Fire, Border CrosSing, the American Bach Soloists, JSB Ensemble Stuttgart, and the Weimar Bach Cantata Academy. Concert highlights include Bach’s B Minor Mass, Copland’s In the Beginning, Brahms’ Alto Rhapsody, and Buxtehude’s Membra Jesu Nostri. She is a frequent soloist with the California Bach Society and Chora Nova in the San Francisco Bay area and has been featured at the Boston Early Music Festival Young Artist Training Program and the Amherst Early Music Festival. Gabriela received her BA from Santa Clara University, magna cum laude, and was recognized by the university for artistic growth and dedication. As a graduate of the Sacred Music Program at the University of Notre Dame, she received the program’s vocal performance award.

STEVEN SOPH, tenor A “superb vocal soloist” (The Washington Post) with “impressive clarity and color” (The New York Times), tenor Steven Soph performs concert repertoire spanning the Renaissance to modern day. In 2022, Steven debuts with the Seattle, Fort Worth, and Aiken Symphony Orchestras in Handel’s Messiah, with the South Dakota Symphony Orchestra in Bach’s St. Matthew Passion, in the Baldwin Wallace University Bach Festival as Evangelist in Bach’s Christmas Oratorio, and as a member of Vancouver, B.C.’s The Leonids and Louisville’s Artefact. Steven returns to the Charlotte Bach Festival as Evangelist in Bach’s St. John Passion, to Baltimore Choral Arts to perform and record Anthony Blake Clark’s completion of Mozart’s Requiem, to Providence’s Ensemble Altera for their debut recording, to the Oregon Bach Festival covering St. John and St. Matthew Passion Evangelists, and to the Santa Fe Desert Chorale’s Summer Festival. Steven holds degrees from the University of North Texas and Yale School of Music where he studied at Yale’s Institute of Sacred Music with renowned tenor James Taylor.

KYLE STEGALL, tenor Kyle Stegall has garnered praise around the world for his “lovely tone and ardent expression” (The New York Times). A specialist in music of the baroque, Kyle’s interpretations of Bach, Handel, and Charpentier are characterized by an unfailing attention to style and detail. He made his Lincoln Center debut in Bach's St. John Passion under the direction of the Bach Collegium Japan’s artistic director, Masaaki Suzuki. In demand as a symphonic soloist, his seasons often include the great masses of Mozart and Beethoven. Holding a special relationship with the music of Benjamin Britten, Kyle has twice participated as a fellow at the Aldeburgh Music Festival in Suffolk, England, and each season he curates recitals which reveal vast colors and emotional range. Mr. Stegall is a dedicated teacher of singing and maintains a private studio year-round.

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BACH VOCAL ARTISTS LAURA CHOI STUART, soprano Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart appears regularly with the Washington Bach Consort and the Washington Master Chorale in addition to solo appearances with many area ensembles. She was honored for art song performances at the National Association of Teachers Singing Artist Awards and as one of the Art Song Discovery Series winners for the Vocal Arts Society. Solo highlights include Messiah and St. Matthew Passion at the Washington National Cathedral, and Bachianas Brasileiras No. 5 with the New Orchestra of Washington. Laura has appeared with Boston Lyric Opera, Opera Boston, and Annapolis Opera. She received her training at The New England Conservatory and Dartmouth College as well as the Santa Fe Opera Apprentice Program for Singers. Laura is Head of Vocal Studies at the Washington National Cathedral, maintains a private teaching studio, and shares resources for adult recreational choral singers at The Weekly Warm-Up.

PATRICIA THOMPSON, mezzo-soprano Patricia Thompson is a much sought-after adjudicator and is active as an oratorio specialist, appearing with the Indianapolis Baroque Orchestra, the Louisville Choral Arts Society, the Masterworks Chorale of New Jersey, the Hale Library Concert Series, and the Bloomington Early Music Festival. A dedicated professional choral artist and a member of the international Carmel Bach Festival and the Spire Chamber Ensemble of Kansas City, she is a founding member of the award-winning Luminous Voices in Calgary, Alberta, Canada. With a special interest in jazz and cabaret singing, she performs regularly with the Thundering Cats Big Band in Manhattan, KS, and in solo cabaret shows at the Manhattan Arts Center.

Her debut jazz album, It’s Only Natural, is available on iTunes, Spotify, and other music platforms.

Dr. Thompson holds degrees from the Indiana University Jacobs School of Music (DM and MM) and St. Olaf College (BM) and is currently an Associate Professor of Music at Kansas State University.

JOSEPH TRUMBO, bass Joseph Trumbo is a young, upcoming singer hailed for his “smooth, deep voice.” Recent and notable choral work has included performances with the Rockford Music Collaborative, the Illinois Bach Academy as a Young Artist under Dr. Andrew Megill, and as a former member of San Francisco’s elite new music ensemble, Volti. Trumbo received both a BA and BM from Oberlin College & Conservatory and an MM from the University of Illinois, where he was a recipient of the Howard A. Stotler Voice Fellowship. Joseph has been featured in the Mars Symphonic Men’s Choir as part of the Soundiron Olympus Symphonic Choral Collection and has just completed a festival in New York with dell’Arte Opera Ensemble.

BachFestivalFlorida.org

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THE KING’S SINGERS

Bach Festival Society of Winter Park Presents

INTERMISSION

THE KING’S SINGERS

A long, sad tale (from Nonsense Madrigals)

Friday, February 10, 2023 | 7:30 pm

G. Ligeti

Celebrating 150 years since the births of Ralph Vaughan Williams and Hugo Alfvèn

Knowles Memorial Chapel

Over hill, over dale

LEGACIES

Bushes and briars

PROGRAM

Uti vâr hage (In our meadow)

Celebrating 100 years since the birth of Philip Larkin Days (from Even such is time)

Bob Chilcott

Och jungfrun hon gâr I ringen (And the maiden joins the ring)

Ralph Vaughan Williams R. Vaughan Williams Hugo Alfvén H. Alfvén

Celebrating Joe Hisaishi’s 50 years of composing

Marking 400 years since the deaths of Thomas Weelkes and William Byrd O salutaris hostia á6

William Byrd

Hosanna to the son of Davis

Thomas Weelkes

Death hath deprived me

T. Weelkes

Praise the Lord, all ye gentiles

W. Byrd

New Commission

Joe Hisaishi

Celebrating 55 years of The King’s Singers Songs in close-harmony A selection of audience favourites and new surprises from the treasure trove of pop, jazz, folk and spiritual arrangements that The King’s Singers have built up over their 55-year history.

Celebrating 100 years since the birth of György Ligeti The Lobster Quadrille (from Nonsense Madrigals)

György Ligeti

Celebrating 50 years since the birth of Gabriela Lena Frank Hechicera

Gabriela Lena Frank

Celebrating 5 years of The King’s Singers Global Foundation New Commission

Francesca Amewudah-Rivers

The cuckoo in the pear tree (from Nonsense Madrigals) 100 Years of Disney A selection of much-loved songs from Disney over the last 100 years featuring arrangements by Professor Jamey Ray of the Rollins College Department of Music

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G. Ligeti 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

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THE KING’S SINGERS

THE KING’S SINGERS Centuries, including John Tavener, Judith Bingham, Eric Whitacre, György Ligeti, Luciano Berio, Krzysztof Penderecki and Toru Takemitsu. These join a unique body of close-harmony and a cappella arrangements, including those by King’s Singers past and present. Many of their commissioned works and arrangements are available in their own signature series with Hal Leonard, selling over two million copies worldwide. Early collaborations with brass bands helped to inform the distinct ‘King’s Singers sound’ and key to the group’s success has been their ability to evolve and innovate over many years—and through 28 individual members—while always retaining this special sound and musical integrity.

They also lead educational workshops and residential courses across the world and online, working with groups and individuals on their techniques and approaches to ensemble singing.

In 2018 they founded The King’s Singers Global Foundation to provide a platform for the creation of new music across multiple disciplines, coach a new generation of performers and provide musical opportunities to people of all backgrounds.

The King’s Singers were formed in 1968, when six recent choral scholars from King’s College, Cambridge gave a concert at London’s Queen Elizabeth Hall. By chance, the group consisted of two countertenors, a tenor, two baritones and a bass, and the group has maintained this formation ever since that debut.

PROGRAM NOTES

Photo by Rebecca Reid

Patrick Dunachie, countertenor

Christopher Bruerton, baritone

Edward Button, countertenor

Nick Ashby, baritone

Julian Gregory, tenor

Jonathan Howard, bass

The King’s Singers have represented the gold standard in a cappella singing on the world’s greatest stages for over fifty years. They are renowned for their connection and engagement with their audiences, their unrivalled technique, versatility, and skill in performance, and for their consummate musicianship, drawing both on the group’s rich heritage and pioneering spirit to create an extraordinary wealth of original works and unique collaborations.

What has always distinguished the group is their comfort in an unprecedented range of styles and genres, pushing the boundaries of their repertoire, while at the same time honoring their origins in the British choral tradition. They are known and loved around the world, appearing regularly in major cities, festivals and venues across Europe, North America, Asia and Australasia, including Carnegie Hall, Elbphilharmonie Hamburg, Leipzig Gewandhaus, Mozarteum Salzburg, Tonhalle Zurich, Concertgebouw Amsterdam, Helsinki Music Centre, Sydney Opera House, Tokyo Opera City and the National Centre for the Performing Arts, Beijing. They also work with orchestras, recently including a specially commissioned work by Sir James MacMillan with the Royal Scottish National Orchestra at the Edinburgh International Festival.

The King’s Singers’ extensive discography has led to numerous awards including two Grammy Awards, an Emmy Award, and a place in Gramophone magazine’s inaugural Hall of Fame. As part of their 50th anniversary celebrations in 2018, the group undertook a series of major tours worldwide, supporting the release of a Grammy Award nominated anniversary album GOLD, which featured important works in the group’s history and new commissions by Bob Chilcott, John Rutter and Nico Muhly. This commitment to creating new repertoire has always been central to the group, with over 200 commissioned works by many leading composers of the 20th and 21st 28

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LEGACIES is a recital programme like no other, celebrating monumental contributions to the world of music over the past 500 years.

On one hand, we’re remembering the remarkable catalogue of choral works by two of England’s foremost Renaissance composers, 400 years after their deaths: Thomas Weelkes and William Byrd. We’re also giving thanks for the music of two Romantic powerhouses, Ralph Vaughan Williams and Hugo Alfvén, both born 150 years ago and drawing inspiration from their countries’ folk music traditions. Then there’s the extraordinary mind of György Ligeti, born in 1923, whose provocative avant-garde writing redefined contemporary composition. The Nonsense Madrigals he wrote for the King’s Singers – setting children’s poetry and extracts from Alice’s Adventures in Wonderland—exemplify his unique humour, energy, and harmonic genius.

Ligeti isn’t the only contemporary composer to feature. We’re honoured to be premiering a brand-new work by the incomparable Japanese composer Joe Hisaishi in this programme. His brand-new work for The King’s Singers is about our emerging new world, as he celebrates fifty years of composing. What’s more, we’ve commissioned another new work from the exceptional young British composer Francesca Amewudah-Rivers, as part of our commitment to keep growing our global choral canon, as well as to mark the fifth anniversary of The King’s Singers’ Global Foundation. It sits alongside music written for us in 2010 by the American composer Gabriela Lena Frank that provides a window into her own Latin American heritage.

Finally, we’ve included a love letter to the magic brought to us over 100 years by Walt Disney.

Since the founding of The Disney Corporation in 1923, its films have provided the soundtracks to the lives of millions of children and adults alike all over the world.

This is a programme designed to be full of joyful discovery, as we give thanks for each of these rich, diverse legacies. It’s also our promise to help build even more legacies in the future.

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TEXT AND TRANSLATION

Bach Festival Society of Winter Park Presents

Pie Jesu

VENUS ASCENDING!

LILI BOULANGER

Pie Jesu Domine, dona eis requiem Dona eis requiem sempiternam

WOMEN OF NOTE

Bach Festival Choir and Orchestra John V. Sinclair, Artistic Director and Conductor Clara Rottsolk, soprano; Melissa Attebury, mezzo-soprano; Thomas Cooley, tenor; Brandon Hendrickson, bass

Illuminare

ELAINE HAGENBERG

1.

Saturday, February 11, 2023 at 7:30 pm | Sunday, February 12, 2023 at 3:00 pm

PROGRAM Sinfonia in C Major (Overture) (5’)

Marianna Martines (1744-1812)

Concertino for Flute, Opus 107 (8’)

Cécile Chaminade (1857-1944)

Nora Lee Garcia, flute Pie Jesu (5’)

Lili Boulanger (1893-1918)

Clara Rottsolk, soprano Illuminaire (12’)

Elaine Hagenberg (b. 1979)

1. Splendor 2. Caritas Daybreak (4’)

Rebecca Clarke (1886-1979)

Melissa Attebury, mezzo-soprano After Sunset from Three Moods of the Sea (4’) Brandon Hendrickson, bass-baritone

Dame Ethel Smyth (1858-1944)

INTERMISSION Seven O’clock Shout (6’)

Valerie Coleman (b. 1970)

The Canticle of the Sun, Opus 123 (25’) Clara Rottsolk, soprano; Melissa Attebury, mezzo-soprano; Thomas Cooley, tenor; Brandon Hendrickson, bass-baritone Vieille priére bouddhique (9’)

Splendor Saint Ambrose (340-397)

Splendor paternae gloriae, De luce lucem proferens, Lux lucis et fons luminis, Diem dies illuminans.

Knowles Memorial Chapel

Amy Beach (1867-1944)

Blessed Lord Jesus, grant them rest.

Give them eternal rest.

2.

Splendor of God’s glory, brings forth light from light, light of light, light’s living spring, Day, all days illuminates.

Caritas Hildegard von Bingen (1098-1179)

Caritas abundant in omnia, de imis excellentissima super sidera, atque amantissima in omnia, Quia summon regi osculum pacis dedit.

Love abounds in all, from the depths most excellent to beyond the stars, and loving toward all, She has given the highest king the kiss of peace.

After Sunset from Three Moods of the Sea ETHEL SMYTH

The sea lies quieted beneath The after-sunset flush That leaves upon the heap’d grey clouds The grapes faint purple blush.

Pale, from a little space in heaven Of delicate ivory.

The sickle moon and one gold star Look down upon the sea.

L. Boulanger Thomas Cooley, tenor

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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TEXT AND TRANSLATION

PROGRAM NOTES

The Canticle of the Sun

Concertino for Flute in D Major, Opus 107

Canticle of the Creatures, St. Francis of Assissi

Cécile was born in Paris in 1857 to avid musicians who encouraged her talent from an early age. Their neighbor, Georges Bizet, visited the household when Cécile was 8, and “made me play all the pieces I knew,” she later recalled. Her first composition was published at age 12, and after a successful Paris debut in 1877 she became very active as a pianist, chamber musician and conductor throughout Europe as well as in the USA and Canada. Her reputation as a composer grew with the bulk of her 400 pieces being devoted to piano works and mélodies (art songs). She was very much admired in the United States, where Chaminade Clubs of amateur women musicians developed in many cities, and where she earned a substantial income from brisk sales of her printed music. French composer Ambroise Thomas said of Chaminade: “This is not a woman who composes, but a composer who is a woman.”

In 1913 she was awarded the Légion d'Honneur – the first for a female composer. She stopped composing after World War I and retired to Monte Carlo where she died in 1944.

AMY BEACH

Most high, all powerful, all good Lord! All praise is yours, all glory, all honor, and all blessing.

To you, alone, Most High, do they belong. No mortal lips are worthy to pronounce your name.

Be praised, my Lord, through all your creatures, especially through my lord Brother Sun, who brings the day; and you give light through him. And he is beautiful and radiant in all his splendor! Of you, Most High, he bears the likeness.

Be praised, my Lord, through Sister Moon and the stars; in the heavens you have made them, precious and beautiful.

Be praised, my Lord, through Brothers Wind and Air, and clouds and storms, and all the weather, through which you give your creatures sustenance.

Be praised, My Lord, through Sister Water; she is very useful, and humble, and precious, and pure.

Be praised, my Lord, through Brother Fire, through whom you brighten the night. He is beautiful and cheerful, and powerful and strong.

Be praised, my Lord, through our sister Mother Earth, who feeds us and rules us, and produces various fruits with colored flowers and herbs.

Be praised, my Lord, through those who forgive for love of you; through those who endure sickness and trial. Happy those who endure in peace, for by you, Most High, they will be crowned.

Be praised, my Lord, through our Sister Bodily Death, from whose embrace no living person can escape. Woe to those who die in mortal sin! Happy those she finds doing your most holy will. The second death can do no harm to them.

Praise and bless my Lord, and give thanks, and serve him with great humility.

CÉCILE CHAMINADE

The Flute Concertino was commissioned by the Paris Conservatory in 1902 and composed originally for flute with piano accompaniment and was orchestrated two years later for a London concert. With this composition Cécile entered the ranks of many esteemed (male) composers who wrote concours solo for the end-of-year competitions, which included Fauré and Messiaen. The piece is one movement and begins with a broad shapely melody that features clear textures, turns into a highly decorative solo part which is regarded as quite demanding for the flautist, and then, after a cadenza, ends with an exciting coda. Always, the orchestra is scored with delicacy and restraint, an ideal backdrop to the flute’s agility and tonal variety. The concertino remains a standard and popular part of the flute repertoire and is the only work of hers that is performed regularly.

Pie Jesu

LILI BOULANGER

Lili Boulanger (1893-1918) was a tragic figure indeed among composers, plagued with chronic ill-health and prevented by her early death from fulfilling the outstanding promise revealed in just a handful of compositions. The Pie Jesu was her last work, dictated on her deathbed to her sister Nadia; its haunting beauty seems to speak of another world. It was originally a soprano solo with string quartet, harp, and organ.

Illuminare

ELAINE HAGENBERG

llluminare is Elaine’s first extended work, consisting of five-movements for SATB chorus and chamber orchestra. Using lesser-known sacred Latin texts, the piece takes us through a season of beauty and goodness that has been disrupted by darkness and confusion. But as Light gradually returns, hope is restored, illuminating our future and guiding us in peace. With a majestic and bright opening in D major, Illuminare begins with a radiant flurry of 16th notes representing the entrance of Light. Then the voices enter in powerful unison, and the Ambrosian hymn text bursts into a punctuated and joyful “Gloriae” section. As the music turns to a softer legato passage, part of a “peace” theme is revealed in the cello— then returns to the joyful rhythmic momentum of the beginning. The second movement features the women’s voices and 32

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PROGRAM NOTES

PROGRAM NOTES

portrays a tender season of beauty. The elegant words of Hildegard von Bingen hearken back to an image of Eden—a time of goodness and purity. After a slow and gradual ascent to the word “pacis” (peace), a brief moment of the peace theme gracefully reappears in the cello, concluding with serene, sustained tones.

- Elaine Hagenberg

Daybreak

REBECCA CLARKE

Long renowned for her chamber music and songs as well as for being on of the great viola players of her time, Rebecca Clark was also a brilliant composer of songs with string accompaniment, including two sets of folk-song arrangements. Clarke composed Daybreak around 1940 – she herself was not quite sure of the date, and there is no known external documentation for the piece – picking up two important strands in her oeuvre: the deep current of erotic longing that runs through so many of her vocal and choral pieces, and her use of composition models drawn from earlier English vocal music. In setting Donne’s yearning aubade, Clarke makes explicit reference to the Elizabethan consort song, both in her limpid, quietly aching vocal writing, and in her use of a strings (quartet) to evoke a consort of viols.

In every other way, however, Daybreak is modern and unambivalent in expression, pointing towards Clarke’s wartime Chorus from Shelley’s ‘Hellas’ (1943), with its spectacular outcried and passionate intensity…this is not so much a morning-song as a morning-after song. excerpts by Christopher Johnson

After Sunset, from Three Moods of the Sea ETHEL SMYTH

Ethel Smyth was a twentieth-century British composer and a champion of women’s rights and female musicians. During her lifetime, she composed symphonies, choral works, and operas, and is most well-known for The March of Women, an anthem for women’s suffrage movement.

The fourth of eight children, Ethel showed a keen interest in music as a career. Her father, a major general in the Royal Artillery, was not supportive but Smyth studied privately and then attended the Leipzig Conservatory in Germany beginning in 1877. In 1889 she returned to London and continued to develop her talents in many different areas of composition, earning several distinguished awards and recognitions. Despite her talent and success, she struggled to find musicians to perform her works and to get her music published. Due to increasing hearing loss, Ethel gave up her music career, ultimately writing several biographies. Smyth died in England in 1944 at the age of 86. She was a strong political voice of the early twentieth century and remains a highly regarded female composer.

Three Moods of the Seas is written for solo voice, based on poems by Arthur Symons and demonstrates Smyth’s skill in setting poems to music. In the first movement, Requies, the accompaniment gives a lulling movement while the vocal line sits calmy above it. There is a slightly more tumultuous mood that soon returns to the original calm. The second movement, Before the Squall, depicts the rising wind. The final movement, After Sunset, is peaceful and calming.

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Seven O’Clock Shout VALERIE COLEMAN

Seven O'Clock Shout is an anthem inspired by the tireless frontline workers during the Covid-19 pandemic, and the heartwarming ritual of evening serenades that brings people together amidst isolation to celebrate life and the sacrifices of heroes. The work begins with a distant and solitary solo between two trumpets in fanfare fashion to commemorate the isolation forced upon humankind, and the need to reach out to one another. The fanfare blossoms into a lushly dense landscape of nature, symbolizing both the caregiving acts of nurses and doctors as they try to save lives, while nature is transforming and healing herself during a time of self-isolation.

When a composer has the rare opportunity to create for musicians they have gotten to know, the act of composing becomes an embrace tailored to the personality and capabilities of the musicians with elements of both challenge and appreciation. One such moment is dedicated to humanity and grace, as a clarinet solo written for Ricardo Morales, followed by a flute solo with both Jeffrey Khaner and Patrick Williams in mind, providing a transition into a new upbeat segment. Later, to continue tradition from the first commission the composer received from the orchestra, a piccolo solo dedicated to Erica Peel dances with joy.

It was suggested that a short work for a debut by multi-track recording could account for the ensemble performing together as if they were in the same room. One of the devices used to address this is the usage of Ostinato, which is a rhythmic motif that repeats itself to generate forward motion and in this case, groove. The ostinato patterns here are laid down by the bass section, allowing the English horn and strings to float over it, gradually building up to that moment at 7pm, when cheers, claps, clanging of pots and pans, and shouts ring through the air of cities around the world! The trumpets drive an infectious rhythm, layered with a traditional Son clave rhythm, while solo trombone boldly rings out an anthem within a traditional African call and response style. The entire orchestra ‘shouts’ back in response and the entire ensemble rallies Into an anthem that embodies the struggles and triumph of humanity. The work ends in a proud anthem moment where we all come together with grateful hearts to acknowledge that we have survived yet another day.

Valerie Coleman, composer

The Canticle of the Sun, Opus 123 AMY BEACH

Amy Beach was born to write music, began doing so when she was 4 years old and managed to win a substantial national reputation in her twenties, although women at that time were not really supposed to be composers. She composed, in a well-developed, largely selftaught late romantic style, in nearly all the standard classical forms, opera being the primary exception. Her work fell into neglect after her death but has been regaining the attention it deserves in the last quarter-century. She was a member first of Emmanuel Episcopal Church in Boston and later of St. Bartholomew’s Episcopal Church in New York. Early in the century, a movement had begun in Oxford to renew in the Anglican church the Catholic traditions of the ancient past. The Church restored the ancient practice of singing the liturgy for the services and designed the rituals of worship to express the awe and mystery of the Christian faith. Choirs proliferated and there was a great demand for new liturgical music and anthems. During the BachFestivalFlorida.org

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PROGRAM NOTES

FEATURED ARTISTS

years of Beach’s marriage to Dr. Henry Harris Aubrey Beach, her publisher issued 14 separate pieces. The origin of The Canticle of the Sun is interesting. In 1924, she went to the MacDowell Colony. Here, she came across the text of St. Francis of Assissi’s Canticle of the Sun. In a 1943 interview published in The Etude, she told this story.

“I took it up and read it over – and the only way I can describe what happened is that it jumped at me and struck me, most forcibly! As if from dictation, I jotted down the notes of my Canticle. In less than five days the entire work was done.”

The first performance of the work with organ accompaniment took place on December 8, 1928, at St. Bartholomew’s in New York. The Toledo Choral Society, performing with the Chicago Symphony, gave the premiere of The Canticle with Orchestra on May 13, 1930.

“The Canticle of the Sun by Mrs. H.H.A. Beach proved the sensation of the evening. This biblical hymn of praise and jubilation, set in a glorious musical expression of majestic melody… literally brought the audience to its feet in a desire to honor the composer.”

- Albany Records, Amy Beach: Canticle of the Sun

Vieille Priére Bouddhique LILI BOULANGER

Marie-Juliette Olga “Lili” Boulanger was a French composer, and the younger sister of the famed composition teacher/composer Nadia Boulanger. Born in Paris, Lili Boulanger was a child prodigy; at the age of two, it was discovered that she had perfect pitch. Her parents, both musicians, encouraged her musical education, and she would accompany her sister Nadia to classes at the Paris Conservatory, studying music theory and organ. Her sister Nadia was one of her teachers, and later studied with Paul Vidal, George Caussade, and Gabriel Faure, who was particularly impressed by her abilities. Lili would go on to win the Prix de Rome at the age of 19; she was the first woman to ever win the composition prize. Tragically, she died at the young age of 24.

Vieille Prière Bouddhique, written for orchestra, choir, and tenor soloist, was one of Boulanger’s last works. Drafted in 1914 and finished in 1917, the text of this work is from a Buddhist daily prayer for the universe, calling all people to attain peace and joy. Like much of her writing, this work is rich and luscious, and shows what an incredibly mature composer she was. Several melodies throughout are centered on the whole tone scale, giving it a sublimely hypnotic feel.

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CLARA ROTTSOLK, soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction.” With repertoire ranging from the Renaissance to the contemporary, her appearances have taken her across the United States, the Middle East, Japan, and South America. She specializes in historically informed performance practice, singing with ensembles that include American Bach Soloists, Santa Fe Pro Musica, Colorado Bach Ensemble, Trinity Wall Street Choir, and Seraphic Fire. Clara’s Bach repertoire includes his Mass in B minor, St. Matthew Passion, St. John Passion, and the Easter, Ascension, and Christmas Oratorios along with Mozart’s Grand Mass and Requiem, Handel’s Messiah, Vaughan Williams’ Dona nobis pacem, and Richard Einhorn’s Voices of Light.

She has performed at the Carmel Bach Festival, Philadelphia Bach Festival, Whidbey Island Music Festival, and Boston Early Music Festival. A native of Seattle, Ms. Rottsolk earned music degrees at Rice University and Westminster Choir College and was awarded recognition for musical excellence by the Metropolitan Opera National Council. Currently she is based in Philadelphia and teaches voice at Swarthmore, Haverford, and Bryn Mawr Colleges.

MELLISSA ATTEBURY, alto Praised by the New York Times as a “rich-toned alto who brought a measure of depth to her performance,” Melissa Attebury appears regularly in oratorio concerts where her skill in music of the Baroque is in particular demand. Recent appearances include Messiah, Christmas Oratorio, the St. Matthew and St. John Passions, and Elijah. Venues where she has recently appeared include Carnegie Hall with conductor Alan Gilbert and the New York Philharmonic, The Washington Chorus and The Choir of Trinity Wall Street. Ms. Attebury is featured on the Grammy-nominated Israel in Egypt with the Choir of Trinity Wall Street and as a skilled ensemble musician, appears on Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields, recorded with Bang on a Can All-Stars. Melissa is the Associate Director of Music at Trinity Wall Street, is on the faculty of the Berkshire Choral Festival, and manages Trinity’s music outreach program in the public schools.

THOMAS COOLEY, tenor Praised by the New York Times for his “sweet, penetrating lyric tenor with aching sensitivity,” and by San Francisco Classical Voice as “an indomitable musical force,” Thomas Cooley is a singer of great versatility, expressiveness, and virtuosity. Internationally in demand for a wide range of repertoire in concert, opera, and chamber music, Cooley performs regularly with major orchestras such as the Atlanta and National Symphonies; the Minnesota Orchestra and St. Paul Chamber Orchestra; Los Angeles Chamber Orchestra, Copenhagen Philharmonic; the Gewandhaus Orchestra Leipzig, and the Osaka Philharmonic. His repertoire on the symphonic stage includes works such as Beethoven’s Missa Solemnis; Berlioz’s Requiem; Haydn’s Creation; Mendelssohn’s Elijah; and Elgar’s Dream of Gerontius. Renowned for his agility and skill in Baroque music, Mr. Cooley is in demand, particularly as an interpreter of the works of Bach and Handel. This year, he returns for his 10th season as the tenor soloist at the Carmel Bach Festival. He appears regularly with such groups Boston Baroque, BachFestivalFlorida.org

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FEATURED ARTISTS Handel and Haydn, and Akadamie für Alte Musik Berlin. Important recent engagements include the Evangelist in St. John Passion on tour in Italy with the Munich Bach Choir, Evangelist in Bach’s St. Matthew Passion with the Seattle Symphony, and Handel’s Joshua with Philharmonia Baroque. On the operatic stage he has performed at the Bavarian State Opera, the Krakow State Opera, and the Cincinnati Opera. Highlights this season include Rodelinda in a stage/television production at the Göttingen Handel Festival, Handel’s Ode to St. Cecilia at the Carmel Bach Festival, Messiah with Nicholas McGegan in Cleveland, the Evangelist in St. Matthew Passion with St. Thomas and Trinity Wall Street in New York City, and the St. John Passion arias with the Columbus Symphony.

BRANDON HENDRICKSON, baritone As a performer on the concert stage, Brandon is hailed for his “mellifluous,” and “beautiful baritone.” His credits include performances at Carnegie Hall, the Piccolo Spoleto Music Festival, the Canterbury Choral Society, the Bach Festival Society of Winter Park, and the American Festival Chorus. Recently he has performed Carl Orff’s Carmina Burana, Mozart’s Requiem, Brahms’ Ein Deutsches Requiem, Duruflé’s Requiem, and Mahler’s 8th Symphony. An active recitalist, Hendrickson has been invited to perform in Italy, Malaysia, Canada, Ireland, the United Kingdom, and throughout the United States. Hendrickson was in the Emmy Award Winning Production of Benjamin Britten’s Billy Budd and the American Prize in Musical Theater First Place Prize Winning production of Titanic: The Musical. Dr. Hendrickson was the recipient of an SEC Travel Grant for master classes and a recital titled “I Was There,” at the University of South Carolina. Currently, Dr. Hendrickson is an Assistant Professor of Voice at Louisiana State University.

NORA LEE GARCIA, flute As a Powell Flutes Artist Nora Lee Garcia has performed throughout Europe, Asia, North America, South America, Central America, and the Caribbean as solo recitalist, chamber musician and soloist with orchestra.

She has been featured as a guest artist in Carnegie Hall, Heinz Hall, Steinmetz Hall and at flute festivals such as the French Flute Convention, III Convención AFE Sevilla, Festival Internacional de Flauta Monterrey, as well as numerous National Flute Association conventions. As an orchestral and chamber musician, Nora Lee has performed under the baton of Michael Tilson Thomas, Krystof Penderecki, and Karl Sollak, and with ensembles such as the Casals Festival, the Chautauqua Symphony, and the Puerto Rico Symphony Orchestra. She currently holds the position of principal flute with the Bach Festival Orchestra of Winter Park. An active recording artist, she recently won the Global Music Awards two Silver Medals for Outstanding Achievement Category: Duo and Instrumentalist for her recent recording CUBATINA (CRC 3937), October 2022. She can be heard on the soundtrack for the Sony Pictures film, The End of the Spear. A native from San Juan Puerto Rico, Nora Lee graduated from the Conservatorio de Música de Puerto Rico. In the United States, she earned a Master of Music from Brooklyn College Conservatory of Music in New York and her Doctorate from the Frost School of Music, University of Miami, Florida, and is currently Professor of Flute at the University of Central Florida in Orlando.

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BACH FESTIVAL ORCHESTRA VIOLIN I

STRING BASS

TRUMPET

Alvaro Gomez*

Lee Eubank

John Copella

Shelley Bareham Matthews

Michael Hill

Fred Green

FLUTE

TROMBONE

Katie Mess

Aaron Lefkowitz

Nola Knouse

Alex Regazzi

Routa Kroumovitch Gomez*

Tye Van Buren

Teresa Linn

Mary Bergulund Bos Olga Ferroni Julia Gessinger Renata Arado Kathleen Beard

VIOLIN II Joni Roos

Rhonda Burnham Victor Ferroni Dina Fedosenko Christina Gant Jennie Rudberg Olivia Skaja

Nora Lee Garcia

Jeff Thomas

Amie Tishkoff

TUBA OBOE

Robin Sisk

Lora MacPherson

TIMPANI

Sherwood Hawkins Lane Lederer

CLARINET

Jessica Speak Hannah Faircloth

Kirk Gay

PERCUSSION Thad Anderson

Jeremy Katalenic

Thomas Todia

VIOLA

Susan Christian

BASSOON

Ashley Heintzen Rich Ervin

Daniel Flick Jesus Alfonzo

HORN

Kathy Thomas

CELLO

Brenda Higgins Shona McFadyen-Mungall

Ben Lieser Pam Titus

HARP

Dawn Edwards

HARPSICHORD Joanne Kong

Kristine Griffin

VIOLA DA GAMBA Lisa Terry

Maureen May Amie Tishkoff

* co-concertmasters

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BACH FESTIVAL CHOIR

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BACH FESTIVAL CHOIR

Isabel Acuna, 3

Paul W. Chilcote, 4

Brad Gant, 1

Wendy Landry, 2

Jesus Pacheco*

Jodi Tassos, 47

Bryan Adames, 1*

Anne Claiborne, 1

Elicia Garcia, 4

Rachel LaQuea, 5

Liana Pacilli, 11

Charles Thatcher, 1

Kristin Adames, 2*

Maya Clausen, 2

Alexander Goity, 3

Arabella Lilleslatten, 1*

William Parrish-Talk

Jennifer Thibodeau, 3

Kristen Algero, 6

Emily Cole

Minet Gregory, 8

Juliana Lind, 1*

Kirsten Paulson, 2

Jordan Thomas

Hallie Allen, 1

Tom Cook, 34

Regunia Griggs, 22

Kathleen LoPresti, 20

Isabella Perez

Samantha Torres, 1*

Katie Anderson

Vivian Cook, 3

Gregg Gronlund, 24

Leyse Lowry, 7

Ashley Peters, 5

Carlos Velazquez

Morgan Anderson, 1*

Athalia Cope, 60

James Guild

Julie Mathews

Cara Pfost Brown

Jeanine Viau, 6

Erika Anglin

Bob Cope, 51

Jeanné Hall, 2

Nicholas Matthews, 1*

Kurt Plotts, 16

Cezarina Vintilla, 18

Sue Antonition, 1

Michael Creighton, 1

Jennifer Hallenbeck, 6

Carolyn Maue, 1

Dan Preslar, 10

Matt Walker, 5

Catalina Arias, 4

Solmarie Cruz, 2

Rebecca Hammac

Elizabeth Maupin, 4

Veronica Prevost, 1*

Gayle Warren, 34

Liz Ausburn, 2

Carl Davis, 20

Diane Hansen, 8

Justin McGill, 5

Bj Price, 17

Diana Webb, 8

Meg Baldwin, 3

Tim Delcavo, 6

Brooke Hayes*

Margaret McMillen, 29

Gabriel Quijano, 4

Barby Barbara, 3

Kerren Dieuveille, 1*

Grant Hayes, 3

Rita Merlot, 13

Beverly Rich, 9

Margaret Elise Wendelburg, 2*

Will Barbara, 3

Mirjana Dimitrovska, 3

Pia Hernandez*

Luiz Mestrinho, 4

Angelina Richardson, 1*

Jane White, 40

Samantha Basso

Jodi DiPiazza, 1*

Richard Horn

Janice Meyer, 6

Edwin Ricke

Patty White, 5

Jim Beck, 10

Frank DiPietro, 4

Ariel Hudak, 5

Diego Mihelic, 1

Matt Ricke, 3

Susan Whritenour, 12

Frederick Blanchard*

Theresa Dulong, 13

Rebecca Hull, 12

Susan Miller, 1

David Romaine, 3

Wave Wildman*

John Boulden, 10

Karen Dunscomb

Silvia Ibañez, 6

Stella Monner, 1*

Mikaella Romero*

Elizabeth Wright

Michael Bouschet, 1*

Dante Duphorne, 14

Howard Jaffe, 3

Aleitha Morgan, 10

Andrew Rueda, 1*

Jack Wright, 1

Italo Brett, 4*

Ashley Duvé, 7

Elisabeth Johar

Natalie Morgan, 1

Sebastian Sanchez*

Mary Lou Zobel, 5

Richard Bump, 1

Cynthia Dybas, 7

Heather John, 6

Beth Nagle, 13

Jane Scamehorn, 7

Michael Burridge, 23

Tabitha Dybas, 3

Charlotte Johnson

Jack Nagle, 13

John Maclane Schirard, 7

Gayle Burton

Dana Eagles, 11

Eltavious Johnson*

Donald Nash, 43

Russell Scott, 8

Number denotes years of service

Laurie Calhoun, 3

Jolie Eichler, 14

Andrea Jones, 15

Linda Naughtin, 15

Edward Searl

*Rollins College Student

Sofia Cardi, 1

Mary Francis Emmons, 1

Sondra Jones, 11

John Niss, 27

Daniel Sharp, 2

Julia Carpenter, 11

Jonathan Erick, 26

Beth Kassander, 6

Luke Noles, 6

Karyll Shaw, 7

Christine Carter, 12

Bob Fields, 3

Amanda Kinder, 5

Bill Oelfke, 32

Taylor Sinclair, 7

Tripp Carter, 1*

Jay Forsythe, 1*

James T. Kitchens, 3

Harry Otero-Rivera, 2*

Diana Sisley, 15

Ellen Huey Cassel, 11

Alice Fortunato, 2

Yen-Yen Kressel, 15

Betsy Owens, 10

Beverly Slaughter, 47

George Chandler, 5

Larry Fortunato, 7

Rob Landry, 2

Hannah Pacchioli, 1

Brandi Small

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ADAM GOLKA

Bach Festival Society of Winter Park Presents

CONCERTOS BY CANDLELIGHT Bach Festival Choir and Orchestra John V. Sinclair, Artistic Director and Conductor Itamar Zorman, violin Adam Golka, piano Friday, February 17, 2023 and Saturday, February 18, 2023 | 7:30 pm Knowles Memorial Chapel

PROGRAM Splendor Fountain: Fanfare for Orchestra (6’) Violin Concerto No. 1 in G minor, Opus 26 (25’) I. II. III.

Vorspiel. Allegro moderato Adagio Finale. Allegro energico Itamar Zorman, violin

Daniel Crozier Max Bruch (1838-1920)

INTERMISSION The Final Judgement from The Book of Revelation (6.5’) Piano Concerto No. 3 in C minor, Opus 37 (35’) I. II. III.

Allegro con brio Largo Rondo

Eric Heumann (1992 - ) Ludwig van Beethoven (1770-1827)

Adam Golka, piano

ADAM GOLKA, piano Polish-American pianist Adam Golka has been on the concert stage since the age of sixteen, when he won first prize at the 2nd China Shanghai International Piano Competition. He has also received the Gilmore Young Artist Award and the Max I. Allen Classical Fellowship Award from the American Pianists Association.

Adam Golka begins 22/23 with recitals for Philip Lorenz International Keyboard Concerts and Mesa Arts Center, performing a program that bridges two long-term repertoire interests; Beethoven Sonatas, which he has explored and performed through his gripping 32@32 series (in which Photo by Juergen Frank he paired each sonata with a short film that explored perspectives on the Sonatas, and an amalgam of distinguished guests, from astrophysicists to Alfred Brendel) and Brahms, whose complete piano works he will perform and record over the next few years.

This season’s repertoire includes Tchaikovsky Violin Concerto No. 1 and Gershwin’s Rhapsody in Blue with the Orquesta Ciudad de Granada (Spain), and tour a duo recital program with violinist Itamar Zorman with performances at Wigmore Hall, the Bach Festival Society of Winter Park, and elsewhere.

As public events in the United States have re-opened, Adam was engaged by the Buffalo Philharmonic and Asheville Symphonies to film concertos by Bach, Mozart, Clara Schumann, Saint-Saëns, Brahms, Rachmaninoff, and Shostakovich for online release. He has also recorded a recital for the Chelsea Music Festival at High Line Nine and performed for live audiences at Chamber Music Sedona.

In 2020-2021, Adam performed the eleven-hour cycle of Beethoven’s Sonatas five times in its entirety, (three times for socially distanced audiences) with the premiere at the Bach Festival Society of Winter Park (Florida), once at the Archway Gallery in Houston, with a live-streamed cycle at the Saint Thomas Church Fifth Avenue (NYC). Adam’s performances were complemented by 32 short films he created with Zac Nicholson, known as 32@32 (available on YouTube). “Adam Golka plays [Sonatas op. 10] with a certain brio, fiery, very free. After all, Beethoven dares in them fantasies, embellishments, cadenzas that the pianist seizes with a sense of improvisation, variations of mood, which never make you forget the simple beauty of his touch, the obviousness of his speech.”

Artamag (France) Adam Golka is deeply indebted to his two main teachers, José Feghali and Leon Fleisher. Since finishing his formal studies, Adam has continued to develop his artistry through private mentorship from his favorite artists: Alfred Brendel, Richard Goode, Murray Perahia, Ferenc Rados, and András Schiff, who invited Adam to give recitals at the Klavier-Festival Ruhr and Tonhalle Zürich for the “Sir András Schiff Selects” concert series.

As a concerto soloist, he has appeared with dozens of orchestras, including the BBC Scottish Symphony, NACO (Ottawa), Warsaw Philharmonic, Shanghai Philharmonic, as well as the San Francisco, Atlanta, Houston, Dallas, Milwaukee, Indianapolis, New Jersey, and San Diego symphonies. Adam has collaborated with conductors such as Donald Runnicles, Pinchas Zukerman, Mark Wigglesworth, and Joseph Swensen; he has made countless concerto appearances with his brother, conductor Tomasz Golka. Adam gave his Carnegie Stern Auditorium début in 2010 with the New York Youth Symphony and his New York recital début at Alice Tully Hall, presented by the Musicians Emergency 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.

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Adam was an Artist-in-Residence for six years at the College of the Holy Cross in Worcester, Massachusetts. He has recorded works by Beethoven, Schumann, and Brahms and has premiered works composed for him by Richard Danielpour, Michael Brown, and Jarosław Gołębiowski.

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ITAMAR ZORMAN ITAMAR ZORMAN, violin Itamar Zorman is one of the most soulful, evocative artists of his generation, distinguished by his emotionally gripping performances and gift for musical storytelling. Since his emergence with the top prize at the 2011 International Tchaikovsky Competition, he has wowed audiences all over the world with breathtaking style. His “youthful intensity” and “achingly beautiful” sound shine through in every performance, earning him the title of the “virtuoso of emotions. Awarded the Borletti-Buitoni Trust Award for 2014, violinist Itamar Zorman is the winner of the 2013 Avery Fisher Career Grant.

Mr. Zorman has performed as a soloist with such orchestras as the Israel Philharmonic, New World Symphony, Saint Paul Chamber Orchestra, KBS Symphony Seoul, Frankfurt Radio Symphony, German Radio Philharmonic, and the Orchestre National du Capitole de Toulouse. He has worked with conductors such as Zubin Mehta, Michael Tilson-Thomas, James DePreist, Yuri Bashmet, and Michael Stern. As a recitalist he performed at Carnegie Hall’s Distinctive Debut series, People’s Symphony Concerts, the Louvre Museum, Suntory Hall Laeiszhalle Hamburg and HR-Sendesaal Frankfurt. He has also collaborated with legendary artists such as Richard Goode (including performances at Carnegie Hall and Library of Congress), Mitsuko Uchida, Steven Isserlis and Jörg Widmann.

Photo by Jamie Jung

As part of an ongoing exploration of the music of Paul Ben-Haim, Mr. Zorman released a CD of his works for violin and orchestra with BBC National Orchestra of Wales and Philippe Bach for BIS Records, in April 2019, entitled “Evocation.”

Described as a “poet of the violin”, Itamar Zorman is also a committed chamber player. He is a founding member of the Israeli Chamber Project and a member of the Lysander Piano Trio, with which he won the 2012 Concert Artists Guild Competition, the Grand Prize in the 2011 Coleman Chamber Music Competition, 1st prize in the 2011 Arriaga Competition, and a bronze medal in the 2010 Fischoff National Chamber Music Competition.

Born in Tel-Aviv in 1985 to a family of musicians, Itamar began his violin studies at the age of six at the Israeli Conservatory of Music in Tel-Aviv. He received his Bachelor of Music from the Jerusalem Academy of Music and Dance, his Master of Music from The Juilliard School in 2009, and then received an Artist Diploma from Manhattan School of Music in 2010 and an Artist Diploma from Julliard in 2012 under the tutelage of Sylvia Rosenberg. He is an alumnus of the Kronberg Academy where he studied with Christian Tetzlaff and Mauricio Fuks. He is also the recipient of scholarships from the America-Israel Cultural Foundation and has worked with Itzhak Perlman, Pinchas Zukerman, Shlomo Mintz, Ida Haendel, and Ivry Gitlis.

Mr. Zorman is currently on faculty at the Eastman School of Music. He plays on a 1734 Guarneri del Gesù, from the collection of Yehuda Zisapel.

PROGRAM NOTES Splendor Fountain: Fanfare for Orchestra DANIEL CROZIER

Splendor Fountain: Fanfare for Orchestra was originally completed in 2018 on a co-commission from the Florida Orchestra and Rollins College to celebrate the 50th anniversary of the Florida Orchestra. For the present performances by the Bach Festival Society, the work was largely re-written, to the extent that I considered adopting a new title for the piece, but rejected that idea in favor of the original, which still seemed most fitting. As its title suggests, the piece is largely festive. It is a narrative, a story in music, whose two main characters are presented at the outset. These characters consist of two fanfares, one grand and slow, followed by another fast and athletic. These two extroverted ideas are intruded upon by more inward, pensive, even threatening aspects of their own natures, but their inner struggle results in eventual resolution and a triumphant return. In this revision, in addition to being a fanfare this piece is also a tiny, quasi-concerto for the Bach Festival Orchestra itself. Above all, it is meant to be fun to play. As I worked, I tried to feature each section of the orchestra, along with the individual players who have been my colleagues and friends over many years.

- Daniel Crozier

Violin Concerto No. 1 in G minor, Opus 26 MAX BRUCH

No one could accuse Bruch of not being a hard worker. In addition to composing three operas, three symphonies, more than 40 pieces for chorus and numerous pieces in other forms, he worked extensively as a teacher and conductor, including a three-year stint as music director of the Liverpool Philharmonic Society.

Much of his creative efforts have gone for nothing, however, since not one of the above-mentioned pieces has gained a foothold in the standard repertoire. The sifting process of time has left just a trio of Bruch’s works to warm themselves in the sun. Fashions in music come and go, but the first of his three violin concertos, the Kol Nidrei for cello, and the Scottish Fantasy for violin and orchestra retain the popularity that greeted them from day one.

As with such contemporaries as Camille Saint-Saëns, Bruch never abandoned the style he adopted in his youth. In his case, it was the warm, expressive Romantic German school of Mendelssohn and Schumann.

Although his first violin concerto sounds smooth and effortless, it followed a difficult course to its final form. It won a favorable reception at its first public performance, on April 24, 1866, in Coblenz, Germany, but it still left Bruch unsatisfied. Seeking advice on how to improve it, he consulted with the widely-respected Hungarian violinist, Joseph Joachim. Joachim gave him a long, detailed evaluation. Relieved by this expert counsel, Bruch dedicated the concerto to Joachim. The debut of the final, revised edition, in Bremen, Germany, on January 7, 1868, with Joachim as soloist, drew a warm response from audience and composer alike.

Bruch entitled the concerto’s opening section prelude, implying that it serves primarily as an introduction to the more important second movement, the adagio. The prelude opens in an air of quiet, brooding melancholy before breaking out into a full-blown and impassioned allegro.

It builds up to two major climaxes before dying away in emotional exhaustion. Bruch segues

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without pause into the heartfelt central adagio. This begins in a prayer-like atmosphere, then gradually gains both in activity and expressiveness. It features some of the most beautiful writing in the entire literature for violin.

was exhausted and dissatisfied. Prince Karl Lichnowsky [one of Beethoven’s patrons], who was at the rehearsal from its beginning, sent out for large baskets of buttered bread, cold meats, and wine. He invited all the musicians to help themselves, and a collegial atmosphere was restored.”

Bruch concludes the concerto with a propulsive, Romani-flavored finale. It anticipates the last movement of the concerto that Johannes Brahms wrote 10 years later, a work also dedicated to, and premiered by, Joseph Joachim. It’s definitely a dance, but in keeping with the concerto’s overall character, it’s still a rather serious one. The second theme has a noble contour, more elevated than heroic.

The score of the Concerto was not finished by the time of the rehearsal and indeed it remained a work in progress during the performance, as was noted by another Beethoven pupil, Ignaz von Seyfried, who considered himself fortunate to have been chosen by Beethoven as his page-turner. “I saw empty pages with here and there what looked like Egyptian hieroglyphs, unintelligible to me, scribbled to serve as clues for him. He played most of his part from memory, since, obviously, he had put so little on paper. So, whenever he reached the end of some invisible passage, he gave me a surreptitious nod and I turned the page. My anxiety not to miss such a nod amused him greatly and the recollection of it at our convivial dinner after the concert sent him into gales of laughter.”

- Don Anderson

The Final Judgement from The Book of Relevation ERIC HEUMANN

A glossy, luminescent introduction sets the heavenly atmosphere for “The Final Judgment,” which is a movement excerpted from the oratorio, The Book of Revelation. The short, stringheavy introduction is followed by the “Throne in Heaven Theme,” which is presented by warm brassy chorale phrases with glassy woodwind and percussion interjections. However, following these pure and majestic images, the mood turns darker and the drama of “The Final Judgment” as described in Revelation chapter 20 begins to unfold.

In this chapter, two distinct scenes are described. First, an angel of Heaven binds up “the dragon” (Satan). Satan is locked in the abyss, where he will dwell for one thousand years.

Musically, this section is characterized by jagged rhythms and chromatic melodies - “Satan’s Theme” and the “Theme of the Abyss.” After this, a second scene depicts a flash back to the throne in Heaven. Here, a shift back to the luminescent material of the introduction is heard.

However, it is very brief and bombastically interrupted by Satan’s release from the abyss. War breaks out and Satan wreaks havoc on Earth. “Satan’s Theme” and the “Theme of the Abyss,” as heard earlier, dominate this war-like section of the piece. Eventually, fires come down from Heaven and consume Satan and his armies. This dramatic conclusion of the war sets the stage for the final scene presented before God’s throne. The “Throne in Heaven Theme” is presented in all its glory, commencing the final judgment of all people and bringing the movement to an exciting close.

- Eric Heumann

Piano Concerto No. 3 in C minor, Opus 37

The Concerto bridges the divide between Beethoven’s two earlier, more clearly Mozart-derived concertos and a more personal style, while simultaneously showing a keen awareness of Mozart's most Beethoven-like concerto, K. 491, in the same key of C minor. Both open with the strings softly playing an ascending figure, the winds joining in for the first climax. A thematic fragment – C–E-flat–A-flat – of the theme of the Mozart K. 491 first movement is stated by the low strings in the ninth measure of the Beethoven. Most strikingly, as the late Charles Rosen noted, Beethoven’s solo arpeggios in the coda recall portions of Mozart’s in his work. But here, the ferocious C-minor runs with which the piano subsequently enters are purest, most Beethovenian drama.

The slow movement is an oasis of calm amid the agitated outer movements, with the songful expanse of piano melody accompanied by muted strings, after which the piano arpeggios curl around the theme, now stated by strings and woodwinds. There follows a magical passage where piano arpeggios accompany a duet for bassoon and flute.

The rondo finale, C minor again, has plenty of spirit but also a good deal of tension and the full bag of Beethoven tricks: a second theme, announced by the clarinet, whereupon the principal theme is transformed into a fugue whose conclusion would seem to signal the return of C minor. But no, it ascends a semitone to A-flat (an old Haydn trick), and then the piano wanders to E major, which may be far from A-flat but not from the slow movement of this very Concerto.

- Herbert Glass

LUDWIG VAN BEETHOVEN

The composer introduced his Concerto in C minor at one of those massive all-Beethoven benefits – with Beethoven as beneficiary – which continues to boggle the mind more than two centuries after the fact. The date was April 5, 1803, in the Theater an der Wien, the program offering three premieres: the present work, the Second Symphony, and the oratorio Christ on the Mount of Olives, as well as a reprise of the First Symphony, first heard a year earlier.

According to Beethoven’s pupil Ferdinand Ries, the rehearsal, the only rehearsal for the entire concert, began at 8am and was a shambles. The orchestra was the Viennese second string, the city’s best players having been hired by a competing presenter for a performance of Haydn’s The Creation that same evening. “[It] was frightful,” Ries recalled. “At half past two everyone 46

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Bach Festival Society of Winter Park Presents

ITAMAR ZORMAN, VIOLIN ADAM GOLKA, PIANO Sunday, February 19, 2023 | 3:00 pm Tiedtke Concert Hall

PROGRAM Violin Sonata in G minor, D.408 (17’) I. II. III. IV.

Allegro giusto Andante Menuetto – Trio Allegro moderato

Allegro appassionato Adagio Allegro

Sonata No. 3 in D minor, Opus 108 (22’) Allegro Adagio Un poco presto e con sentiment Presto agitato

Rondo Brilliant in B minor, D.895 (16’)

In the Allegro giusto Schubert progressively transforms the brusque unison opening, first into a pensive cantabile for piano alone, and then into a suave rococo minuet. The delightful trio of the Menuetto seems like a (doubtless subconscious) recollection of the bucolic trio from Mozart’s Symphony No 39, with the melody underscored by a gurgling accompaniment from the piano-as-clarinet. The finale opens in wistful mood but quickly brightens for a popular-style tune with more than a whiff of comic opera.

Sonata for Violin and Piano No. 1, Sz. 75 Béla Bartók (1881-1945)

INTERMISSION I. II. III. IV.

The Sonata in G minor—a key with inevitable Mozartian associations—shares many traits with the A minor: a first movement whose exposition embraces three rather than two key centres (here G minor, B flat and E flat); a shapely, songful Andante that pays overt homage to Mozart (the main theme virtually quotes the Romanze of the Third Horn Concerto), a fast Menuetto with a relaxed Ländler trio, and a contredanse finale.

- from notes by Richard Wigmore

Sonata No. 1 for Violin and Piano (33’) I. II. III.

Franz Schubert (1797-1828)

Violin Sonata in G minor, D. 408

FRANZ SCHUBERT

Johannes Brahms (1833-1897)

F. Schubert

Andante - Allegro

BÉLA BARTÓK

In the 1920s Bartók’s music reached a peak of modernity and dissonance from which he retreated in his later years and which bestowed on him, in the years between the wars, a reputation for aggressive ugliness that neither Schoenberg nor Stravinsky ever matched. With hindsight we can understand that the horrified critics of the time were faced with sounds they had never expected to hear in their lives, but also that this music is far from ugly or formless. It may not display the beautiful lines we love in Mozart and Schubert, but it is full of lyrical feeling, of youthful energy, of highly inventive rhythms and harmonies, and it has a shapeliness that can quite reasonably be seen to be a legacy of the classical masters.

Both of Bartók’s two violin sonatas were composed for the Hungarian violinist Jelly d’Arányi, Joachim’s great-niece, and it was she who gave the first performances of both works in London in, respectively, 1922 and 1923, with the composer at the piano. Both players are required to display extraordinary agility, leaping from one end of the range to the other, and the pianist is given an unending series of wide, dissonant chords. Neither player ever shares the other’s material (this is not Mozart) or even seems to react to it; they often appear to be inhabiting different musical worlds only to come together at crucial moments and to enjoy each other’s rhapsodizing in a thoroughly spontaneous and uninhibited fashion. Bartók’s extensive work collecting Hungarian folksong had a great deal to do with the rhythmic intricacies of this music, as well as its modal inflections and improvisatory feeling. The composers he most admired at that time were Debussy, Stravinsky, and Schoenberg, all of whom left their mark on this music.

Yet it has much more of Bartók’s personal stamp, as if he were testing his own intuition and carving out the style that he perfected in his later works.

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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In none of the three movements does the tempo stay in place for long, but the first and last are generally energetic and lively, the middle movement much more tranquil. What could be more classical than that? The first movement’s sonata form can be felt when the violinist returns to the cantilena of the opening, with long notes held against a wash of piano sound. Agitation alternates with repose and major clashes with minor.

The central movement gives more space to the violin to explore some graceful melodic shapes, while the finale recalls the tireless strumming of folk music with a display of whirlwind energy from both partners.

- Hugh Macdonald

Sonata No. 3 in D minor, Opus 108 JOHANNES BRAHMS

The key of D minor was one that Brahms rarely used in his large-scale instrumental works, and one is left to wonder whether the towering shadow of Beethoven’s Ninth Symphony—in D minor—had anything to do with his caution in settling into that tonality. Clearly the tonality aroused Brahms’ most dramatic instincts, yielding music of great urgency, strength, and emotional intensity.

The D-minor Sonata (1888), Brahms’ last of three works for the violin-piano duo and the most muscular of the set, represents the composer at the height of his powers. With all his symphonies and concertos behind him, and with only a relatively small number of compositions yet to come from his serious and still careful pen, Brahms shows himself to be a master intellect and craftsman, here in complete control of his distinctive materials. Indeed, in the first movement, the composer’s methods become an object lesson in Classic-Romantic procedures.

Rondeau Brilliant in B minor, D. 895 FRANZ SCHUBERT

While the four violin sonatas are essentially intimate works, the B minor Rondo (or Rondeau brillant, as it was dubbed by the publisher Artaria), and the C major Fantasy by Franz Schubert are rare display pieces from this least showy of composers. Both were inspired by the young violin virtuoso Josef Slavík (or Slawjk), who in 1826 left his native Bohemia to make a career in Vienna. A few years later Chopin admiringly dubbed him ‘a second Paganini’. Dating from October 1826, the Rondeau brillant was first performed by Slavík and Karl Maria von Bocklet in a concert organized by Artaria early in 1827.

Cast in two lengthy sections—an Andante introduction and an Allegro in sonata-rondo form— the Rondo in B minor is Schubert at his most extrovert and rhetorically forceful. Its technical demands are of a different order from the works of 1816–17, with the piano sometimes treated as a surrogate orchestra. The introduction begins imposingly with echoes of a French Baroque overture, before softening into a long-spun, Italianate cantilena. The question posed by its final two notes is resolved by the rondo Allegro, music of unflagging rhythmic energy, by turns skittish and strenuous, leavened by moments of stillness and harmonic poetry. The second theme, introduced by the piano against hyperactive violin figuration, could have strutted straight out of a Schubert Marche militaire. After a reminiscence of the introduction’s cantilena and a reprise of the rondo theme comes a central episode in G major whose affable tune is truculently developed through a daring spectrum of keys. The rondo theme makes a final appearance before the march kick-starts the barnstorming Più mosso coda.

- Richard Wigmore

The dominant elements of the movement are very nearly all contained within the first four measures: three ideas in the violin and, the fourth, the piano’s accompanying line in staggered (thus restless) single notes an octave apart. It is these highly concentrated motifs, so mysterious in their first appearances, which are put through a huge variety of compositional and emotional transformations. The Adagio second movement, a place of tenderness (and only momentary passion) gives appropriate respite from the strenuous activity of the preceding movement.

The Scherzo movement appears with no little wit and élan from inside its minor-keyed façade (F-sharp minor), like a provocative child making all manner of expressions out of its exceedingly simple thematic physiognomy. The finale is kaleidoscopic in its changing moods, which range from impetuosity to Hungarian pensiveness to chorale-like calm. Through it all, we have Brahms at his most impressive, at his most compelling.

- excerpted from a note by Orrin Howard

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LISA TERRY AND JOANNE KONG

Bach Festival Society of Winter Park Presents

LISA TERRY, VIOLA DA GAMBA JOANNE KONG, HARPSICHORD Saturday, February 25, 2023 | 3:00 pm Knowles Memorial Chapel

PROGRAM Sonata in D major for viola da gamba and harpsichord, BWV 102 I. II. III. IV.

Adagio Allegro moderato Andante Allegro

Selections from 27 Pieces for the Viola da Gamba, Drexel 5871 Sonata in G major for Obligato Harpsichord and Viola da Gamba, CSWV:F:31 I. II. III.

Johann Sebastian Bach (1685-1750)

Karl Friedrich Abel (1723-1787) Christoph Schaffrath (1709-1763)

Allegro Largo Allegro

Selections from 27 Pieces for the Viola da Gamba, Drexel 5871 Introduction and Variations on “Was soll ich in der Fremde thun” for viola da gamba and piano

Karl Friedrich Abel (1723-1787) Franz Xaver Chwatal (1808 – 1879)

LISA TERRY, viola da gamba Lisa Terry is an avid chamber music performer and soloist on viola da gamba and violoncello. She has spent her career as a long-term member of many of the best-known chamber ensembles in the early music scene of the Northeast. From her home base in New York City, where she is a member of the viol quartet, Parthenia, Lisa works regularly with the Lyra Consort (NYC) and Pegasus Early Music (Rochester). She is a long-time member of Princeton’s Dryden Ensemble, and is principal cellist and viol soloist with Tempesta di Mare, Philadelphia’s baroque orchestra. Lisa was a founding member of ARTEK, and has performed with the New York Photo courtesy of artist Philharmonic, New York City Opera, Juilliard Opera Orchestra, Opera Lafayette, Orchestra of St. Luke’s and Concert Royal. She is often heard playing for English Country Dance in New York City and at Pinewoods Camp in Massachusetts.

Lisa earned her degree in cello performance from Memphis State University and continued her studies in New York with Richard Taruskin, viol, and Harry Wimmer, cello. She has appeared to great acclaim as soloist in the Passions of J.S. Bach, notably under the batons of Robert Shaw, Richard Westenburg, Kent Tritle and Lyndon Woodside in Carnegie Hall, in the Jonathan Miller staged performances at the Brooklyn Academy of Music conducted by Paul Goodwin, and at the Winter Park Bach Festival, conducted by John Sinclair. With Sinclair, she has also performed the viola da gamba solo in Richard Einhorn’s “Voices of Light.”

With Parthenia, she records for MSR Classics. With Tempesta di Mare, she records for Chandos.

Lisa serves the Viola da Gamba Society of America as Past-President.

JOANNE KONG, harpsichord A recognized Bach specialist, Joanne Kong has performed as solo and chamber harpsichordist in the Los Angeles Bach Festival, Oregon Bach Festival, Abbey Bach Festival, Bach Aria Festival and Institute, Long Beach Bach Festival, Houston Harpsichord Society Recital Series, Texas Bach Collegium, and is regular guest harpsichordist with the Bach Festival Society of Winter Park. She has collaborated with some of the world’s finest musicians including the Shanghai String Quartet, flutist Eugenia Zukerman, cellists James Wilson and Christoph Wagner, violinists Karen Johnson and Daisuke Yamamoto, viola da gambist Lisa Terry, baritone Photo courtesy of artist Zheng Zhou, 4-time Grammy Award–winning ensemble Eighth Blackbird, and members of the Bach Aria Group.

Equally at home on the harpsichord and piano, she gave the World Premiere of Pulitzer Prize-winning composer Michael Colgrass’s Side by Side (2007), the first concerto to be written that features a soloist in a dual role as both pianist and harpsichordist. The work was premiered by Toronto’s Esprit Orchestra, the Boston Modern Orchestra Project, and the Richmond Symphony.

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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Dr. Kong has been a guest teacher at Yale University, New England Conservatory, Brigham Young University, New York University, Global Summer Institute of Music, the Colburn School, and many others. Currently she is the Director of Accompaniment and Coordinator of Chamber Ensembles at the University of Richmond.

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TEXT

Bach Festival Society of Winter Park Presents

ST. MATTHEW PASSION, BWV 244 J ohann S ebastian B ach Bach Festival Choir and Orchestra John V. Sinclair, Artistic Director and Conductor Sunday, February 26, 2023 | 3:00 pm Knowles Memorial Chapel JOHN GRAU, Evangelist STEPHEN MUMBERT, Jesus

LISA TERRY, Viola da gamba JOANNE KONG, Harpsichord BRENDA HIGGINS, Continuo MICHAEL GING, Organ

Johann Sebastian Bach (1685-1750)

INTERMISSION Part II

Keeping with Bach Festival Society tradition, we ask the audience to refrain from applause between movements and at the conclusion of the performance. If you wish to show your appreciation to the performers, we encourage you to stand in silence at the end of Part II.

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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PART I PROLOGUE Chorus Come, ye daughters, share my wailing, see ye! The Bridegroom see! See Him! A lamb is He. See it! His patience mild. Look, Ah where? Upon our guilt. Look on Him for love untold He Himself the cross is bearing.

Come, ye daughters, share my wailing, See ye! The Bridegroom see!

See Him! A lamb is He.

THE ANNOUNCEMENT OF THE PASSION Evangelist When Jesus then had finished all these sayings, He said to his disciples:

PROGRAM Part I

JOHANN SEBASTIAN BACH

Chorale O Lamb of God, most holy, the bitter cross Thou hast taken. At all times meek and lowly, Though by Thy children forsaken. The sins of man Thou’rt bearing. Else were we left despairing.

Have mercy upon us, O Jesu.

MARY WILSON, Soprano MEG BRAGLE, Mezzo-soprano ROBERT BRACEY, Tenor MICHAEL DEAN, Bass

St. Matthew Passion, BWV 244 (131’)

ST. MATTHEW PASSION, BWV 244

Jesus Ye know that after two days is the Passover, and the Son of Man shall then be delivered up that He be crucified.

Chorale Ah, dearest Jesu, How has Thou offended, That such a bitter judgement has been handed? Where is Thy guilt, in what the great transgression for Thy confession?

THE RULERS CONSPIRE AGAINST CHRIST Evangelist Then assembled all the chief priests and the scribes together, with the elders of the people, in the court of the chief priest, whose name was Caiaphas; and counselled there by what craft to lay hold on Jesus and kill Him. But thus they said:

Chorus Not upon the feast, lest from it an uproar riseth. Not upon the feast, lest riseth an uproar among the people.

JESUS IS ANOINTED BY THE WOMAN Evangelist Now when Jesus was in Bethany, in the house of Simon the Leper, there came unto him a woman; and bearing a box of precious ointment, she poured it on his head as he sat at meat. But when his disciples saw it, they had indignation and said: Chorus To what purpose is this wasted? For this ointment might have better far been sold and the poor and the needy nourished.

Evangelist When Jesus had understood, He said unto them: Jesus Why trouble ye the woman? It is a good work that she hath done. For ye have always the poor with you, but Me ye shall not always have. For in that she hath poured this ointment on My body, this she hath done, she hath done it for My burial. Verily I say to you, wheresoever hereafter the gospel shall be preached throughout all the world, there also shall this that this woman hath done, in her remembrance.

Recitative - Alto O dearest Savior, thou! While thy disciples foolish quarrel that this good woman sought Thy body to anoint for burial to prepare Thee; So, let me, too, attend Thee now. See in my eyes full tearful flowing an anointment on Thy head bestowing.

Aria - Alto Grief and pain, grief and pain, rend my sinful heart in twain. Softly dropping, may my weeping bear an incense, sweet and rare, Dearest Jesu, for Thy keeping.

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TEXT THE TREASON OF JUDAS Evangelist Then one of the twelve disciples, he knew as Judas Iscariot, went unto the chief priests, and said: Judas Now what will ye give me if I to you betray him?

Evangelist And they promised him thirty silver pieces.

And from that time sought he opportunity, that he might betray him.

Aria - Soprano Bleed and break, thou loving heart!

Ah, a child whom Thou didst cherish, on Thy breast so fondly nourish’d Hastes with evil to betray Thee, Ah, comes like a snake to slay Thee.

TEXT Chorus Lord, is it I? Chorale ‘Tis I, my sin repenting, my hands and feet consenting, should take the bonds of Hell. The scourge and thongs which bound Thee, and all the wrongs around Thee, are merit of my sinful soul.

THE LAST SUPPER Evangelist He answered to them and said: Jesus Who dippeth his hand with Me in the dish, shall the same betray Me. The Son of Man goeth on his way as of Him it has been written: but woe unto that man by whom the Son of Man shall be betrayed! For him it were better if he had not been born.

THE PREPERATION OF THE PASSION Evangelist Now on the first day of the feast of unleavened bread came the disciples to Jesus, and said unto him:

Evangelist Then came unto Him Judas, he which betrayed Him, and said:

Chorus Where? Where? Where wilt thou, Master, that the feast of the Passover be prepared Thee?

Evangelist He said to him:

Evangelist He said:

Judas Lord, is it I?

Jesus Thou sayest.

Evangelist Jesus And as they were eating, he took of the Go into the city to such a man and say bread; blessing it, He brake it, and gave the to him: The Master saith: My time is at hand; disciples, and said: I will keep the Passover here with My disciples.

Jesus Evangelist Take ye, eat ye, this is My Body.

The disciples hearken’d and did as Jesus had appointed and made ready there the Passover. Evangelist And he took the cup, and blessing it, He gave And when even came He sat at the table with it to them and said: the twelve. And as they did eat, He saieth: Jesus Jesus Drink ye all of it: this is My blood of the Verily I say unto you, it is one of you who New Testament. Know ye, this blood is shed shall betray Me. for many for remission of sins. I say to you, that Evangelist from this day henceforth no more will I drink Then were they exceeding sorrowful, and the fruit of the vine, until that day when I drink began everyone of them to question and say it anew with you within My Father’s kingdom. unto Him: 56

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Recitative - Soprano Although my heart with tears o’rflow that Jesus from us now must go, yuet doth His testament my soul rejoice. His flesh and blood, O sacrifice! A treasure giv’n into my hands.

As He to us on earth was loving ever, or harm or pain dids’t never, so loves He still His own, unending.

Evangelist Peter said to him:

Aria - Soprano Lord, to Thee my heart is given: sink therein, dwell Thou in me, so will I in Thee find haven, though to Thee this world be small Thou shalt be my all in all, more then earth and heaven be. heart to thee; Sink thyself in it, my Salvation. I will submerge myself in thee.

Chorale I’ll stand here close beside Thee, do not Thou me forsake. Nor will I ever leave Thee, ev’n when Thy heart shall break. And when Thy lingering paleness by thorns of death is pressed into my arms, I’ll take Thee and hold Thee to my breast.

AT THE MOUNT OF OLIVES Evangelist And when they had sung a hymn of praise together, they went out into the Mount of Olives. Then Jesus said to them:

THE AGONY IN THE GARDEN Evangelist Then came Jesus with them unto a garden called Gethsemane, and said to his disciples:

Jesus This very night all ye shall be offended because of Me; for it is written: Yea, lo, I will smite the Shepherd, and the sheep of the flock shall be scattered abroad. But after I am arisen, then I will go before you to Galilee.

Chorale Remember me, my Savior, my Shepherd, lead me home. Thou fount of every goodness from which my good has come. Thy mouth has oft refreshed me with milk and honey’s food. I rest me in Thy spirit. And joy in Heaven’s good.

Peter Lord, e’en though I should die with Thee, yet will I never deny Thee Evangelist And likewise also said all the others.

Jesus Sit ye here, while I go yonder and pray.

Evangelist He took with Him Peter and both the sons of Zebediah and began to be sorrowful and heavy. Then said Jesus to them: Jesus Ah, my soul is full of sorrow, e’en unto death.

Tarry here and watch with me.

Evangelist Jesus said to him:

Recitative – Tenor and Chorus Ah, woe! What trembling fills His tortured breast! How sinks His heart! How pale His face oppress’d! Ah, what has brought on Thee this tribulation? Before the judge He must appear, there is no help, no comfort near. ‘Tis my own sinning, naught of Thy transgression! Such agonies doth Hell awaken: He must for others’ guilt be take.

‘Tis I, Lord, Jesus, all the anguish own which You atone here. Ah, if my love Thy stay could be, My Savior, could calm the fear or share it, could make it less, or help to bear it, how gladly would I watch with Thee!

Jesus Verily I say to you, this very night, ere yet the cock croweth, ev’n thou wilt thrice deny Me.

Aria – Tenor and Chorus I would be with my Jesu watching, so slumber, all my sins, and stay! Ev’n my

PETER’S DENIAL FORETOLD BY CHRIST Evangelist Peter then gave Him answer, and said to Him: Peter Though all men shall be offended because of Thee, yet will I, Lord, be never offended.

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TEXT death ransom finds in His last breath, His sorrow maketh sure my gladness. The griefs that He for us endureth. How bitter, yet how sweet are they. I would be with my Jesu watching so slumber, all my sins, and stay!

CHRIST’S PRAYER IN THE GARDEN Evangelist And he went a little farther, and falling upon His face, He prayed, and said: Jesus My Father, if possible, wilt Thou let pass this cup from me: yet not as I will but as Thou wilt.

Recitative – Bass The Savior low before Hi Father bended; whereby sustained am I and all, yea, before our Falling. And up to God’s great love ascended. He is prepared the cup of death’s dark bitterness to savor. Wherein the sins of all the world their odours pour in better flavor.

If thus it be so, God hath willed.

Aria – Bass Gladly will I take my portion: cross and cup in sure devotion drink I with my Savkor here.

For His mouth, as with milk and honey flowing, first hath blest it, redeeming shame and fear, sweetness as His hips restoring.

Evangelist And he came to His disciples, and found them sleeping, and said to Peter: Jesus What, could ye not even watch with Me one hour? Watch ye and pray, that ye enter not into temptation. The spirit indeed is willing, but the flesh is weak.

Evangelist Again he went away, prayed, and said: Jesus My Father, if it must be, that this cup mat not pass from Me, except I drink it, then let Thy will be done.

Chorale What God hath willed will always be, His will is best, most surely. An ever present help 58

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TEXT is He. If faith be fixed securely, our help in need, all good, all wise, rebukes with kindness ever, who trusts in God, on Him relies, will be forsaken never.

THE BETRAYAL AND ARREST Evangelist And again he came and found them sleeping, for their eyes were heavy with sleep.

And he left them and again went a third time saying again the same words. Then came He to His disciples, and said unto them: Jesus Ah! Are ye still resting and sleeping? Lo, the hour is a hand, and the Son of Man to the hands of sinners now shall be betrayed. Then arise! Let us be going. Look ye, he is come who doth betray me.

Evangelist And as He yet spake came Judas, who was one of the twelve disciples, and with him came a great array, with swords and with staves, who were sent by the priests and the elders of the people. Now this same Judas, who betrayed Him, had given to them a sign, and said: Whomsoever I shall kiss is He; Him take ye. And straightway he came to Jesus and said:

Him. Have lightning and thunder from Heaven all vanished? Then open the fiery abysses, O Hell! Defile them, destroy them, strike swiftly to brand the false-hearted traitor, the murderous band!

THE DISCIPLES FORSAKE CHRIST Evangelist Behold then! One of His disciples which were there with Jesus, drawing his sword forth, he struck the high priest’s servant, and smote off his ear. Then said Jesus to him: Jesus Put up thy sword into its place, for all who take the sword will perish by the sword. For what thinkest thou, that I cannot now beseech My Father, and He will straightway give Me more than twelve legions of angels? But how, thereby, were the Word fulfilled, that thus it must be?

Evangelist In that same hour said Jesus to the people:

Judas All hail to Thee, O Master!

Jesus Are ye come out here as though against a robber, with swords and with staves that ye mat take Me? Day after day I have sat beside you, and daily have taught in the temple, and ye laid no hold upon Me. But I tell you, all has been done that there be fulfilled the scriptures of the prophets.

Evangelist And kissed Him. Jesus said unto him:

Evangelist Then all the disciples forsook Him, and fled.

Jesus My friend, wherefore art thou come?

THE CHRISTIAN SOUL BEWAILS THE FRAILTY OF MANKIND Chorale O man, bewail thy grievous sin wherefore the sole begotten Son hath left His Father’s dwelling. Born of a virgin sweet and mild, to earth came down this Holy Child, God’s perfect love revealing the dead He raised to life again, He healed the sick, and eased our pain, until His time drew near Him that He for us be sacrificed then were our sins put on by Christ, and on the cross He wore them.

Evangelist And thereupon they came, and laid their hands on Jesus, and took Him. CHRIST IS BOUND AND LED INTO THE CITY Duet – Soprano and Alto with Chorus Alas, my Jesus now is taken. Loose Him! Halt ye! Bind him not! Moon and stars have for grief the night forsaken, since my Jesus has been taken. Loose Him! Halt ye! Bind Him not! They pull Him on; ah, they have bound

INTERMISSION PART II THE DAUGHTER OF ZION SEEKS THE SAVIOR Aria – Alto and Chorus Ah, now is my Jesus gone! Ah, now is my Jesus gone! Whither has thy dear one departed, o thou, fairest one among women?

Must it be so, can I bear it? Whither has thy Friend turned away? Ah, my Lamb in tiger’s talons! Ah, where is my Jesus gone?

For we would go with thee to seek Him. Ah, my soul, what can I say to thee, when Thou wilt so anxious pray me? Ah, where is my Jesus gone?

IN THE COURT OF CAIAPHAS Evangelist And they that had so laid hold on Jesus, led Him away unto the high priest, Caiaphas; and with him were the scribes and the elders assembled all together. Peter also followed Him afar off, unto the court of the high priest’s palace; and went therein, and sat with the guards and servants, that he might see how all would be ended. Then did the priests conspire with the elders, and all of the council how that they might false witness bring on Jesus, that He might be put to death. But found they none.

Chorale So has the world its threch’ry wrought: with lies and false accusal sought to tangle and ensnare. Be Thou my guard in danger, Lord!

And sure escape prepare me.

Evangelist Yea, though many a false and lying witness came, they could find them none. At last two there came who falsely witnessed, in this wise: Witnesses This fellow said: Full pow’r is given Me to destroy God’s temple, and in three days can I again rebuild it.

Evangelist The high priest then did arise, and say to Him: BachFestivalFlorida.org

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TEXT High Priest Dost answer Thou nought to that which these have witnesses against Thee?

Evangelist Yet was Jesus still silent.

Recitative - Tenor He answers not to false accusal, never. So is my heart reliant that His great mercy standeth ever. He will endure whate’er be wrought. So, like Him, in our agony He should the pattern be: in persecution, still be silent Aria – Tenor Be still, be still though traitors’ tongues shall sting me. Bear I whatso’er they will.

Scoff and scorn! Bear I scoff and scorn! Ah, may God their evil turn, my heart’s honor bright avenging.

Evangelist And then the high priest gave Him an answer thus, and said: High Priest I adjure thee, here before the living God, that Thou do tell us if Thou be the Christ, the Son of God. Evangelist Jesus saith to him: Jesus Thou says; yet I say to you, hereafter when ye see Him, ye shall see in that time the Son of Man sitting on the right hand of powr and coming in the clouds of heaven.

Evangelist Thereupon the High Priest tore his robes asunder, and said: High Priest He hath spoken blasphemy! What need we further witness? Truly, ye all have heard the blasphemy that He has spoken. What think ye now?

Evangelist They answered to him and said: Chorus Of death this man is guilty!

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TEXT Evangelist They mocked Him then and spat on Him and struck Him with their fists. Others among them smote and slapped Him in His face, and shouted: Chorus Thou prophet! Now tell us, Thou Christ, by whom Thou art struck!

Chorale Who was it so did strike Thee, My Lord and who requite Thee this fierce and cruel blow? For Thou wert no offender as we to sin surrender. No evil didst Thou ever know.

Evangelist Peter sat outside in the palace court, and a damsel came unto him and said: First Maid Thou also hast been with Jesus of Galilea.

Evangelist But Peter denied it before them all, and said: Peter I know not what thou sayest.

Evangelist And again at the palace doorway he was seen by another maid, who said to them that stood there with him: Second Maid This man also was with Jesus of Nazareth.

Evangelist He denied it a second time; and swore on an oath: Peter I do not know this Man! Evangelist And in a little while came others who had been standing behind him, and said then to Peter: Chorus Surely, thou also art a disciple, for all thy speech doth betray thee.

Evangelist But still did he deny with cursing and with swearing:

Peter I do not know the Man! Evangelist Immediate crew the cock. Then Peter brought to mind the words of Jesus which said unto him: Ere yet the cock croweth, wilt thou have thrice denied Me. And he went out, and wept bitterly.

Aria - Alto Thy mercy, Lord my God, see Thou my tears are flowing. Look on me: heart and eyes so cry to Thee bitterly.

Chorale Have I also from Thee parted? Still I will return again. Life anew is in my started by Thy Son’s despair and pain I may not my guilt efface, but Thy mercy and Thy grace are far greater than my failing, and the sin within me dwelling.

Evangelist And when morning came, all the chief priests gathered with the elders of the people to plat against Jesus that they might kill Him. And when they had bound Him, they led Him away and delivered Him to the court of the governor, Pontius Pilate. When therefore, Judas, the same who had betrayed Him, saw Jesus condemned to death, he repented of himself, and brought once again the thirty silver pieces to the high priests and the elders and said: Judas I have great evil done, for I have righteous blood this day betrayed.

Evangelist They said: Chorus And what is that to us? Go, see thou to that!

Evangelist Then he cast the silver pieces in the temple, and turned away, and went out: and he hanged himself. And when the priests had gathered all of the silver pieces, they said:

High Priests We may not, by the law, in the temple treas’ry place them; for it is blood money and the price of blood!

Bass Give me back my Jesus, pray thee! See the price of murder done cast by the tormented son at their feed who paid it.

Evangelist And they took counsel among themselves, and brought therewith a potter’s field where within they might bury a stranger; wherefore this field has been called by the name of Blood’s-field; yea to this very day. Then was fulfilled what had been foretold by the prophet Jeremiah, when he said: They took thereupon the thirty silver pieces which were a price on Him that was valued, set by certain of the sons of Israel; and taking them, they gave them for a potter’s field; as did the Lord, my God appoint me. Jesus, therefore, stood before the governor, and the governor asked Him, and said: Pilate Art thou the King of the Jews?

Evangelist Jesus answered unto him: Jesus Thou sayest.

Evangelist But when He was accused, when the priests and the elders accused Him, He answered nothing. The Pilate said unto Him: Pilate Hearest thou not what things they charge against Thee?

Evangelist And he answered him to never a word, not one insomuch that the governor marvelled greatly.

Chorale Entrust thy ways unto Him and all thy heart’s distress. His wisdom and His bidding BachFestivalFlorida.org

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TEXT do highest Heav’n confess. By Him the clouds are order’d, the winds arise and blow. He best can choose the pathway whereon thy feet should go.

Evangelist Again they shouted:

Evangelist Now upon that feast the governor was accustomed to release thereon one prisoner unto them, whomever they wanted. Now at that time, and among the other prisoners, was a most notorious man, whose name was Barabbas. And when they were gathered together, Pilate said unto them:

Chorale What wonders rare this punishment doth offer! The Shepherd for His sheep content to suffer the Lord of Righteousness pays full deliverance for guilty servants.

Pilate Whom will ye that I release unto you, Barabbas or this Jesus, of whom ‘tis said: He is Christ?

Pilate But what evil deed has He done?

Evangelist For he knew full well that it was for envy that He had been delivered. And while he sat on the judgement seat, then did his wife send a message, saying: Pilate’s Wife Have thou nothing to do with that righteous man; for I have suffered much this day in a dream because of him.

Evangelist Still did the high priests argue, and the elders, falsely to inflame the people, that thereby Barabbas be released, and that Jesus be crucified, and the governor again returned to the people, and asked them: Pilate Now, which of the two will ye that I release to you?

Evangelist And they shouted: Chorus Barabbas!

Evangelist Then Pilate said unto them: Pilate And what shall I do, then, with Jesus, of whom one sayeth He is Christ?

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Chorus Let him be crucified!

Evangelist The governor answered:

Recitative - Soprano He is for all men good alone: the blinded have been giv’n to seek the lame to walk aright; He speaks to us His Father’s Word, He drives the devils forth; the sorrowing of their grief are free; He takes all sinners to His own; than this, my Jesus naught hath done.

Aria - Soprano For love, now is my Savior dying, of mortal sin He knoweth naught. May the everlasting torment on that Day of Judgment wrought not on my poor soul belying.

Evangelist But crying out all the more, they shouted: Chorus Let him be crucified!

THE SCOURAGING Evangelist And Pilate then set Barabbas free, but Jesus he had scourged; and then he delivered Him, that they might crucify Him. Recitative - Alto Thy mercy, God! How stands the Saviour all unheeding! O torturers! O scourge!

O bleeding!

Ye murd’rers, let Him be! Does sight of all His anguish start no pity here within your breast? Ah, yes, ye have a heart: it must be the murderstone out last! Wast none so hard as he! Have mercy, let Him be!

Aria - Alto Is my weeping, my bewailing naught availing? Oh, then take take my heart to thee. Could it ear the precious flooding of His wounds so mildly bleeding it would Heaven’s Chalice be.

THE CROWNING WITH THORNS Evangelist The guards of the governor came and they took Jesus to the common hall and gathered around Him all the soldier band. And then they did strip Him, and brought a scarlet robe and put it on Him, and platted Him a crown of thorns, and put it upon His head, and a reed in His right hand; and bowed the knee before Him low and mocked at him, and said:

Evangelist When Pilate, therefore, had seen he prevailed nothing, but that rather arose a tumilt, he took water, and washed his hands before them all, and said:

Chorus We hail Thee, King of the Jews.

Pilate I am innocent of the blood of this just Man; see ye to it!

Chorale O head, so sorely wounded, defiled, and put to scorn, O Sacred Head, surrounded by mocking crown of thorn. O Head adorned and honored, so lovely fair to see, but now so low degraded, I greet and treasure Thee. Thou face of Kingly grandeur, what fear will gird Thy throne when Thou shalt judge in splendour, though now so spat upon. Ow art Thou pale and withered Thine eyes that once were bright

Evangelist Then together all the people answered, and said: Chorus His blood be on us and on our children!

Evangelist And they spat upon his face, and took the reed, and smote Him upon His head.

with glory of no other, Ah, who was dimmed their light?

THE CRUCIFIXION Evangelist And after they had mocked Him thus, they took off from Him the scarlett robe, and clothed Him again in His own raiment, and led him away, that He be crucified. And as they were going out, they came upon a man of Cyrene, whose name was Simon, and compelled this man to carry Jesus’ cross.

Recitative - Bass Yea truly for us all, must flesh and blood be forced the cross to bear. What works our spirit greatest good the least can enter there.

Aria - Bass Come, blessed cross, I’ll not forswear it.

My Jesus, give it here to me. And if the burden be too great then help Thou me to help Thee bear it.

Recitative - Evangelist And when in this wise they were come to a place called Golgotha-that is to say, the Place of Skulls-then they gave Him vinegar to drink that was mingled with gall; but when He tasted it, yet He then would not drink it. And when therefore, they had crucified Jesus, they divided His garments, by casting lots for them; that it might be fulfilled what had been fulfilled by the prophet: They parted all My garments equally among them, and for my vesture, yea, they cast lots. Then they sat all around and watched Him there. And over above His head they set thereon the inscription of His death accusation, namely, This is Jesus, the King of the Jews. There were also two thieves who with him were crucified, one on the right hand, and one on the left. And all who passed that way reviled at Him; deriding, they wagged their heads and said: Chorus Thou who destroy’st the Temple of God, and buildest it again in three days, Save Thyself.

Be Thou the Son of God, come down to us, come down from off the cross.

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TEXT Recitative - Evangelist And likewise also did the chief priests mock at Him, with the scribes and the elders and said: Chorus Saviour was He of others, but for Himself not a Saviour! If He be the King of Israel, then let him now come from the cross, and we will then believe Him. He in God has trusted; let His God then deliver Him now, if He will, for, He hath said: I am the Son of God. Evangelist And also scoffed at Him the two thieves, which were crucified with him.

Recitative - Alto Ah, Golgotha, unholy Golgotha! The Lord of Glory see in shameful desecration: the Blest Redeemer of the race hangs as a curse upon the cross. The Lord who heav’n and earth had made, Him earth and air hath been denied, the sinless suffers condemnation, so doth it weigh upon my soul.

Aria – Alto and Chorus Haste ye! Jesus waiting stands. Open arms and outstretched hands. Come! (Ah, where?)

Let Jesus hold thee. Seek salvation, find His mercy. Live here, die here, softly rest. Little birds must have a nest! Stay then (Where?)

Let Jesus hold thee.

THE DEATH OF CHRIST Evangelist Now from the sixth hour, there was darkness over all the land until the ninth hour. And about the ninth hour Jesus cried aloud, and said: Jesus Eli, Eli, lama asabthani?

Evangelist That is: “My God, My God, why has Thou forsaken me? Some of them who stood and watched Him, , when they had heard Him, turned and said: Chorus He calleth for Elijah!

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TEXT Evangelist And straightway one of them did run and took a sponge; and filling the sponge with vinegar, he put it on a reed, and gave Him to drink. The others spoke among them: Chorus Wait, and see now if Elijah cometh and will save Him. Evangelist And again did Jesus cry aloud, and was gone.

Chorale When comes my hour of parting, then part Thou not from me. When shades of death are dark’ning, Thy steps my guide shall be.

When anxious fears shall rend me, and close my heart enchain, oh, then do Thou befriend me through Thine own grief and pain.

AFTER THE CRUCIFIXION Evangelist And then, behold! The veil of the temple was rended in twain, all from the top unto the ground. And there came a great earthquake and the rocks burst asunder, and the graves were opened again, and there rose many saints and the holy ones that were sleeping; and came from out the graves after Jesus’ resurrection, and went into the Holy City, and appeared to many. Now when the captain and the others with him who were watching Jesus, when they saw the earthquake and those things that were done, they trembled greatly, and said: Chorus Truly, this was the Son of God! Evangelist And many women were gathered there, from afar off beholding, who had followed after Jesus from Galilea, to minister unto Him. And among them was Mary Magdalene, and also Mary, the mother of James and of Joseph, and the mother of the sons of Zebediah. At eventide there came a wealthy man from Arimathea, by the name of Joseph, who was also one of Jesus’ disciples. He went

unto Pilate and begged of him for the Body of Jesus, wherefore Pilate commanded that it be given to him.

AT THE DESCENT FROM THE CROSS Recitative - Bass At even, hour of cooling rest, was Adam’s fall made manifest. At even, too, they took the Saviour down. At even did the dove return a bit of olive leaf she bore. O fairest time, O evening hour! Our peace with God is evermore assured for Jesus hath His cross endured. His body comes to rest. Ah, thou beloved, dost thou ask? Go, and beseech thee Jesus’ Body broken. O holy thought, O precious heav’nly token!

Aria - Bass Come, my heart, and make thee clean, that my Jesus I may bury. Enter Thou, whom I adore, evermore here in sweetest rest to tarry.

World away! Let Jesus in.

THE BURIAL Recitative - Evangelist Then Joseph took the Body, and wrapped it in a cloth of purest linen, and laid it in his own new tomb, which he had hewn from out of the solid rock. And when he had rolled up a heavy stone to the door of the tomb and went away. There were also in that place Mary Magdalene, and the other Mary, sitting over against Jesus’ grave. Now on the morrow, which followed the day of preparation, straightway there came the priests and the Pharisees together unto Pilate and said: Chorus Sir, we bear it in mind that this base deceiver said when He was yet alive: Upon the third day will I once again be risen.

Therefore command the tomb be made secure,

yea until the third days, lest His disciple come by night there and steal Him, and say to all the people: From the grave this day He is arisen! So would then the last be a worse error than the first one.

Evangelist And Pilate said to them: Pilate Ye have a watch; go your way and secure it as you may.

Evangelist So they went out, and they guarded the grave with watchmen, and they sealed up the stone.

Recitative – Soprano, Alto, Tenor, and Bass with Chorus Now has the Lord been laid to rest.

My Jesus, My Jesus, sweet goodnight.

Thy pain is o’er, which all our sin on Thee hath pressed. My Jesus, My Jesus, sweet goodnight. O Thou, most Holy Body! See, how I come in penitence to mourn Thee.

Thus did my fall Thy agony betide. My Jesus, My Jesus, sweet goodnight. While life shall left I will this wonder ever thank: that thus my soul was worthy in Thy sight! My Jesus, My Jesus, sweet goodnight.

Chorus Here bide we still with tears and weeping, and call to Thee in death now blest. Rest Thou softly, softly rest. Rest, Thou weary body sleeping. See in grave and stone a grace for the anxious, the despairing: Heaven’s pillow, comfort bearing, and the soul’s sweet resting place. Come, my joy!

Slumber doth mine eyes embrace.

Keeping with Bach Festival Society tradition, we ask the audience to refrain from applause between movements and at the conclusion of the performance. If you wish to show your appreciation to the performers, we encourage you to stand in silence at the end of Part II. BachFestivalFlorida.org

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PROGRAM NOTES ST. MATTHEW PASSION, BWV 244 JOHANN SEBASTIAN BACH

The rebirth of drama was the supreme expression of the rebirth of ancient culture— the Renaissance—and it embraces all aspects of art. When Shakespeare wrote his plays, Monteverdi created works representing a new form of music, opera. But like Bach, having been immersed in the novel challenges of secular music, Monteverdi became the foremost church musician of his time, and the hallmarks of opera-recitative, aria, dramatic chorus, and orchestral accompaniment became absorbed into the music of worship.

It has been often observed that among all major musical forms of his time, opera is conspicuously absent from Bach’s work. But the fact must be regarded with some reservation.

There could, in fact, be no more perfect miniature opera than the Coffee Cantata, and that Bach was not averse to the operatic music of his contemporaries is known through a report that Bach’s eldest son, Wilhelm Friedemann, gave to the Bach biographer, Johann Nicolaus Forkel: At the time that Hasse was Kapellmeister at Dresden, the orchestra and the opera there were very brilliant and excellent. Each had had there already in his earlier years many acquaintances. He was therefore always received in an exceedingly honorable manner at Dresden and often went thither to hear the opera. He used to say in joke, some days before his departure: Friedemann, shan’t we go again to hear the lovely Dresden ditties?

That Bach wrote no operas must be understood in the context of traditions and circumstances of his artistic career, which was dissociated from the operatic centers of his time.

But his fundamental commitment to the dramatic means of music is nowhere more strongly expressed than in his greatest church music.

The presentation of the Passion story, traditionally chanted in the liturgy of Holy Week, had become interspersed with the certain dramatic elements ever since medieval days. Priest, deacon, and subdeacon had assumed the principal roles in gospel narration, the vox Christi being assigned to a bass and the voice of the evangelista to a tenor. The third voice, usually in alto register, represented the other personages, and in time the number of voices was increased and combined to suggest both the crowd scenes and the comments of a Choir of Believers.

When Bach undertook the composition of The Passion According to Saint John in his first year of office in Leipzig, he merged these traditions with modern operatic practice on a scale never attempted before. Yet the St. Matthew Passion, composed several years later, shows such an infinitely enlarged dimension, such perfection of style and depth of compassion, that the work stands apart from all other human creations.

It is apparent—though the language of opera is transfigured—that the conventions of music drama guided Bach throughout the composition of the St. Matthew Passion.

There was a tradition in the Venetian opera by which at the crisis of the tragedy, when the protagonist’s fate had begun to separate him from the living, his role was singled out through the orchestral accompaniment of his vocal part. Instead of a merely supporting orchestral bass, enriched at times by the obbligato of isolated instruments, the sound of the all-string orchestra now surrounded his voice. In early English opera we know this practice from the moving final lament in Purcell’s Dido and Aeneas. Italian opera had even created a name for the changed role: it had passed from persona to ombra, entered into the domain of shades.

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PROGRAM NOTES This practice was applied by Bach to the part of Jesus, except that the dramatic means were expanded, for the detachment of His role is marked through a halo of string sound from the very beginning.

With the stringed instruments assigned to this singular task, Bach chose woodwind accompaniment for the majority of recitatives and arias, thus generally enriching the individual vocal solos. But the musical characterization of roles is carried into every chorus of the hostile crowd that gave Bach the first suggestion for the grand scale of work, calling for two choruses and two orchestras. Thus Chorus I—the chorus of disciples—sings alone in the beginning of the narration. Yet how finely differentiated are even these brief choral scenes. The true, serene nature of the followers of Christ appears only in the second, in which they ask the Master where to prepare the Passover feast. In the first they appear shortsighted and distraught; in the last, the brief fugal setting of “Lord, is it I?” there are dissolved in disbelief and shock—and Bach wrote exactly eleven entrances of the theme; the twelfth disciple, Judas, is silent.

The antiphonal design lends spaciousness to the work everywhere. Solo voices emerge from the first and from the second chorus, and at times—as in the first two arias—the two orchestras alternate in their accompanying tasks. The perspective created by the two main bodies of sound is intensified in such settings as the opening choruses of Part II. There, a solo voice from the first chorus—the daughter of Zion, left desolate in the Garden of Gethsemane after the capture of the savior—is contrasted against the full second chorus answering and comforting her in the words of the Song of Songs. The opening chorus of Part I was originally planned in the same manner, as is still suggested by the first line of text, “Come, ye daughters, help me lament.” But in the musical execution of this prologue, Bach envisioned a scene of incomparably mightier proportions, and it resulted in the largest score he ever created. A third choir of soprano voices was added to the two choirs and orchestras, turning the entire chorus into a chorale fantasy upon the German Agnus Dei. Yet the power of Bach’s language is evident in its economy, as much as in its magnitude. The single outcry “Barrabas!”—one chord—marks the height of the tragedy, and the strongest dramatic contrasts are achieved by short lyric moments of utmost tenderness.

Bach himself doubtless regarded this work as a consummate expression of his art. The span of time between the composition of the St. John Passion and the St. Matthew Passion represents the most productive period in his entire life work. Its feverish creative pace must have been influenced again and again by Bach’s wish to raise his public to the level of his own artistic standards. This effort failed. It was the dramatic presentation of the Passion text to which the Leipzig congregation was least receptive.

From a book on the Divine Service in Saxony written by the church historian Christian Gerber (1732) comes the famous quotation: When in a large town this Passion music was done for the first time, with twelve violins (strings), many oboes, bassoons, and other instruments, many people were astonished and did not know what to make of it. In the pew of a noble family, many Ministers and Noble Ladies were present, who sang the first Passion chorale out of their books with great devotion. But when this theatrical music began all these people were thrown into the greatest bewildermint, looked at each other, and said, “What will come of this?” An old widow of the nobility said, “God save us, my children! It’s just as if one were at an Opera comedy.”

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PROGRAM NOTES

FEATURED ARTISTS

Though often mentioned in connection with the first performance of the St. Matthew Passion, this passage cannot refer directly to the work; there are points of obvious incongruity. But it remains a striking document in its description of the attitude with which the St. Matthew Passion must have been met. The autograph score of the work, written in two different inks, is one of the most beautiful manuscripts that has come down to us from Bach’s pen. The pride and matchless care of the craftsman guided the hand of genius in every detail. Having given his best, Bach must have realized irrevocable severance from his audience.

Thus the St. Matthew Passion marks a turning point in Bach’s career.Three years after its first performance followed one of the most eloquent testimonies of Bach’s life, the letter written to a friend from school days asking for assistance in Bach’s search for another position, and as we know, Bach later applied unsuccessfully to the royal court in Dresden for the office of Court Kapellmeister, submitting the manuscript of his Missa in B Minor.

It remains one of the most remarkable facts in cultural history that Bach sustained the level of his achievement and rose to new heights in the face of disillusionment and isolation.

Abandoning the cantata as the principal form of his work and abandoning, in fact, the steady pace by which his writing was geared to the challenge of each new Sunday, Bach turned his interest to the forms of Mass and Oratorio. The last two decades of Bach’s life form a history of their own, which led to culminating points in almost all aspects of his music. Unmistakably, the beckoning of drama continued to be a strong influence in Bach’s work, even in its last and most remote phases. When eventually Bach singled out the Missa written for Dresden and widened it to a complete setting of the Mass text, he was apparently guided by the thought of creating a final monumental work of his choral art. Adding the text of the Catholic Credo, Bach encountered in its central section once more the drama of the Crucifixion.

Dr. Alfred Mann (1917-2006) Professor Emeritus of Musicology, Eastman School of Music, University of Rochester Rochester, New York

MARY WILSON, soprano Soprano Mary Wilson is acknowledged as one of today’s most exciting artists. Cultivating a wide-ranging career singing chamber music, oratorio, and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News).

In demand on the concert stage, she has appeared with Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, and at the Hollywood Bowl. An exciting interpreter of Baroque repertoire, she has appeared with Philharmonia Baroque, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Brooklyn Academy of Music, the Carmel Bach Festival, and our own Bach Festival of Winter Park. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New written especially for her by Ned Rorem.

On the opera stage, Ms. Wilson is especially noted for her portrayals of Susannah in Le Nozze di Figaro and Gilda in Rigoletto. She has appeared with Minnesota Opera, Boston Lyric Opera, Arizona Opera, Tulsa Opera, and the Goodman Theatre.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She is currently an Assistant Professor of Voice at the University of Memphis.

Sponsored by a generous gift by M. Elizabeth Brothers.

MEG BRAGLE, mezzo-soprano Widely praised for her musical intelligence and “expressive virtuosity” (San Francisco Chronicle), American Meg Bragle has an international reputation as one of today’s most gifted and versatile mezzo-sopranos. She has sung with the Orpheus Chamber Orchestra and the Tafelmusik Baroque Orchestra, as well as with the symphony orchestras of Toronto, Calgary, San Antonio, Charlotte, and Nova Scotia. Frequently a featured soloist with Sir John Eliot Gardiner and the English Baroque Soloists, she has performed with them at the Leipzig Bachfest, the Prague Spring Festival, and the BBC Proms. Other performances include Mendelssohn’s Elijah, Handel’s Susannah, and multiple performances of Bach cantatas. Ms. Bragle has made several recordings with Apollo’s Fire, including Mozart’s Requiem and Handel’s Dixit Dominus and Ode for the Birthday of Queen Anne.

Ms. Bragle studied both violin and voice at the University of Michigan before earning a BA in Voice Performance and English, and she completed a master’s degree in Choral Conducting from Michigan State University. She is the recipient of several awards and recognitions from Symphony Magazine, the American Bach Society, the Carmel Bach Festival, and the Bethlehem Bach Festival.

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FEATURED ARTISTS ROBERT BRACEY, tenor Robert Bracey has performed throughout the United States, Canada, Russia, Europe, India, and Japan. He was awarded first place in the Oratorio Society of New York’s Annual International Solo Competition at Carnegie Hall and returned to Carnegie Hall for performances of Handel’s Messiah. He made his Kennedy Center debut in Washington, DC, with the Choral Arts Society of Washington.

He has performed at the Performing Arts in Mumbai, India, and with the Telemann Chamber Orchestra in Tokyo and Osaka, Japan, Oratorio Society of New York, Choral Arts Society of Washington, the Bach Festival Society of Winter Park, the Asheville Choral Society, Kalamazoo Bach Festival, and the University Musical Society in Ann Arbor, Michigan. A Regional Finalist in the New York Metropolitan Opera Auditions, other honors include first place in the National Association of Teachers of Singing Regional Competition the NATS, the Jessye Norman Award for most outstanding soloist, and first place in the University of Michigan Concerto Competition.

Dr. Bracey has been a music educator for over thirty-five years and is passionate about training young professionals for success as artists and teachers. Professional opera and concert performances, placement in competitions and young artist programs are an important part of the education, preparation, and success of his students. They have been granted opportunities at New York City Opera, Salzburg State Theatre, Brevard Music Center, Chautauqua Institution, Oregon Bach Festival, Santa Fe Opera, Opera Lyrica Italy, Ukrainian Art Song Project, Denver International Festival of the Arts, and Raleigh Bach Soloists. Many have been admitted to well-known graduate programs like The University of Michigan, University of Maryland, Indiana University, Cincinnati Conservatory, and Arizona State University.

Mr. Bracey holds a Bachelor of Music Degree in Music Education from Michigan State University, a Master of Music, and a Doctor of Musical Arts Degree in Voice Performance from the University of Michigan. Dr. Bracey is currently Professor and Chair of the Voice Area at the University of North Carolina at Greensboro.

FEATURED ARTISTS Mr. Dean made his New York Philharmonic debut in the world premiere of Aaron Jay Kernis’ Garden of Light and returned the following season for a concert performance of Street Scene.

His other successes include Michael Tippett’s A Child of Our Time with the Bach Festival Society of Winter Park; Beethoven’s Missa Solemnis with the Richmond Symphony; Haydn’s The Creation and Brahms’ Ein deutsches Requiem with the Louisiana Philharmonic.

On opera stages Mr. Dean has made frequent appearances with the legendary New York City Opera and was seen and heard as Jason McFarlane in the “Live from Lincoln Center” broadcast of Lizzie Borden. Other notable operatic performances include Roméo et Juliette with Los Angeles Opera; Don Giovanni and Ernani at the Landestheater in Linz, Austria; Le nozze di Figaro in Antwerp, Belgium; Of Mice and Men at Arizona Opera; and La bohème in Strasbourg and Berlin. Michael Dean has received high critical praise for his numerous recordings of baroque opera, including Agrippina, Ottone, Dido and Aeneas, Radamisto, Giustino, and Serse.

Michael Dean is currently the Music Department Chair and Professor of Voice at The University of California, Los Angeles, and a member of the voice faculty at the Chautauqua Music Festival.

Sponsored by a generous gift by Michael and Aimee Kakos

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 and Oratory Bach in Minneapolis, Minnesota. John, a strong advocate for contemporary music, 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 ColoradoBoulder 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.

MICHAEL DEAN, bass-baritone Lauded by the New York Times for his “strong appealing bass-baritone,” American Michael Dean has been hailed by the San Jose Mercury News as “the standout, his voice a penetrating wake-up call.” Recent performance highlights include Mozart’s Great Mass in C Minor and Bach’s St. John Passion at the Bach Festival Society of Winter Park, Beethoven’s Symphony No. 9 with the Fort Wayne Philharmonic, Haydn’s The Creation with the Florida Orchestra, and Verdi’s Requiem with the Eugene Symphony.

In other recent seasons he was featured soloist in Messiah with the Richmond Symphony; in Faure’s Requiem and Mozart’s Requiem with the Bach Festival Society of Winter Park (the latter recorded and released); Messiah with the Indianapolis Chamber Orchestra and the Milwaukee Symphony; and Beethoven’s Mass in C with the Naples Philharmonic. He recently made his debut with the Utah Symphony Orchestra in Beethoven’s Symphony No. 9, and with the Boulder Bach Festival as soloist in Bach’s Mass in B Minor.

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STEPHEN MUMBERT, baritone Quickly gaining attention on the concert and opera stage throughout the United States and England, Stephen was recently praised for being vocally the most promising singer and for possessing an assured and stylish technique at the Aldeburgh Festival in England.

Recent performances have included Amahl and the Night Visitors and Mozart’s Requiem with the Dakota Valley Symphony (which was broadcast on Twin Cities Public Television) and several appearances in Handel’s Messiah, including the Oratorio Society of Minneapolis.

Mr. Mumbert is active in the Central Florida area as a voice adjunct professor for the Rollins College Department of Music and is a frequent guest soloist with the Messiah Choral Society of Orlando and the Bach Festival Society of Winter Park. Stephen earned his BA from Stetson University, his MM degree at Boston Conservatory at Berklee, and is currently working toward a doctorate at the University of Minnesota.

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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 Jane Newnum at JNewnum@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 $10,000-$19,999 S. Blair and Diane Murphy Bill and Sheila Oelfke Leila Edgerton Trismen $5,000-$9,999 Kathy Johnson Berlinsky Brock and Sarah McClane Gerard and Nichola Mitchell Bosco R. and Beverly J. Slaughter $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 Dan and Barbara Preslar Bj Price

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Ann Morgan Saurman Vivian Southwell Edward and Virginia Ubels BettyJane and Cecil Wilson, M.D. UNDER $1,000 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 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

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CONTINUO SOCIETY

THANK YOU

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 Berlinsky at 407.691.1056 or KBerlinsky@BachFestivalFlorida.org CONTINUO SOCIETY MEMBERS Anonymous (2) Leyse Lowry in honor of John W. and John V. Sinclair Linda Cone Allen Pat McKechnie P. Andrew and Autumn Ames Dr. Blair and Diane Murphy in honor of John M. Tiedtke Kenneth* and M. Elizabeth Brothers Ann Hicks Murrah Dana and Diana Eagles The Rev. and Mrs. Paul M. Harmon Eric Ravndal, III Karen and Mickey Lane in Drs. John and Gail Sinclair memory of Bernice and Bosco R. and Stanley Levy Beverly J. Slaughter Rob and Wendy Landry Dr. Walter Stamm Bonnie B. and Heather and David Torre Robert M. Larsen

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

The Bach Festival Society of Winter Park is delighted to announce

THE ELIZABETH AND JOHN NAGLE ENDOWMENT FOR BASS SOLOISTS IN HONOR OF BASS-BARITONE KEVIN DEAS Long-time Bach Festival Choir members Beth and Jack Nagle understand the enormous contribution a world-class soloist brings to a choral work and have established an endowment to help ensure that the Bach Festival Society will always have the resources to engage the very best talent. Income from the endowment will be used for the financial support of bass soloists singing with the Bach Festival Society. The Nagles have chosen to name their endowment in honor of bass-baritone Kevin Deas, who is featured in this afternoon’s performance of Verdi’s Requiem.

“We have had the joy and privilege of singing with Kevin with the Bach Festival Choir and the Berkshire Choral Institute for over 25 years. We so admire his wonderful voice, hard work and kind heart, and are so pleased to honor and immortalize him through this gift!”

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2022–2023 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 88th 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 and the Florida Council on Arts and Culture Beth and Jack Nagle Rollins College United Arts of Central Florida

J. S. BACH LEADERSHIP COUNCIL $50,000 - $99,999 Elizabeth Morse Genius Foundation

CONDUCTOR’S CIRCLE $25,000 - $49,999 Jessie Ball duPont Fund Mr. Alex and The Hon. Cynthia Mackinnon Richard Russell and Thomas Ouellette Winifred J. Sharp Templeton World Charity Foundation Leila Edgerton Trismen

COMPOSERS CIRCLE $15,000 - $24,999 Edyth Bush Charitable Foundation John V. Frank The Joe and Sarah Galloway Foundation Ginsburg Family Foundation Thomas P. and Patricia A. O'Donnell Foundation

Massey Services Inc. Borron and Beppy Owen Anonymous in honor of John Sinclair Wayne and Robin Roberts Sally and Jack Schott The Tiedtke Family Winifred Johnson Clive Foundation City of Winter Park

SAINT CECILIA CIRCLE $10,000 - $14,999 Michael and Aimee Kakos Bonnie B. and Robert M. Larsen Chesley G. Magruder Foundation Charles Hosmer Morse Foundation Bosco R. and Beverly J. Slaughter John Templeton Foundation Welsh Charitable Trust

CHORAL CIRCLE $7,500 - $9,999 The Rev. Eric and Sarah Ravndal III in honor of Dr. John Sinclair

PATRON’S CIRCLE $5,000 - $7,499 Anonymous Kathy Johnson Berlinsky Nicki and Jeff Bromme Charity Challenge, Inc. Dana and Diana Eagles Festival of Orchestras Endowment Kathryn Grammer Beverly M. King Andrea and Philip Kobrin Jeanette G. Leinbach

Bj Price Kelly Price and Doug Sealey Drs. John and Gail Sinclair Dr. Joe and Sue Warren Marchetta Tate Wood

ARTISTIC CIRCLE $2,500 - $4,999 Anonymous David and Judy Albertson John W. and Linda Cone Allen Andy and Autumn Ames, in honor of Alex and Deanna Tiedtke's Wedding Mr. And Mrs. P. Andy and Autumn Ames, In Memory of John M. Tiedtke Ellen Arnold Jay H. Berlinsky M. Elizabeth Brothers Leon and Larissa Glebov Allan and Linda Keen in honor of Alex and Deanna TIedtke's Wedding Karen and Mickey Lane in memory of Jean Murphy Karen and Mickey Lane in memory of Estera Toaxen Karen and Mickey Lane David R. Mattson The Mayflower Retirement Center, Inc. Ann Saurman Joel H. Sharp, Jr. Dr. Tracy Truchelut and Mr. Robert A. White The Wideman Family in honor of Alex and Deanna Tiedtke's Wedding

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THANK YOU BENEFACTORS $1,000 - $2,499 Anonymous (4) Keith and Eleanor Ackermann Tim and Sue Antonition Richard Baldwin Dr. Rita Bornstein John D. Boulden John D. Boulden in honor of Murray Forbes Somerville Tim and Rhonda Burnham Michael and Mabel Burridge Tom and Kathy Cardwell David Caudle and Gil Villalobos Butch and Renee Charlan O'Ann and Pat Christiansen Robert and Athalia Cope Alan and Susan Davis Dr. Patsy Duphorne Lee and Carolyn Eubank Susan and Randolph Fields Dr. and Mrs. Robert G. Flick Barbara and Richard Fulton Linda Modrak and Bill Gallo Freddi and Jim Goodrich David and Jackie Green, Green Appraisal Group, Inc. Mrs. Janice Granier Gruber Anonymous in memory of Clifford and Marilyn Lee Paul M. Harmon Jack and Annis Bowen Foundation Lars and Julie Houmann Dr. Mimi Hull Allen and Dana Irwin Allen and Dana Irwin in honor of Dr. John Sinclair Patrick J. Knipe Ann Kurth in memory of Sylvia Kurth Susan C. Lackman Rob and Wendy Landry The Lee Foundation Leyse Lowry

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THANK YOU Edward Manning Jody and Craig Maughan Elizabeth Maupin and Jay Yellen Dr. Margaret McMillen Jeff and Mindy Moore Gary and Eileen Morgenthaler in honor of Alex and Deanna Tiedtke's Wedding Jan Moss John Niss and Lisa Mouton William and Sheila Oelfke Leslie King O’Neal Dr. F. Robert and Norene Rolle Joan Ruffier and Edward Manning Joe Sapora and Carol Ducas Jim and Pat Schroeder Sara and Bill Segal Dr. Karyll N. Shaw Karyll Shaw in honor of Charlie and Noreen Shaw Sidhu Family Diana Sisley Fred Lyndon Stone John and Beatriz Struck Jodi Tassos Jodi Tassos in memory of John Tassos Kathryn Chicone Ustler Dr. Nancy van den Berg Lee and Judy Van Valkenburgh Hardy Vaughn and Betty Brady Harold and Libby Ward Michael and Kimberly Weathers BettyJane and Cecil Wilson, MD Armand and Alison Zilioli

FRIENDS $500 - $999 Anonymous (6) Jocelyn Amalong Oehmler George and Leslie Andreae David B. Baer

Donald and Rhonda Bartlett in honor of Alex and Deanna Tiedtke's Wedding Donald and Carol Beyer in memory of Dr. Don Beyer Carolyn Blice Diane G Boswell in honor of Alex and Deanna Tiedtke's Wedding Lawrence D. Brown, M.D. Guy and Donna Colado Drs. Gary and Gloria Cook Thomas Cook and Patricia Simmons Raphael Arenas Fernandez and Family The Honorable and Mrs. William Frederick Alvaro and Routa Gomez Debra Brown Hagan Wallace H. Hall The Mark and Lori Harris Charitable Fund Allison and Peter Hosbein Nigel John and Heather Badawi John Bette Jore Frank and Etta Jean Juge Rita Lowndes Dr. Jim Madison Sally McHenry Edward Meyer Susan Miller Lois H. Mills Cecil and Carol Moore D'Arcy Murphy D'Arcy Murphy in memory of Charles E. Murphy, Natalie Murphy and Patricia Murphy Donald A. Nash in memory of Marie D. Nash Jane Secrist Newnum Jane Secrist Newnum in honor of Ruby Abreu and Stephanie Rivera Dr. and Mrs. James F. Niss

Deede Sharpe and John Parker Gregory and Barbara Phillips Dr. Daniel and Lesley Podberesky Dan and Barbara Preslar Joy Roney Frank Rynd Dr. Richard Sandler George and Joan Schiele Taylor Sinclair Keith McIntyre and Richard J. Skaggs Dale Smith Joan and Harry Travis Donna and Keith Van Allen Paul and Madeleine Vilmos Frank and Karell Voelkl in honor of Alex and Deanna Tiedtke's Wedding Dr. and Mrs. Lawrence T. Wagers William Walker, In honor of Peter Schreyer, Crealde's Executive Director Katy Moss Warner Diana Webb in memory of Sylvia Kurth Diana Webb in memory of Dr. Donald Beyer Diana Webb and Dr. T.J. Trapp Craig and Jeanne Weeks Bruce A Whisler Gwendolyn B. and Wilford J. Williams Mike and Gartrelle Wilson

SUPPORTERS $250 - $499 Anonymous (2) Judy Alper Phil and Jennifer Anderson Billy Aylward Cecelia Bonifay Claudia Breese Kimberly and Charles T. Brumback, Jr. Dale and Patricia Burket

Minter LN Byrd in honor of Alex and Deanna Tiedtke's Wedding Nancy Constant Grant and Peg Cornwell Margaret W. Cruickshank Howard Davis Michael Dively Carrie Duvall Katrina and Ray Eaton Mary Anne Elwood Endean Fund - Mr. Jeffrey Endean and Dr. Myrna Endean Candice Turner Erick Daniel Flick Christina and Brad Gant Penny S. Gilman Stan and Regunia Griggs Gregg Gronlund Family Marty and Mike Haddad Debbie and Larry Halye Amine and Paula Harb in honor of Alex and Deanna Tiedtke's Wedding John and Marianna Hawkins in honor of Alex and Deanna Tiedtke's Wedding Patricia Higginbotham Marc Himel Dr. and Mrs. G. Wyckliffe Hoffler Rebecca Hull, In Memory of Norman L. Hull, Esquire, Awesome Dad! Silvia S. Ibanez Beth and Jack Isler Toni Jennings Kyle, Pat, and Mason Kanny in honor of Alex and Deanna Tiedtke's Wedding Kenneth and Ann Murrah Hicks Endowment Carol Klim Paul and Nola Knouse in honor of Dr. John V. Sinclair Paul and Nola Knouse

Yen-Yen Kressel John and Ku Dr. Mubarak Shah and Ms. Becky Lee Gerald and Kay Marin Carol McKelvey Walter and Carol McKelvey Mr. and Mrs. Peter Minderman Ann Hicks Murrah Mark Nevins in honor of Alex and Deanna Tiedtke's Wedding Perry and Jane Nies Liana and Frederick Pacilli Nancy F. Peed Martin Phillips Roger D. and Rosalind Ray Magdalena and Clemens in honor of Alex and Deanna Tiedtke's Wedding Bradley Roberts Dr. Ante Rudez and Giulia Rudez M.J. Schmid in memory of Dr. Don Beyer Mr. and Mrs. Joseph E. Sichler III Tyler Simonton in memory of Susie Stone Vivian Southwell in memory of Sylvia Kurth and Dr. Donald Beyer Jeffrey T. Spoeri Rene Stutzman Jackie and Rod Sward Dr. and Mrs. James Talcott in honor of Alex and Deanna Tiedtke's Wedding Amie H. Tishkoff Beatriz Truax Susan and Michael Tucker in memory of Dr. Donald Beyer Susan and Michael Tucker Barbara L. Turner Rebecca Hull and Jeremy Udell Drs. Jeanine Viau and Ann

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THANK YOU Gleig Cezarina and Ray Vintilla in honor of Stela and Dumitru Toaxen Kenneth Ward Jane R. White William C. Schwartz Fund Art and Louise Yergey Legacy Charitable Fund

CONTRIBUTORS $100 - $249 Anonymous (14) Anonymous in honor of Tim Delcavo Rossana Abate in honor of Alex and Deanna Tiedtke's Wedding Ruby Abreu in honor of Miguel Abreu Millicent Adams and Michael Anthony Giovanna Adimari in memory of Daniel B. Leonard David Aiken Stewart Anderson Meg Baldwin Mary D. Balk Mr. and Mrs. Will and Barby Barbara Beverly and Wayne Bargren Jim D. Beck Jerry Janesick and Cheryl Bollinger Bill and Becky Brown Brenda Bullock-Paget in memory of Tom T. Cole Susan J. Burdette Leslie Ann Chiarello Anne Claiborne Ellie Clark Carolyn G. Coleman Martin and Susan Collins Francis and Giselle Conway Terry and Paul Creighton George Dappert and Judy

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THANK YOU Wixted Edward and Janet Davenport Katie and Ari in honor of Alex and Deanna Tiedtke's Wedding Janet de Guehery Jason Dewrell in honor of Alex and Deanna Tiedtke's Wedding Dante Duphorne Sharon K. Dwyer in memory of George and Marie Kramer Sharon K. Dwyer Hoyt and Charlene Edge Marjorie and Harold Emmert Mary Frances Emmons and Roger Roy John and Nancy Engle Elizabeth and Philip Eschbach Carolyn M. Fennell Anonymous Deirdre and Shayne Floyd in memory of Dr. Donald Beyer Larry and Alice Fortunato Nicole Fournier Elicia Garcia Betsy Gardner Eckbert Gary L. Geipel Gail Graham Mike and Ceil Graham Katherine and Justin Green in honor of Alex and Deanna Tiedtke's Wedding Dr. Scott Greenwood and Dr. Pamela Freeman Ben and Nancy Grzeslk Donald and Mary Pat Guske in memory of Dr. Donald Beyer Lawrie Platt Hall Mr. and Mrs. John Hallenbeck James and Nancy Hannah Kathryn Harbaugh Barbara Hillerman Lieske Elizabeth Hyden Mrs. Patricia E. Jenkins Ann Johnson

Leslie and Sondra Jones Sandy Jordan William Jordan Donna and Ed Kania Marc and Henrietta Katzen Richard and Martha Kessler Felice Koscinski Ms. Phyllis Lachman Lancaster Family Fund Aaron Lefkowitz Chad LeMeur in honor of Alex and Deanna Tiedtke's Wedding Dr. Michael and Diane Levine Nancy P. Lewis M.J. Lowitz Chris Ludemann-Davis in honor of Alex and Deanna Tiedtke's Wedding Elisabeth J Luke Dr. Ken and Mrs. Trisha Margeson Paul Massimiano Carolyn Maue Justin McGill Drs. Bill and Neva Meek Friend of the Bach Festival Choir Congressman John L. Mica Carolyn Minear Karen Morin in honor of Dan and Nancy Sharp Joseph Mundy J. Michael Murphy Augustus Myers in honor of Alex and Deanna Tiedtke's Wedding Linda Naughtin Roxanne Niles Luke M. Noles Thomas O’Meara Dr. Mary Palmer The Mary Palmer Family Foundation M. Carmela Pantano in memory of Dr. Donald Beyer Jolene and Justin Patrou

Oliver and Kim Peters Dr. Calvin and Pamela Peters Edwin and Susan Peterson Rose E. Quinlan in memory of Dr. Donald Beyer David Rea Tom and Cathy Regan Shyla Reich in honor of David Albertson Peter Riddleberger in memory of Philip Springer Dr. Arnetta Rodgers in honor of Rev. Katrina Jenkins Dr. Arnetta Rodgers Holly Rogers Dr. Mark and Leslie Sand Jane and Bruce Scamehorn Denise Schabacker Barnes Paul Schmalzer Nancy Seaman in loving memory of Hod Seaman Seminole Spokes, Inc. Arthur Shevchenko William and Dorothy Silverman Susan Slemons Judith Smelser Celnah Smith in memory of my husband Leon Smith Dennis Sobeck Sue and Allan Solomon Scott and Nancy Stegall in honor of Alex and Deanna Tiedtke's Wedding Dawn and George Sumrall Vernon Swartsel Patricia Torbert in memory of her husband Duke Torbert Connie Trama in loving memory of Dr. Donald Beyer Tamara Trimble Edward and Virginia Ubels Ben and Nicole Vallowe in honor of Alex and Deanna Tiedtke's Wedding Tye Van Buren

Kim van Nymegen Carrie and Kevin Wendelburg Susan Whritenour Laura M. Woodbury Meredith Woodend Clark and Emily Woodsby in honor of Alex and Deanna Tiedtke's Wedding Nicholas Yarnold Ruth Young and Donald Rice Mary Lou Zobel

*Donors recognized for their gifts and pledges received in support of the 2022–2023 Season prior to publication date of this program guide.

We apologize for any errors or omissions.

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UNITED ARTS DONORS

UNITED ARTS DONORS Corporate and Government Donors ((cont. cont.)) $1,000 - $2,499

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, 2021 – June 30, 2022. www.UnitedArts.cc | 407.628.0333

Corporate and Government Donors $100,000+

City of Orlando and Employees Darden Restaurants, Inc. and the Darden Restaurants Foundation Dr. Phillips Charities Duke Energy and Duke Energy Foundation and Employees Elizabeth Morse Genius Foundation Inc. The Massey Services Family and Team Members National Endowment for the Arts Orange County, Florida and Employees Orange County Public Schools University of Central Florida Walt Disney World Resort and The Walt Disney Company Foundation

$50,000 – $99,999

Friends of the Orlando Philharmonic Orchestra Florida Department of State

$25,000 – $49,999 Bank of America City of Winter Park Edyth Bush Charitable Foundation 80

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Florida Blue Frontline Insurance Orlando Magic

$10,000 – $24,999

Arts Bridge Charity, Inc. The Ballet Academy of Central Florida Charity Challenge, Inc. Donors of the Dr. Phillips Center for the Performing Arts Greater Orlando Aviation Authority John Willis Law Firm Lake County, Florida Lowndes OUC-The Reliable One and Employees Universal Orlando Foundation Window World

$7,500 - $9,999

ABC Fine Wine & Spirits KPMG, LLP and Employees Team Ten 4 Kids, Inc.

$5,000 - $7,499 Crystal Photonics, Inc. Ernst & Young LLP Fairwinds Credit Union Employees Get Off the Bus, LLC

Guignard Company In Memory of Shellie-Ann M. Braswell Orlando Health Tampa-Orlando-Pinellas Jewish Foundation, Inc. Upshot

$2,500 - $4,999

77 Trust Me Brand Dean Mead Employees Different Perspective Eric Horner Interiors, Inc. F/X Group IATSE Local 631 Kidsville Pediatrics MSL CPAs & Advisors NFTorium, LLC Orange County Arts & Cultural Affairs RB Advisory LLC Santa Monica Travel & Tourism UCF College of Arts and Humanities United Arts of Central Florida Employees Wayne Dictor / Dictor Financial LLC Winter Park Publishing Company LLC

Akerman LLP AmFund The Balmoral Group, LLC Charities Aid Foundation of America The Earl and Bettie Fields Automotive Group Foundation, Inc. G R Bridges Jewelry

Hubbard Construction Company The Joelson Foundation MatWorkz Pilates Studio Nulman Mediation Services Orchid Medical Orlando Science Center Employees Pineloch Management Corporation

Seay Business Solutions, LLC Spraker West Wealth Management Inc Urban on Plant Kitchen & Bar Valencia College Foundation Westminster Winter Park The Woman’s Club of Winter Park

Individual and Family Foundation Donors $100,000+

Anonymous J. Laurence and Susan K. Costin Ginsburg Family Foundation The Mary Palmer Family Foundation

$50,000 - $99,999 Anonymous The Basel-Kiene Family John and Lee Benz Dick and Betsy DeVos Family Foundation Frank J. Doherty Robert and Melissa Kohn Harold and Rosy Mills Frank Santos Mr. and Mrs. Bob Yarmuth

$25,000 - $49,999

Anonymous David and Judy Albertson Jim and Barbara Caldwell Tom and Kathy Cardwell Dr. Stephen F. Heller Lawrence Kellogg Andrea and Philip Kobrin Rita Lowndes Mr. Alex and The Hon. Cynthia Mackinnon Dr. Ken and Mrs. Trisha Margeson Wayne and Robin Roberts John and Audrey Ruggieri Richard Russell and Thomas Ouellette Jim and Valeria Shapiro and The J & V Shapiro Family Fund at the Central Florida Foundation Chuck and Margery Pabst Steinmetz Elaine Berol Taylor & Scott Bevan Taylor Foundation The Tiedtke Family

Dr. Joe and Sue Warren John and Lisa Westlake Gail and Michael Winn Larry and Laura Zirbel

$10,000 - $24,999

Anonymous Keith and Eleanor Ackermann John W. and Linda Cone Allen Colonel Christian J. Becht and Mrs. Elizabeth M. Becht Joe and Carol Bert Caroline Blydenburgh Susan K. Bright and Lawrence W. Stevenson M. Elizabeth Brothers Chicone Family Foundation Hillary and Jay Cohen Valerie and Paul Collins Elizabeth Nerius Conklin Judy Duda Andrea Eliscu Jeff and June Flowers Giving Fund Marilyn S. Goldman Stephen H. Goldman Charitable Foundation Freddi and Jim Goodrich Sheila Greenspoon Bea Hoelle-Hawes Sonya C. Hough Mary F. Kelsh Pat and Audrey Knipe Dr. Mitch and Swantje Levin Melody and Brendan Lynch David and Eydie MacInnis McIntyre and Skaggs Charitable Trust The Melrose Foundation Grant Gribble Jeff and Mindy Moore Whitney Morse William and Kyra Muntan Laurie Nicoletti Paul Oppedisano

Fred and Jeanie Raffa Shyla G. Reich Maria Ruiz-Hays Dr. Rick Schell and Mr. Scott Joseph Sally and Jack Schott Ann and Charles Simpson Bosco R. and Beverly J. Slaughter Diane and Robert Smedley Ellen and Simon Snyder Daisy and Jan Staniszkis Rebecca and Blaine Sweatt Marilyn Terborg Kathryn Chicone Ustler Hardy Vaughn and Betty Brady Lance and Patricia Walker Leslie Warrington Bailey Alan Whittaker Lori Pearson Wise and Daniel Wise Wisne Charitable Foundation Gary W. Young

$7,500 - $9,999

Anonymous Debbie and Larry Cappleman Brian Carwile Dr. Chris Crotty and Ms. Janie Brownlee Dykes and Lisa Simonton Everett Barbara and Richard Fulton Mrs. Janice Granier Gruber Marc and Henrietta Katzen Francille MacFarland MD Larry Gutter and Debbie Meitin Steven and Kathleen Miller Blair and Diane Murphy Rosemary O’Shea The Rev. Eric and Sarah Ravndal III in honor of Dr. John Sinclair Geanne and Adrian Share

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UNITED ARTS DONORS

Individual and Family Foundation Donors (cont. cont.)) $5,000 - $7,499

Anonymous Lindsay and Dan Abt The Bob Allen Family Foundation John and Catherine Amein Carlos Asse Miguel Asse Jim and Elli Atchison Atchison Family Fund Margaret Atkins Sally Blackmun and Michael Elsberry Kirt and Cheryl Bocox Nicki and Jeff Bromme Bettina Buckley Drs. Lynn Le and Wei-Shen Chin Francie and Wayne Dear Susan M. DeNardis Kristy Doyle and Bob Turner Duane Duncan Linda Ferrone Susan and Randolph Fields Sarah B. Flynn Lillian Garcia Dr. Matt Gay Drs. Lloyd and Pamela Gillet Bruce Gould Dr. David Gurney Don and Mary Ann Harrill Mr. and Mrs. L. P. Herzog Donna and Bill Hoffman Elizabeth and Justin Horn Jacquelyn Hughes Dr. Diane M. Jacobs Michael and Aimee Kakos George A. Kalogridis and Andrew G. Hardy Cathy Karunaratne in memory of Dr. H. B. Karunaratne Harry and Marcie Katzen Skip Kirst and Eric Hogan John P. Klumph Dr. Susan Cohn Lackman and Dr. Richard D. Knapp Gary Lambert and Shawn Hunt Serein Lambert William and Barbara Lynch Jay and Traci Madara Meghan and Alex Mannella Jody and Craig Maughan Suzanne McGuire The Munro Family Beth and Jack Nagle William Newkirk and Cheryl Tschanz Family Foundation 82

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Merlin I. Olson Mark and Jennifer O’Mara Borron and Beppy Owen The Andy Pargh Endowment Fund Christina and Gabriel Preisser Kelly Price and Doug Sealy Chris Ranck John and Monica Rivers John Daniel Ruffier Dr. Richard Sandler Marco J. Santoro and Kimberly Dorsett Philip and Susan Sargent Family Charitable Fund Deede Sharpe and John Parker Paula Shives Drs. John and Gail Sinclair Larry Slung Andrew Snyder and Christopher Nemethy Bryan and Marjorie Thomas Phillip Tischer Joan and Harry Travis Lee and Lindsey Alley Turvey Donna and Keith Van Allen Paul and Madeleine Vilmos Dr. and Mrs. Lawrence T. Wagers Waggoner Foundation in memory of Robert Waggoner Robert and Nancy Wahl Ann & Bill Wallace Foundation John Webb Louise and Richard Weiner Barbara Weinreich Bill and Alice Weir Al and Brea Weiss Robert B. White and Linda Riley Teresa Williams Bickley C. Wilson Scott H. Wilson Dr. Vonda Wright and Peter Taglianetti

$2,500 - $4,999

Anonymous Rita & Jeffrey Adler Foundation Russell P. Allen Mr. and Mrs. P. Andy and Autumn Ames, In Memory of John M. Tiedtke Jennifer and Phil Anderson George and Leslie Andreae Susan and Gorden Arkin Kim Ashby in honor of Bob and Katy Ashby Aunt Jeanie

Andy and Phyllis Ayoob Fund David B. Baer Beth Barnes and John Crocitto Jay H. Berlinsky Kathy Johnson Berlinsky Carol-Lynn and Frank Bevc John and Diane Bishop Carolyn Blice Daniel Patrick Blumberg Albert and Cheryl Bogdanowitsch Dr. and Mrs. Gregory N. Boger Cecelia Bonifay Regine Bonneau and Elyh Saint-Hilaire Jill and Dean Bosco Sara R. Brady Howard Britt Jane and Roger Cheever Yan Chen O’Ann and Pat Christiansen Bonnie and Van Church - In Loving Memory of Dorothy Martin and Rispa Church Michael and Jennifer Coleman Cheryl Collins, CFRE Carol and Ted Conner Steve Coon Kathy K. Cressey Dan and Jill Croom Susan M. Curran Alan and Susan Davis Drs. Ronald and Nancy Davis Curt and Carol DiPasqua Donna Dowless Michael Dwulit Dana and Diana Eagles Jennifer Clark Evins James Farrell and Andrea Massey-Farrell George S. Fender in honor of American military forces Clive Frazier Dr. and Mrs. Charles W. George Jane and Charlie Gibbons Leon and Larissa Glebov Marcia Goodwin Matthew Gorney Kathryn Grammer Jean Grono-Nowry and Ian Robinson Dr. and Mrs. H.E. Gross Barbara Grossman Debbie and Larry Halye Roseann Harrington Jeffrey Hartog

Individual and Family Foundation Donors (cont. cont.))

Germaine Brugere Haserot Fund Harvey Heller Jim Helsinger and Suzanne O’Donnell Larry Henrichs Rob and Michael Highfill-Spradlin Diane and Allan Horowitz Joseph Robert House Dr. Mimi Hull Maen and Michelle Hussein Mimi Hwang Steven Igou Mrs. Patricia E. Jenkins Patricia A. Johnson Myron R. Johnston Arts Endowment Fund Bette Jore Frank and Etta Jean Juge Eliza and Matt Juliano Eva Krzewinski Karen and Mickey Lane Shelley Lake Dr. Michael and Diane Levine Margaret Lezcano and Rick Hartker James R. Lussier and Nancy C. Jacobson Embry J. Kidd and A. Noni Holmes-Kidd John and Pamela Lyle James and Sarah Martin Paul and Sue Allison Massimiano David R. Mattson Judy and John Mazzotta Community Impact Fund Deborah L. Mead Margaret G. Miller Ann Hicks Murrah Steven D. Nakagawa John Niss and Lisa Mouton Michael A. Nocero, Jr. in memory of Mary Jo Mr. and Mrs. Richard Ott in memory of Richard David Ott Beverly and Glenn Paulk David and Michelle Peck Dr. David and Darbee Percival Celeste Pertz Dr. Gloria Pickar Dr. Daniel and Lesley Podberesky Alexis C. Pugh Bill and Joan Randolph Richard C. Riccardi

John and Virginia Rigsby Nicholas Riippa and Dominic Del Brocco Dr. Cheryl Robinson The Roper Family Foundation Corrine K. Roy Joan Ruffier and Edward Manning Steve and Melanie Ruta Joe Sapora and Carol Ducas Ann Saurman Eileen Schein Winifred J. Sharp and Joel H. Sharp, Jr. Wayne Sheffield Robert T. Shutts Sidhu Family William Slot Dew Smith Dennis Sobeck Dr. Stephen Summers Jackie and Rod Sward Winston Taitt Leslie J. Temmen Cynthia Tomlinson Leila Edgerton Trismen Dr. Jessica Vaught-Aviles and Mr. Juan Aviles Lindsay Vermuth Stacia L. Wake Harold and Libby Ward Neil and Malka Webman Craig and Jeanne Weeks Peter and Frances Weldon John and Amy Wettach Len and Marilyn Williams Tom and Penny Yochum Armand and Alison Zilioli Bob and Janet Ziomek

$1,000 - $2,499

Anonymous Anonymous in memory of Clifford and Marilyn Lee Abernethy Pickar Family Millicent Adams and Michael Anthony Jeanne Bray Ailes Theresa Aleguas Joseph Ales, Jr. and Stephanie Curry Ales Kay Allen Dr. Mike and Janet Loveland Allen Rachel C. Allen Phil and Jennifer Anderson Melinda Antalek

Ellen Arnold Tony and Sharon Arroyo Jeffrey Artzi Sandra Asse Maria-Elena Augustin Tom and Lara Baker James and Deborah Balaschak Nathan and Lynda Balint Richard and Nancy Banks Donna Barley Cathy and Carlos Barrios Dick and Andrea Batchelor Mr. Dave Berelsman and Mrs. Lyn Berelsman Jane Berg Cissy Bergman, in loving memory of Rocky Bergman Gina Bernandini Aaron Bert Daniel Betancourt Paul and Collette Beuther Amogh Bhonde and Sukhada Gokhale Christine Billis Jacques D. Blais Ann and Derek Blakeslee Darryl and Mary Bloodworth Lauren and Barry Bloom Theresa and Angelo Boer Lauren and C. Thomas Bolick IV Dr. Rita Bornstein John D. Boulden Carolyn E. Bourne Jacqueline Bozzuto Berl and Katherine Brechner Sherry Bremer Marian and Edward Bromberg Lawrence D. Brown, M.D. Mary A. and Roger D. Brown Randall S. Brown Ted and Ruthanne Brown Dr. and Mrs. William J. Brown Paul F. Bryan Karen G. Buchan Christine and Hans Bucheli Verna Buchs in memory of Dr. Andy Buchs Dale and Patricia Burket Tim and Rhonda Burnham Michael and Mabel Burridge David Buxton, MD Kay and John Cappleman Alexander and Melinda Cartwright James P. Caruso and Christine S. Caruso Charitable Fund Inc BachFestivalFlorida.org

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UNITED ARTS DONORS

UNITED ARTS DONORS

Individual and Family Foundation Donors (cont. cont.))

Mr. Scott Cassidy and Ms. Trish Titer Rafael Castillo David Caudle and Gil Villalobos Mahesh Chaddah Amy and Chris Chapman Frank and Ellie Chase Jason Chepenik Jason Chilton Julia Chinnock and Richard Champalbert Dr. Jeff Cohen and Luci Belnick Kelly Cohen Dr. Anthony and Joan Colandrea, Jr. Beryl R. Colbourn Carolyn G. Coleman Teresa Colling Martin and Susan Collins Judith and Richard Conk Tracey Conner Sharon Conway Hal Cooper Robert and Athalia Cope David S. and Carol A. Cowan Fred and Gayle Curtis Mr. and Mrs. Noriko and Tom Davatelis Keith M. Davenport and Jared V. Walker Diane Davey and Dave Wiebe Doug Davis and Jeri Weigandt Silva Deakins in memory of my husband Jim Debby DEM Guys Michelle DeVos Mr. Duncan DeWahl and Dr. Juliet Burry Patty and Jim DeYoung Cara and Alex Dobrev Jim and Gail Downing Dr. Patsy Duphorne Lisa Durant Gontran and Isabelle Durocher Sheldon Dutes Dr. Perry and Eileen Dworkin Bill and Jennifer Dymond Barbara Tiffany and Jerry Eans Ted Edwards and Nikki Seybold Paula and Buddy Eidel Rex and Kathy Elbert Endean Fund - Mr. Jeffrey Endean and Dr. Myrna Endean Catherine M. Engelman 84

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Lee and Carolyn Eubank Dr. Jay and Randye Falk Dr. Adrianne Ferguson Kerry Ferguson Steve Fessler and Randy Lord Laura M. Firth Dr. and Mrs. Robert G. Flick Nancy Ellen Flint Steven and Melanie Forbrick Julia L. Frey and Dr. David J. Carter Dawn Frye Garber/Collins Charitable Gift Fund Rachel and Rob Gebaide Stephanie Ghertner Nancy and Fiona Gibbons Jon Gibbs and Carolyn Salzmann Suzanne E. Gilbert Mike and Vicki Gillett Biff and Kathy Godfrey Neal Goldner Eduardo Gomez Lambert Steven W. Grant Christopher and Pamela Greening Dr. Scott Greenwood and Dr. Pamela Freeman Chuck and Lisa Gregg Christopher Grim and Melissa Queen-Grim Barbara Grodin Jessica and Vance Guthrie Marty and Mike Haddad Rob and Jacki Hale Andrew and Monica Hand Michael and Terri Harding Paul M. Harmon Dave and Nancy Harvey Gary Heath Marty and Jim Heekin Sheri Heitker and Mark Dixon Paul Helfrich and Jessica Hung Marjorie Hill Nathan Hill John and Gale Hillenmeyer Danielle Saba Hollander Bob and Marty Hopkins David Horgan Mike and Kitti Hornreich Allison and Peter Hosbein Andrew and Kara Howell Bonnie Hubbard Jacqueline and Vincent Hughes Rebecca Hull

Daniel W. Humphress and Enrique J. De La Torre The Hurckes Foundation Ellen S. Hurwitz In honor of Peter Schreyer, Crealde’s Executive Director In memory of Toeknee Caporelli Allen and Dana Irwin Beth and Jack Isler Libby Jackson Eric Jacobsen and Aoife O’Donovan Harvey and Janice Jacoby David and Lisa Jasmund Toni Jennings Darrell and Lynda Jobman Mark and Jessica Jones Les Josephson Daun and Lisa Junkerman Hal Kantor RK Kelley Maureen and Mark Kennedy Richard and Martha Kessler Sheri Kettula and Denise Marra Charles and Olga King Bud Kirk Carol Klim Rachael Kobb Harvey Kobrin and Faye David Christina and George Kotsonis Dr. Les and Mrs. Lynn Kramer Holly M. Kreisler The Labelle Family Alyson and Michael Laderman Deborah and Donald Lake Patricia Lancaster Linda Landman González Rob and Wendy Landry Paul Lartonoix Dr. Sarah Layton Mark and Noreen Levitt Miriam Levy and Dennis Pope Mark K. Lewis Jack Lord Jennifer Lowndes and Tim Boeth Leyse Lowry John MacDougall and Jame Lee Mann Dr. Jim Madison Sheila Mahone Jim and Wendy Malcolm Fund Maria Manoso Louise M. Manry Kevin and Ditian Dai Martin Hilary and Ming Marx

Individual and Family Foundation Donors (cont. cont.))

Kyle and Sarah Mattingly Elizabeth Maupin and Jay Yellen Jay and Alison McClelland Donald R. McGee, DMD, PA Daniel and Elizabeth McIntosh Dr. Margaret McMillen Scott R. McMillen John and Rebekah McReynolds Toby Mendelsohn Congressman John L. Mica Mrs. Arthur L. Miller Ryan and Lucas Miller Lois H. Mills Sally Milton Mr. and Mrs. Peter Minderman Dr. Andrew Minear Carolyn Minear Clay and Kim Mitchell in memory of Lucy Lane Mitchell Jan Moss Mari Moye Karla Muniz Mr. Sumanth Neelam Alicia and Jay Nevins Kailey and Robert Newkirk JoAnn Newman Andrea and Van-Tam Nguyen Jessica Nguyen Donna Nickel Walter Ronald Nock David Oigarden Odd-o-Ts’ Entertainment in honor of all those who keep us performing!

Dan and Dana O’Keefe Eric O’Neal Leslie King O’Neal Molly O’Neill Dr. Ron and Nina Oppenheim Jenise Osani Dr. and Mrs. Jonathan O. Partain Dr. Patricia Patterson Ronald and Carrie Patterson Beth Pendleton Dw Phineas Perkins John and Anne Perry Dr. Calvin and Pamela Peters Peter and Nancy Pfaff Eddie and Melanie Pipkin Lizz and Tony Pittsley Dave Plotkin

George Poelker and Judy Black Carol Ann Pohl Michael and Leslie Poole Jennet Pozzuoli Steven and Nancy Price Mark Pulliam and Judy St. Peter Patricia and Bert Ramsay Debby Randall Bruce and LeAnne Rapée James and Beverly Rawlings Roger D. and Rosalind Ray Douglas and Carole Reece Bill “Roto” Reuter Mr. and Mrs. Rice Mr. and Mrs. Mills Riddick Patricia Rixmann Ian D. Robinson Lenore and Howard Roland Dr. F. Robert and Norene Rolle Robert and Tara Rollins Joy Roney Lesley and Barry Rubin Donald Rudolf Judy Russell Ellen C. and Allan W. Ryan Michael and Theresa Ryan Joan E. Sanchez Diane L. Sandquist Maria Isabel Sanquírico Rocky Santomassino The Sanz-Guerro Family Patty Schmidt Frank Schornagle Jim and Pat Schroeder Ryan Scordato Sara and Bill Segal Samuel W. Seymour and Karen Patton Seymour Rebecca Shanahan James G. Shepp Arthur Shevchenko William and Dorothy Silverman Diana Sisley Dr. Paul Skomsky Scott and Tina Skraban Charlie and Becca Sloan Brenda and Stan Smith Keith Smith and Marc Caglia Robert and Janan Smither Mary and Rick Solik Tony and Rebecca Sos Matthew Soss

David Spiegel Paula Stuart Carol Studer Rene Stuzman Randall M. Sumner and George B. Mabry Dr. Stella Sung Vernon Swartsel Thomas C. Taffinder Jodi Tassos in memory of John Tassos George R. and Eleanor C. Taylor Patrick Terry Michael Thomas John and Nancy-Lee Thompson Mark E. Thompson Clinton and Renee Thompson James William Tivy Larry Tobin Tamara L. Trimble Anthea M. Turner Jerry and Barbara Twedt Benjamin Urrutia Lee and Judy Van Valkenburgh Bernie Vatter Ms. Sterling S. Vestal Massimo and Louise Villinger Keith Walls Robert Waltman Katy Moss Warner Tim Warzecha and Bill Neighbors David Kevin Weaver Todd C. Weaver Mr. Randy Welsch Miriam Weston The Honorable David Wheeler George and Cynthia White Michael and Diane White Trudy Wild Jennifer Williams and James Yannucci Jayne and John Willis Betty Jane and Cecil Wilson, MD Bill and Suzy Wilson David and Diane Withee Nancy and Jonathan Wolf Leighton and Phyllis Yates Michael J. Young Edward and Phyllis Zissman JL Zucco

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OUR HISTORY

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 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 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.

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.

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EDUCATION AND OUTREACH The Bach Festival Society offers music-making and educational opportunities for all ages.

The Bach Festival Choir is comprised of auditioned singers, rehearsing year-round.

The Young at Heart Chorale is a volunteer singing group for those 55+ years young performing at local community centers.

The Bach to the Future initiative provides programs for students from pre-K to high school, including the FreshStARTS program which brings unique musical learning experiences into the classroom featuring the Bach Vocal Artists. The annual High School Honors Choral Festival invites local groups for workshops with collegiate choral directors from across the country. This festival helps prepare those choirs for their annual Music Performance Assessments. A new initiative, The Choir of Distinction, offers area choirs a chance to hold the title and receive many benefits including a trophy, choral mentorship, educational opportunities and an invitation to perform.

Master Classes led by world-renowned visiting artists give students and patrons a unique insider’s perspective on the process of fine-tuning classical musical excellence.

To learn more, visit BachFestivalFlorida.org/community

TICKETS PURCHASE TICKETS Online at BachFestivalFlorida.org/tickets Call 407.646.2182 Visit the Box Office 203 East Lyman Avenue, 2nd Floor Winter Park, FL 32789 Monday–Friday, 10:00 a.m.–4:00 p.m.

TICKET POLICY Performance details are subject to change.

To learn more, please visit BachFestivalFlorida.org/ticket-policy

DON’T MISS A PERFORMANCE Save up to 30%, access the best seats, and receive promo codes for concerts at Steinmetz Hall when you purchase a subscription.

Learn more at BachFestivalFlorida.com/subscriptions

EDUCATION RUSH TICKETS $10 RUSH tickets offered to students and educators pending seating availability.

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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TICKETS STILL AVAILABLE FOR UPCOMING PERFORMANCES INSIGHTS & SOUNDS: ASPEN TRIO WITH JOHN HARBISON, LECTURER Thursday, March 23, 2023 at 7:30 pm | Tiedtke Concert Hall Hear one of the most celebrated composers of our time discuss the creative process and subsequent product. The masterful Aspen Trio performs a program that includes a work by Pulitzer Prize–winning composer John Harbison as well as the Mozart work that inspired his composition. Tickets from $15 TAKACS QUARTET WITH JEREMY DENK, PIANO Saturday, March 25, 2023 at 7:30 pm | Tiedtke Concert Hall Proclaimed by The New York Times as “a pianist you want to hear no matter what he performs,” Jeremy Denk is a winner of a MacArthur Genius Fellowship and the Avery Fisher Prize. The Takács Quartet, formed in 1975 at the Franz Liszt Academy in Budapest, has won a Grammy and the Wigmore Hall Medal. Tickets from $30 INSIGHTS & SOUNDS: THE SPIRITUAL Thursday, April 6, 2023 at 7:30 pm | Tiedtke Concert Hall Learn more about the history of this profound genre through spirituals sung by members of the Bach Festival Choir and guest soloist Samuel McKelton. McKelton, lauded by The New York Times for the “natural elegance” of his lyric tenor voice, is dedicated to the preservation of the Negro Spiritual. Tickets from $15 PURSUIT OF PEACE Saturday, April 29, 2023 at 7:30 pm | Sunday, April 30, 2023 at 3:00 pm | Knowles Memorial Chapel The musical centerpiece of this poignant program, The Armed Man: A Mass for Peace by Welsh composer Sir Karl Jenkins, was written to commemorate the victims of the Kosovo Crisis in 1999 and portrays both the horrors of war and the yearning for peace.In the last masterworks concert of the season, the Bach Choir and Orchestra, along with four guest soloists, are featured in this powerful and emotional performance. Tickets from $25 BACH VOCAL ARTISTS: MARRIAGE OF MUSIC AND POETRY Thursday, May 18, 2023 at 7:30 pm | Tiedtke Concert Hall For the final concert of their inaugural year, the Bach Vocal Artists will present a program entitled “The Marriage of Music and Poetry” patterned after a Rollins College class by the same name taught for many years by Dr. Sinclair.

Tickets from $25

BachFestivalFlorida.org | 407.646.2182

88 TH SEASON Bach Vocal Artists: Haydn, Hummel, and Hensel Thu, October 6, 2022 at 7:30 p.m.

The King’s Singers Fri, February 10, 2023 at 7:30 p.m.

Insights & Sounds: Sublime Schubert Thu, October 27, 2022 at 7:30 p.m.

JIJI, guitar Sun, October 30, 2022 at 3:00 p.m.

Verdi’s Requiem Sun, November 6, 2022 at 3:00 p.m.

Chuck Seipp, trumpet and Randall Sheets, organ Tue, November 8, 2022 at 7:30 p.m.

Christmas in the Park Thu, December 1, 2022 at 6:15 p.m.

A Classic Christmas Sat, December 10, 2022 at 1:00 p.m. and 4:00 p.m.

Sun, December 11, 2022 at 1:00 p.m. and 4:00 p.m.

A Voctave Christmas Tue, December 20, 2022 at 7:30 p.m.

88TH ANNUAL BACH FESTIVAL

Venus Ascending!

Sat, February 11, 2023 at 7:30 p.m.

Sun, February 12, 2023 at 3:00 p.m.

Concertos by Candlelight Fri, February 17, 2023 at 7:30 p.m.

Sat, February 18, 2023 at 7:30 p.m.

Itamar Zorman, violin and Adam Golka, piano Sun, February 19, 2023 at 3:00 p.m.

Lisa Terry, viola da gamba and Joanne Kong, harpsichord Sat, February 25, 2023 at 3:00 p.m.

J.S. Bach’s St. Matthew Passion Sun, February 26, 2023 at 3:00 p.m.

Insights & Sounds: Aspen Trio with John Harbison, lecturer Thu, March 23, 2023 at 7:30 p.m.

Takács Quartet with Jeremy Denk, piano Sat, March 25, 2023 at 7:30 p.m.

Paul Jacobs, organ Fri, February 3, 2023 at 7:30 p.m.

Insights & Sounds: The Spiritual Thu, April 6, 2023 at 7:30 p.m.

Spiritual Spaces Sat, February 4, 2023 at 3:00 p.m. and 5:00 p.m.

Pursuit of Peace Sat, April 29, 2023 at 7:30 p.m.

Sun, April 30, 2023 at 3:00 p.m.

Bach Vocal Artists: Odes and a Hymn for St. Cecilia by Purcell, Handel, and Britten Sun, February 5, 2023 at 3:00 p.m.

Bach Vocal Artists: Marriage of Music and Poetry Thu, May 18, 2023 at 7:30 p.m.

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