BACH VESPERS

BACH V ESPER S A LU T HER A N V ESPER S AT T HE T I M E OF BACH

Duke Vespers Ensemble & Cappella Baroque

As a courtesy to the performers and other audience members, we ask that you turn off all watches, cell phones, pagers, and other electronic devices during the concert.

Restrooms are located in the Divinity School hallway outside the entrance of Goodson Chapel.

BACH V ESPER S Duke Vespers Ensemble & Cappella Baroque G O ODSON CH A PEL , DU K E UNI V ER SIT Y 路 FR I, O C T 16, 8:0 0PM GR ACE CH A PEL , L ENOIR-R H Y NE UNI V ER SI T Y 路 S UN, O C T 18 , 5:0 0PM

B A C H V E S P E R S A Lutheran Vespers at the Time of Bach

R ESPONSE

Meine Seele erhebet den Herren, BWV 648 ����������Johann Sebastian Bach (1685-1750) Deus in adjutorium meum intende �������Johann Caspar Ferdinand Fischer Domine ad adjuvandum me festina ������������������������������������(c. 1656-1746)

PSA L M

Ps. 30 ������������������������������������������������������������������������������������ Plainchant

PSA L M

Ps. 51 Schaffe in mir Gott ������������������������������ Andreas Hammerschmidt (c. 1611-1675) Mark 5:21-43 — Read in German by Anne Gidion, Duke Divinity visiting lecturer

VOLUN TA R Y V ER SICLE &

G O S PE L

MOTET H YM N

C A N TATA

Wir danken dir ���������������������������������������������������� Adam Gumpelzhaimer (1559-1625) Jesus Christ, My Sure Defense — Congregation remain seated and sing verses 1-3 and 6-7 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 �������������������������J. S. Bach i. Chorus ii. Aria, bass (chorale sung by sopranos) iii. Chorus iv. Aria, tenor (chorale sung by altos) v. Chorus

M EDITAT ION C A N T ICLE

Magnificat ��������������������������������������������������������������������� Johann Schelle (1648-1701)

C O L L E C T S / PR A Y E R S CONCLUSION H YM N

VOLUN TA R Y

Benedicamus Domino / Deo Dicamus ������������ Gottfried August Homilius (1714-1785) Lord, Thee I Love with All My Heart — Congregation remain seated and sing all verses Fugue on the Magnificat, BWV 733 �����������������������������������������J. S. Bach

Presiding pastor, Anne Gidion, Guest Lecturer at Duke Divinity School

PR O GR A M NOT ES

M

O D E R N I T Y PR E S E N T S M A N Y

impediments to a contemporary understanding of the music of Johann Sebastian Bach and its historical function in Lutheran worship.

Modern aficionados of Classical music rarely view composers of Bach’s stature in more than aesthetic terms, yet Bach’s greatness shines through the brightest when we recognize and explore his relationship with the theology and liturgical traditions of the Lutheran church.

Tonight’s program is an exercise in historical listening, and we invite you to open your ears to Bach’s music in a new way. Through our efforts to faithfully model an eighteenth century Lutheran Vespers service, we hope that the service will create a sensuous facsimile of how the congregation would have heard Bach’s cantatas in their original form. To adopt this historical mindset, we must briefly talk about a few crucial understandings that may be foreign to our contemporary view of Bach, but they were essential for the congregants in Leipzig.

T HEOLO GIC A L A ND HIS TOR IC A L FOUNDAT IONS

Martin Luther’s decision to embrace the contemporary musical forms and styles of the sixteenth century was a critical foundation for the Lutheran choral tradition that Bach inherited and cultivated in eighteenth century Leipzig. A central question for Luther was whether the music of his day could be used as “vessels and bearers of ecclesiastical proclamation and ecclesiastical confession.” 1 Since Bach used 1. Luther quoted in Stiller, Günther. Johann Sebastian Bach and Liturgical Life in Leipzig. Edited by Robin A. Leaver. St. Louis, MO: Concordia Publishing House, 1984, 143.

emerging forms and practices of his day to write his cantatas, music historians often attribute the secularization of Lutheran church music to Bach’s works; however, because Luther established an openness to music in all of its forms, Bach would not have been able to conceive of any philosophical or functional difference in music along liturgical lines. Not until late in the eighteenth century, when the Lutheran churches in Leipzig finally succumbed to the individualistic reforms of Pietism, did a sacred vs. secular distinction disrupt the musical theology of Lutheran orthodoxy.

In 2013, the Duke Vespers Ensemble presented a concert that celebrated the liturgical music of Leipzig from 1692-1730. During these years, the city found itself in the midst of a “golden age” of liturgical worship that was unique in the culture of early-modern Germany. Beginning in 1692, the city experienced a boom in attendance at the two main churches, St. Thomas and St. Nicholas.

The Neuekirche (New Church) was opened in 1699 to accommodate overflow from the two main churches. By 1717, it would have been possible for a person to attend 14 services on any given Sunday in Leipzig. The dedication of that year’s hymnbook makes it clear that the citizens of the town were aware of the importance of what was happening. The Dedication reads: “In particular, the well-ordered worship has a special reputation everywhere, whether reference is to the excellent men who address the people in public or to other practices, including the divinely hallowed singing…The indescribable attendance at all these churches, those that were there before as well as the newly remodeled and erected churches, is truly astonishing.” 2 2. Stiller, 47

Since it was Bach’s role as the Cantor of St. Thomas to provide music for all of the main churches in Leipzig, his cantatas were the centerpiece of his work every week in worship. For the first two hundred years of its life, the Lutheran church held the office of Cantor in almost equal esteem with clergy.

In Leipzig, the congregation would have seen Bach’s music as an extension of the sermon.

K L I N G E N D E - PR E D I G T: A “MUSIC A L SER MON ”

Luther used the term “Klingende-predigt”, or Music-sermon, to describe his vision for the music that would immediately follow the sermon in Lutheran churches. To historically listen to tonight’s cantata, we need to understand the way Bach’s music inhabits the rhetorical genre of the sermon. Just like a sermon, Bach’s music is meant to effect and persuade the congregation of the power of the Gospel of Jesus Christ. Luther wrote that the music-sermon should be “musical exegesis that might intensify the Biblical text through melodic, rhythmic, harmonic, and contrapuntal means and might thus let it strike the hearer in full force.”

3 As a rhetorical expression, the music-sermon engages the congregation as a whole. The first line of Psalm 130 is “Out of the depths, I cry, Lord, to you.” The power of rhetoric transforms the “I” of the individual congregant into the unified prayer of the entire body of Christ.

Without the liturgical context, this cantata could simply be read from the point-of-view of a single believer. But when we recognize the importance of the music sermon, the music gains the expressive power of many voices raised in supplication to the Lord.

If a sermon is characterized as a procla-

3. Stiller, 151

mation and invitation to experience the good news of Jesus Christ, then we can see how “Aus der Tiefe” models a sermon through its use of scripture. Psalm 130 is a lament psalm, meaning that it has its own specific rhetorical structure. Lament psalms emphasize supplication, penitence, and confession. Many of the lament psalms describe the people of Israel surrounded by enemies and in times of distress, but even in hardship, words of supplication and penitence always end with assurance of the Lord’s goodness and praise of God’s faithfulness.

Bach not only constructs the cantata musically based on the lament psalm, he also uses Lutheran hymns to ground the cantata’s move toward hope in the story of Christ’s Crucifixion.

In the second and fourth movements, Bach forms a duet by combining an aria for solo voice with a hymn sung by the treble voices.

The hymns served a dual function: first, both of the hymns are thematically related to Psalm 130 and are used to interpret the psalm text in the same manner as multiple texts used in a sermon; second, the hymns would have been known to the congregation, and they would be invited to consider both the hymn and the psalm in a new way. The intertwining of the hymns with Psalm 130 allows Bach to offer the good news of Christ’s gospel in the cantata by reminding the congregation that their hope was won “on the wood with deathly agonies, so that, for great woe I might not perish in my sins, nor eternally despair.” 4 The “I” of the chorale tune encompasses the full communion of saints that have sung those words throughout the Lutheran tradition. Considering the rhetorical power of the music-sermon reveals the way that Bach saw his music not as beautiful decoration

4. From verse 2 of Herr Jesu Christ, du höchstes Gut

for worship, but as the instantiation of the eschatological vision of his faith.

The music of Johann Sebastian Bach was not composed in a vacuum and understanding the context of liturgical life in Leipzig demonstrates how Bach’s music fully engaged his tradition and his community. Historical listening opens our ears to Bach, the servant – a composer responding to the needs of his congregations with depth and utmost creativity. We must also acknowledge the congregations in Leipzig, since there would not have been such expansion in services and musical offerings without the support of

the people. Worshippers in Leipzig had been steeped in Luther’s theology that emphasized active participation in worship. During the cantata, participation meant listening for the elaboration of the Gospel message, and the engagement of the congregation was a part of the corporate witness of the body during worship. Tonight, we present music that was written to serve and reward the attention of those experiencing it. Regardless of faith tradition, we invite you to participate in a corporate act of music-making that finds its fullest completion when every heart and mind is engaged.

— Thomas Isaac Collins Duke Divinity, Senior MDiv

Bibliography Bach, Johann Sebastian, and Charles Sanford Terry. Cantata Texts: Sacred and Secular.

London: Holland Press, 1964.

Leaver, Robin A. J.S. Bach as Preacher: His Passions and Music in Worship. St. Louis, MO: Concordia Pub. House, 1984.

Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications. Grand Rapids, Mich.: William B. Eerdmans Pub., 2007.

Stiller, Günther. Johann Sebastian Bach and Liturgical Life in Leipzig. Edited by Robin A. Leaver. St. Louis, MO: Concordia Publishing House, 1984.

V ER SICLE & R ESPONSE

Deus in adjutorium meum intende ���������������������������������������� Johann Caspar Ferdinand Fischer Deus in adjutorium meum intende.

Domine, ad adjuvandum me festina.

O Lord, make speed to save me.

O Lord, make haste to help me.

Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen. Alleluia.

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

— Psalm 69:2

PSALM

Psalm 30 ����������������������������������������������������������������������������������������������������������������������������������� Plainchant 1. I will exalt you, O Lord, because you have lifted me up and have not let my enemies triumph over me.

2. O Lord my God, I cried out to you, and you restored me to health.

3. You brought me up, O Lord, from the dead; you restored my life as I was going down to the grave.

4. Sing to the Lord, you servants of his; give thanks for the remembrance of his holiness.

5. For his wrath endures but the twinkling of an eye, his favor for a lifetime.

6. Weeping my spend the night, but joy comes in the morning.

7. While I felt secure, I said, “I shall never be disturbed.

8. You, Lord, with your favor, made me as strong as the mountains.”

9. Then you hid your face, and I was filled with fear.

10. I cried to you, O Lord; I pleaded with the Lord, saying, 11. “What profit is there in my blood, if I go down to the Pit? Will the dust praise you or declare your faithfulness?

12. Hear, O Lord, and have mercy upon me; O Lord, be my helper.”

13. You have turned my wailing into dancing; you have put my sackcloth and clothed me with joy.

14. Therefore my heart sings to you without ceasing; O Lord my God, I will give you thanks forever.

PSALM

Schaffe in mir Gott ������������������������������������������������������������������������������������ Andreas Hammerschmidt Schaffe in mir, Gott, ein reines Herz, und gib mir einen neuen, gewissen Geist.

Verwirf mich nicht von deinem Angesicht und nimm deinen heiligen Geist nicht von mir.

Create a pure heart within me, O God, and grant me a new and sure spirit.

Do not drive me away from your presence, and do not take your Holy Spirit from me.

Tröste mich wieder mit deiner Hilfe, und der freudige Geist erhalte mich.

Comfort me once again with your assistance, and sustain me with your joyful spirit.

— Psalm 51:10-17

G OSPEL 5:21 5:22 5:23 5:24 5:25 5:26 5:27 5:28 5:29 5:30 5:31 5:32 5:33 5:34 5:35

When Jesus had crossed again in the boat to the other side, a great crowd gathered around him; and he was by the sea.

Then one of the leaders of the synagogue named Jairus came and, when he saw him, fell at his feet and begged him repeatedly, "My little daughter is at the point of death. Come and lay your hands on her, so that she may be made well, and live."

So he went with him. And a large crowd followed him and pressed in on him.

Now there was a woman who had been suffering from hemorrhages for twelve years.

She had endured much under many physicians, and had spent all that she had; and she was no better, but rather grew worse.

She had heard about Jesus, and came up behind him in the crowd and touched his cloak, for she said, "If I but touch his clothes, I will be made well."

Immediately her hemorrhage stopped; and she felt in her body that she was healed of her disease.

Immediately aware that power had gone forth from him, Jesus turned about in the crowd and said, "Who touched my clothes?"

And his disciples said to him, "You see the crowd pressing in on you; how can you say, 'Who touched me?'"

He looked all around to see who had done it.

But the woman, knowing what had happened to her, came in fear and trembling, fell down before him, and told him the whole truth.

He said to her, "Daughter, your faith has made you well; go in peace, and be healed of your disease."

While he was still speaking, some people came from the leader's house to say, "Your daughter is dead. Why trouble the teacher any further?"

5:36 5:37 5:38 5:39 5:40 5:41 5:42 5:43

But overhearing what they said, Jesus said to the leader of the synagogue, "Do not fear, only believe."

He allowed no one to follow him except Peter, James, and John, the brother of James.

When they came to the house of the leader of the synagogue, he saw a commotion, people weeping and wailing loudly.

When he had entered, he said to them, "Why do you make a commotion and weep?

The child is not dead but sleeping."

And they laughed at him. Then he put them all outside, and took the child's father and mother and those who were with him, and went in where the child was.

He took her by the hand and said to her, "Talitha cum," which means, "Little girl, get up!"

And immediately the girl got up and began to walk about (she was twelve years of age). At this they were overcome with amazement.

He strictly ordered them that no one should know this, and told them to give her something to eat

MOTET

Wir Danken Dir ����������������������������������������������������������������������������������������������Adam Gumpelzhaimer Wir danken dir, Herr Gott, Vater, durch Jesum Christum unsern Herren, für alle deine Wohltat, der du lebest und regierest in Ewigkeit. Amen.

We thank you, Lord God, our Father, through Jesus Christ our Lord, for all your blessings, you live and reign in eternity. Amen.

Jesus Christ, My Sure Defense

H Y M N Jesus Christ My Sure Defense

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Text: Berlin, 1653; tr. Catherine Winkworth, 1829-78 Tune: Johann Crüger, 1598-1662

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JESUS, MEINE ZUVERSICHT 78 78 77

C A NTATA

Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 ������������������������������������������������������������ J. S. Bach 1 . CHORUS

Aus der Tiefen rufe ich, Herr, zu dir.

Herr, höre meine Stimme, laß deine Ohren merken auf die Stimme meines Flehens!

2 . A R I A , B A S S (chorale sung by sopranos) So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen?

Erbarm dich mein in solcher Last, Nimm sie aus meinem Herzen, Die weil du sie gebüßet hast Am Holz mit Todesschmerzen, Denn bei dir ist die Vergebung, daß man dich fürchte.

Auf daß ich nicht mit großem Weh In meinen Sünden untergeh, Noch ewiglich verzage.

Out of the depths I call, Lord, to You. Lord, hear my voice, let Your ears take note of the sound of my pleas!

— Psalm 130:1-2 If thus You choose, Lord, to account for sins, Lord, who could remain?

Have mercy on me burdened so, take them out of my heart, since you have atoned for them on the wood with deathly agonies, For forgiveness is with You, so that You might be held in awe. so that, for great woe I might not perish in my sins, nor eternally despair.

— Psalm 130:1-2 — “Herr Jesu Christ, du höchstes Gut,” verse 2

3. CHORUS

Ich harre des Herrn, meine Seele harret, und ich hoffe auf sein Wort.

4 . A R I A , T E N O R (chorale sung by altos) Meine Seele wartet auf den Herrn von einer Morgenwache bis zu der andern.

Und weil ich denn in meinem Sinn, Wie ich zuvor geklaget, Auch ein betrübter Sünder bin, Den sein Gewissen naget, Und wollte gern im Blute dein Von Sünden abgewaschen sein Wie David und Manasse.

I await the Lord, my soul waits, and I hope in His word.

— Psalm 130:5 My soul waits for the Lord from one morning watch to the other.

— Psalm 130:6 And since in my mind, as I lamented before, I am also a troubled sinner, whose conscience gnaws him, and would gladly, in Your blood be washed clean of sin, like David and Manassah.

— “Herr Jesu Christ, du höchstes Gut,” verse 5

5. CHORUS

Israel hoffe auf den Herrn; denn bei dem Herrn ist die Gnade und viel Erlösung bei ihm.

Und er wird Israel erlösen aus allen seinen Sünden.

Israel hopes in the Lord; for mercy is with the Lord and much redemption.

And He will redeem Israel from all its sins.

— Psalm 130:7-8

C A N TICLE

Magnificat ����������������������������������������������������������������������������������������������������������������������� Johann Schelle Magnificat anima mea Dominum, Et exsultavit spiritus meus in Deo salvatore meo.

Quia respexit humilitatem ancillae suae.

Ecce enim ex hoc beatam me dicent omnes generationes, Quia fecit mihi magna, qui potens est, et sanctum nomen eius, Et misericordia eius in progenies et progenies timentibus eum.

Fecit potentiam in brachio suo; Dispersit superbos mente cordis sui.

Deposuit potentes de sede et exaltavit humiles.

Esurientes implevit bonis et divites dimisit inanes.

Suscepit Israel puerum suum, recordatus misericordiae, sicut locutus est ad patres nostros, Abraham et semini eius in saecula.

Gloria Patri, et Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

My soul doth magnify the Lord, And my spirit hath rejoiced in God my Savior.

For he hath regarded the lowliness of his handmaiden.

For, behold, from henceforth all generations shall call me blessed.

For he that is mighty hath magnified me, and holy is his name.

And his mercy is on them that fear him throughout all generations.

He hath shown strength with his arm; He hath scattered the proud in the imagination of their hearts.

He hath put down the mighty from their seat and hath exalted the humble and meek.

He hath filled the hungry with good things, and the rich he hath sent empty away.

He remembering his mercy hath holpen his servant Israel, As he promised to our forefathers, Abraham and his seed forever.

Glory be to the Father, and to the Son: and to the Holy Spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen — Luke 1:46-55

CONCLUSION

Benedicamus Domino / Deo dicamus gratias �������������������������������� Gottfried August Homilius Benedicamus Domino, alleluia.

Deo dicamus gratias, alleluia.

Let us bless the Lord, alleluia.

Let us give thanks to God, alleluia.

Lord, Thee I Love with All My Heart

H Y M N Lord, Thee I Love with All My Heart

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with ten - der mer - cy cheer me. in this poor life of la - bor. that I may die un - fear - ing;

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Text: Martin Schalling, 1532–1608; tr. Catherine Winkworth, 1827–1878, alt.

Music: B. Schmid, Orgeltabulaturbuch, 1577

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HERZLICH LIEB PM

Brian A. Schmidt Conductor, Duke Vespers Ensemble

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R I A N A . SCHM IDT IS A SSISTA NT CONDUC TOR A ND

Administrative Coordinator of Chapel Music at Duke University in Durham, NC, where he serves as conductor of the Duke Vespers Ensemble and Duke Divinity School Choir. He is also the Artistic Director of the South Dakota Chorale, a professional chorus organization in Sioux Falls, SD. The Duke Vespers Ensemble is an auditioned choir consisting of 20 volunteer singers. With the Duke Vespers Ensemble, Schmidt leads a weekly Choral Vespers service and monthly Anglican Evensong with Chapel Organist Christopher Jacobson. Outside of their primary service work, this ensemble presents primarily early music concerts ranging from Baroque masterworks with period instruments to various Renaissance Mass and Requiem settings, and performances at Boston Early Music Festival in 2013 and 2015.

As founder and Artistic Director of the SD Chorale, he manages a roster of professional singers from around the United States. His leadership has guided the ensemble to rapid growth and recognition, as well as the release of two commercial albums in collaboration with Grammy award-winning producer, Blanton Alspaugh, and the signing of an international recording contract in 2014 with PENTATONE, a Dutch classical label. He also received the prestigious invitation to conduct the SD Chorale at the 2015 American Choral Directors Association (ACDA) national conference in Salt Lake City, Utah.

Brian was selected by ACDA to represent America in the International Conductor Exchange Program with Sweden, resulting in study and guest conducting opportunities in Sweden during the fall of 2015. He was previously the founder and Artistic Director of the Dakota Men’s Ensemble, which also appeared at national, regional, and state ACDA conventions. Brian graduated from the University of North Texas, where he completed MM and DMA degrees under Jerry McCoy and Richard Sparks, along with early music studies under Lyle Nordstrom and Lenora McCroskey.

Christopher Jacobson Continuo Artist, Duke University Chapel Organist

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H R I S T O PH E R J A C O B S O N I S T H E D U K E U N I V E R S I T Y

Chapel Organist and organist at the Duke Divinity School.

Before assuming his position, he served as Associate Organist at Trinity Episcopal Cathedral in Columbia, South Carolina, and Assistant Organist at Washington National Cathedral where he assisted in the direction of the cathedral music program and training of the cathedral choirs.

Christopher has presented organ recitals across North America, Europe, and Australia. In addition to an active interest in organ music of 19th- and 20th-century France, he has performed the complete organ works of Johann Sebastian Bach on several occasions across the United States. He has also accompanied choirs in residencies and tours in the United States and Europe, and is an active continuo artist having appeared with early music ensemble Three Notch’d Road and the North Carolina Baroque Orchestra.

He has won prizes in numerous organ competitions, including the National Young Artist Competition in Organ Performance (American Guild of Organists), the Miami International Organ Competition, and the John R. Rodland Competition in Church Music.

Christopher holds a Master of Music degree in Organ Performance and the Sacred Music Diploma from the Eastman School of Music as well as a Bachelor of Music degree with distinction in Organ Performance from St. Olaf College. In addition, he holds the Associate diploma (AAGO) from the American Guild of Organists. His teachers have included David Higgs, William Porter, John Ferguson, and Catherine Rodland. Christopher is a graduate of Woodberry Forest and the American Boychoir School where he was a treble chorister under James Litton.

Cappella Baroque Players Violin L E A H PER O U T K A ,

Violone Concertmaster

R O BBI E L I N K

A N DY B O NN ER JOH N PR U E T T

Oboe

A L L IS O N W IL L E T

W ILLI A M T H AUER

Viola

Organ

JOE Y O ’D ONNELL

J A C Q U E L I N E N A PPI

S UZ A NNE ROUSSO

C H R I S T O PH E R J A C O B S O N

Cello S T E PH A N I E V I A L

The Duke Vespers Ensemble

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HE DU K E V ESPER S E NSE M BL E IS A N AC T I V E C H A M BER C HOIR B A SED AT DU K E

University Chapel in Durham, North Carolina. Consisting of approximately twenty members from the Duke and Triangle communities, the choir is directed by Dr. Brian A. Schmidt. The Vespers Ensemble specializes in Renaissance and early Baroque choral works, including pieces by Tomás Luis de Victoria, Dietrich Buxtehude, and William Byrd.

This early music repertoire is complemented by 19th century and modern works in a similar style by composers such as Herbert Howells, Knut Nystedt, and Arvo Pärt.

The group leads worship services every Thursday of the academic year at 5:15 pm. This 45-minute candlelight service consists of scripture readings, prayers, and sacred music, and is held in the intimate setting of the chancel. The Vespers Ensemble also participates in special services throughout the year, including a popular All-Hallows Eve Service, which is held in almost total darkness. All services are available online for live streaming and archived viewing at youtube.com/dukechapel.

The Vespers Ensemble also performs several concerts during the academic year, on Duke’s campus and in the community. Recent concerts include a collaborative presentation with the department of Art, Art History, and Visual Studies, featuring the music and art of the Sistine Chapel and an appearance at Boston Early Music Festival in June of 2013. The choir also sings abroad, most recently on a tour to Eastern Europe.

Soprano † SA M A NTA

ARTEN

Tenor * T HOM A S

IS A AC COLLINS

A LI C A R NES

J O N A T H A N D AV I D

R E BE K A H G I V E N S

LUC A S EHR H A R DT

† LY DI A

GR EENE

M A RC US EHR H A R DT

SA R A H JONES

† RYA N

K ATIE ROSS

JON AT H A N POA RCH

KOTER

G A BR I E L L E R U S S I N S T E PH A N I E W E S T E N

Bass J O H N -T Y L E R BR U M F I E L D

Alto

BR A D C R O U S H O R N

BR I G I D B U R R O U G H S

DA NN Y DE V E AU

X I ATING CHEN M EG A N FOR K

* N AT H A N JONES † M ICH A EL LY L E

RU TH A N FR EESE

DE V IN MCC A R T H Y

V IRGINI A MOY ER

S T E PH E N P Y S N I K

† M ER EDIT H

P YSNIK

A N N A S H O WA LT E R

* indicates soloist in Bach Cantata #131

† indicates soloist in Schelle Magnificat

G . F. H A N DE L

MESSIAH PAGE AU DI T OR I UM · F R I, DE C 4 , 7: 3 0PM S A T, D E C 5 , 2 : 0 0 P M · S U N , D E C 6 , 3 : 0 0 P M

The Duke Chapel Choir & Orchestra Pro Cantores are proud to present the 82nd annual performances of this beloved choral masterwork� Rodney Wynkoop, Conductor $20 GA / $5 Students Free for Duke Students

tickets.duke.edu 919.684.4444