27th Annual

SHENANDOAH VALLEY BACH FESTIVALKenneth Nafziger, Artistic Director

JUNE 9-16, 2019

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WELCOME…

Ken NafzigerArtistic Director and Conductor

… to the twenty-seventh season of the Shenandoah Valley Bach Festival. As in preceding seasons, you will hear some amazing music. For those of you for whom this is your first visit, a warm welcome. We hope you will have a wonderful time, that you will tell your friends about us, and that you will return often!

Franz Joseph Haydn’s beloved oratorio, The Creation, is the centerpiece of this year’s events. Written when he was well along in years, and cherished by audiences and performers from its first performance to the present day, this work opens with a magnificent depiction of order arising from chaos, light coming out of darkness. Themes of light and dark run throughout the week of music: the opening concert begins with Bach Brandenburg Concertos, his brightest (No. 2) and his darkest (No. 6).

A night scene (Berlioz) and another night scene brightened by the colors of a Latin dance party (Gottschalk) are separated by a short ballet based on African legends of creation (Milhaud). The festival’s concluding Leipzig service includes a Bach cantata based on Psalm 23, a well-loved Psalm text that acknowledges the light and the dark of one’s walk through life.

This year, as we have on many occasions in the past, we honor the anniversaries of particular composers. This year, we mark the 150th anniversary of the death of two, one famous, the other not so much. They knew each other, respected each other, and learned from each other: Hector Berlioz (French) and Louis Moreau Gottschalk (Haitian-Creole).

So again, I welcome you to enjoy all the concerts: ticketed orchestral concerts on the opening Sunday afternoon, and Friday and Saturday evening, a Baroque Academy Faculty concert on Thursday evening (also ticketed), the concluding Leipzig Service (freewill offering), and the six noon chamber music concerts (contributions warmly received). Thanks for being here, for your support, and your financial assistance in making these recurring summer events possible.

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Did you know?• Musicians rehearse/perform a combined

total of 3,300+ hours during festival week.

• You can attend 7 of our 11 concerts without purchasing a ticket.

• Ticket sales account for only 14% of our budget.

• We pay the musicians for both ticketed and non-ticketed concerts.

• Musicians’ fees total approximately $90,000.

• We rely on your generous donations to pay the musicians.

Donations may be placed in the violin cases in the foyer, made online at

to svbachfestival.org/donate, or mailed to:

EMU Development Office1200 Park Road

Harrisonburg, VA 22802

Make checks payable to EMUwith Bach Festival in the memo line.

THANK YOU FOR YOUR SUPPORT!

HAVE YOU ENJOYED THE

CONCERTS THIS WEEK?

Let us know by making a tax-deductible contribution and inviting your friends to attend.

Help us preserve the “jewel in Harrisonburg’s crown.”(Virginia Commission for the Arts)

bach@emu.edu540-432-4367svbachfestival.org

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THE FESTIVAL AT A GLANCESUNDAY, JUNE 9 Talking Music, with Kenneth Nafziger Martin Greeting Hall, EMU Campus Center, 2:15 p.m.

Festival Concert 1 ............................................................................................................................................................ 5 Lehman Auditorium, EMU, 3 p.m.

MONDAY, JUNE 10 Noon Chamber Music Concert ................................................................................................................................... 9 Asbury United Methodist Church, 205 S. Main Street, noon

TUESDAY, JUNE 11 Noon Chamber Music Concert ................................................................................................................................. 11 Asbury United Methodist Church, 205 S. Main Street, noon

WEDNESDAY, JUNE 12 Orchestra rehearsals (open to listeners) Lehman Auditorium, 9-11:30 a.m. and 2:30-5 p.m.

Noon Chamber Music Concert .................................................................................................................................13 Asbury United Methodist Church, 205 S. Main Street, noon

THURSDAY, JUNE 13 Noon Chamber Music Concert .................................................................................................................................15 Asbury United Methodist Church, 205 S. Main Street, noon

Baroque Academy Faculty Concert ........................................................................................................................ 17 Asbury United Methodist Church, 205 S. Main Street, 7:30 p.m.

FRIDAY, JUNE 14 Noon Chamber Music Concert ................................................................................................................................. 21 Asbury United Methodist Church, 205 S. Main Street, noon

Talking Music, with Kenneth Nafziger Strite Conference Room, EMU Campus Center, 6:45 p.m.

Festival Concert 2 ..........................................................................................................................................................23 Lehman Auditorium, EMU, 7:30 p.m.

SATURDAY, JUNE 15 Noon Chamber Music Concert ................................................................................................................................. 31 Asbury United Methodist Church, 205 S. Main Street, noon

Talking Music, with Kenneth Nafziger Strite Conference Room, EMU Campus Center, 6:45 p.m.

Festival Concert 3 ..........................................................................................................................................................35 Lehman Auditorium, EMU, 7:30 p.m.

SUNDAY, JUNE 16 Leipzig Service ...............................................................................................................................................................45 Lehman Auditorium, EMU, 10 a.m.

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FESTIVAL CONCERT 1 Sunday, 9 June 2019, Lehman Auditorium

This concert is underwritten in part by Rodney Riddle and Corja Mulckhuyse.

Brandenburg Concerto No. 2 in F Major, BWV 1047 [1719 – 1721] Johann Sebastian Bach 1685 – 1750 [Allegro] Andante Allegro assai

Phillip Chase Hawkins, trumpet Sian Ricketts, recorder Sandra Gerster, oboe Andrew Messersmith, violin Joan Griffing & Amy Glick, violins Diane Phoenix-Neal, viola Paige Riggs, cello Peter Spaar, bass Marvin Mills, harpsichord

Bach composed his six Brandenburg Concertos over a decade in the early eighteenth century and sent them to Margrave Christian Ludwig of Brandenburg in Berlin. Bach had reason to believe the margrave might hire him, but the margrave never so much as acknowledged the receipt of this music. Bach wrote the six while he was employed at Cothen where he had an array of fine instrumentalists at his disposal. No concerto is like any other in its instrumentation. One program an-notator calls the set “a crazy diverse group of instrumental pieces..., Bach’s great chamber music colorfest.”

This spectacular music not only failed to get Bach the position he sought, but the pieces were forgotten, not even included in the list of Bach’s complete works compiled by his son, Carl Philipp Emanuel. The manuscripts were sold for $20, and they sat on a shelf awaiting their next performance in 1849, after they were found by a custodian in the Prussian royal library. Now, they are the most beloved of Bach’s compositions; one can only wish he might have written many more!

A recording of the opening movement of this concerto travels aboard the spacecraft Voyager, launched in 1977, and now more than thirteen billion miles from Earth. This wanderer in space carries materials, along with devices for deciphering and hearing them, intended to give any civilization in those far reaches an introduction to the civilization here on earth. The choice of this music came from a discussion between the late Carl Sagan and the late Lewis Thomas, former chancellor of the Memorial Sloan-Kettering Cancer Center. Thomas said, “I would vote for Bach, all of Bach, streamed out into space over and over again. We would be bragging of course, but it is surely excusable to put on the best possible face at the beginning of such an acquaintance. Any species capable of producing the music of Johann Sebastian Bach cannot be all bad.”

Between the brilliant opening and closing movements of this concerto, Bach placed an exquisite gem, a sonata for all the solo instruments except the trumpet.

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Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 [1719 – 1721] Johann Sebastian Bach

[Allegro] Adagio ma non tanto Allegro

Amadi Azikiwe, Diane Phoenix-Neal, Christy Heatwole & Tom Stevens, violas Paige Riggs, cello Peter Spaar, bass Marvin Mills, harpsichord

The sixth Brandenburg Concerto is most likely the oldest one of the set. Bach, himself a violist, may well have played the first of the solo parts (scored for viola da braccio, played held on the arm). The two accompanying viola parts (scored for viola da gamba, played held between the knees) are less challenging by request of his patron at Cothen who was a capable amateur gamba player. The color of this concerto is rich and dark, and explores the magnificent and expressive sounds of the viola in all its registers.

INTERMISSION - 20 MINUTESDesserts and drinks are available on the patio.

Notturno No. 8 in G Major, Hob. II:27 [1788 – 1792] Franz Joseph Haydn 1732 – 1809 Largo – Allegro Adagio Finale: Vivace assai

Mary Kay Adams, flute Sandra Gerster, oboe David Wick & Jay Chadwick, horns Joan Griffing & Jacob Roege, violins Diane Phoenix-Neal & Amadi Azikiwe, violas Paige Riggs, cello Peter Spaar, bass

Divertimentos, serenades, cassations and notturnos made up significant parts of the repertoires of many late eighteenth-century composers. There are not a lot of differences to be found among these designations; they all had essentially one function: to provide music not for concerts but for the creation of an elegant atmosphere in social settings. In Haydn’s hands, they (and there are more than fifty) were a bridge between the baroque suites or orchestral concertos and the symphony. Some of Haydn’s earliest symphonies resembled this social music genre. Little is known about the patron of this music, or where it was first performed. But no matter, it would grace any social setting.

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Trio No. 39 in G Major for Piano, Violin and Cello, Gypsy, Hob. XV:25 [1795] Franz Joseph Haydn

Andante Poco adagio, cantabile Rondo a l’Ongarese: Presto

David Berry, piano David McCormick, violin Kelley Mikkelsen, cello

Haydn wrote forty-five piano trios. No. 39 is from a second set of three trios he composed on his second sojourn in London. On his first trip there, a young pianist, Rebecca Schroter, approached him for piano lessons, and they most likely fell in love, spending considerable time together on that second visit. Haydn’s piano trios all feature the piano, with a less prominent role for the violin, and an even lesser role for the cello. In England, publishers described them as “sonatas for the pianoforte, with an accompaniment of a violin & violoncello.”

There are three movements, two of which are lyrical in nature. The first is a theme with variations, the second a song-like movement with a prominent middle section that features the violin. The third movement is an abrupt shift in tempo and texture. The Hungarian designation is not so much based on Hungarian music, but reflects gypsy melodies and rhythms that Haydn would have heard frequently during his employment with the Esterházy family. Haydn was one of the earliest composers to incorporate gypsy elements in his music, in a manner both playful and charming.

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MONDAY NOON CONCERT10 June 2019, Asbury United Methodist Church

This concert is underwritten in part by an anonymous gift in honor of Ken and Helen Nafziger.

An die Musik [1817] Franz SchubertDie Forelle [1821] 1797 – 1828 Ave Maria [1825]Ständchen [1827-28]Du bist die Ruh [1823]

Kelley Mikkelsen, cello Naoko Takao, piano

Isn’t it wonderful Rebecca Pellett b. 1981 Kevin Piccini, oboe Naoko Takao, piano

Cantigas de Amigo [13th century] Martin Codex

Ondas de mar de Vigo Mandad’ ei comigo Mia irmana fremosa, treides comigo Ai Deus, se sab’ ora meu amigo Quantas sabedes amare amigo Eno sagrado en Vigo Ai ondas que eu vin veer

Sian Ricketts, soprano & recorder David McCormick, viele Caleb Pickering, percussion

Tango Etude No. 3 [1987] Astor Piazzolla 1921 – 1992 Maria Lorcas

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TUESDAY NOON CONCERT11 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Michael and Violet Allain and Jim and Joyce Benedict.

Trio for Flute, Oboe & Piano [1970] Madeleine Dring 1923 – 1977 Allegro con brio Andante semplice Allegro giocoso

Kevin Piccini, oboe Mary Kay Adams, flute Lise Keiter, piano

Concerto after Haydn Sam Suggs b. 1990 Allegro Andante con moto Allegro assai

Sam Suggs, bass David McCormick, violin Amadi Azikiwe, viola Kelley Mikkelsen, cello David Berry, piano

Prelude to a Kiss [1938] Duke Ellington 1899 – 1974 My Favorite Things [1959] Richard Rodgers & Oscar Hammerstein II 1902 – 1979 1895 – 1960 Ryan Kauffman, sax Mark Hartman, guitar Peter Spaar, bass Caleb Pickering, percussion

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Fly me to the moon [1954] Bart Howard 1915 – 2004 Swing Guitars [1936] Django Reinhardt & Stéphane Grappelli 1910 – 1953 1908 – 1997 David McCormick, violin Mark Hartman, guitar Peter Spaar, bass

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WEDNESDAY NOON CONCERT12 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Jay and Leslie Chadwick.

Trio in E-flat Major for Clarinet, Viola & Piano, Kegelstatt, K. 498 [1786] Wolfgang Amadeus Mozart 1756 – 1791 Andante Menuetto Rondeaux: Allegretto

Leslie Nicholas, clarinet Diane Phoenix-Neal, viola Naoko Takao, piano

Duet for Violin & Cello No. 1 in C Major, Wo27 [1790-92] Ludwig van Beethoven 1770 – 1827 Allegro commodo Larghetto sostenuto Rondo: Allegretto

Violaine Michel, violin Kelley Mikkelsen, cello

Kinderszenen (Cenas Infantis) [2001] Joao Guilherme Ripper b. 1959 Schumanniana Ciranda Maracatu

Sandra Gerster, oboe Paige Riggs, cello Lise Keiter, piano

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Three Pieces [1881] Ludwig Maurer 1789 – 1878 (without tempo indication) Andante con moto Allegro grazioso

Susan Messersmith & Christine Carrillo, trumpets Jay Chadwick, horn Jay Crone, trombone Harold Van Schaik, bass trombone

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THURSDAY NOON CONCERT13 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Anne McFarland.

Sonata for Violin & Piano in E Major, BWV 1016 [1717-23] Johann Sebastian Bach 1685 – 1750 Adagio Allegro Adagio ma non tanto Allegro Violaine Michel, violin Naoko Takao, piano

from Trio in B Minor for Oboe, Clarinet & Piano, Op. 27 [1906] Edouard Destenay 1850 – 1924 Allegro vivace

Kevin Piccini, oboe Lynda Dembowski, clarinet Naoko Takao, piano

Sonata for Viola & Piano, Op. 25, No. 4 [1922] Paul Hindemith 1895 – 1963 Sehr lebhaft. Markiert und kraftvoll Sehr langsame Viertel Finale: Lebhafte Viertel

Amadi Azikiwe, viola Naoko Takao, piano

Trio Sonata No. 4 Giovanni Battista Pergolesi 1710 – 1736 Allegro Andante Presto Jay Crone & Matt Wright, tenor trombones Harold Van Schaik, bass trombone

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VIRGINIA BAROQUE ACADEMY FACULTY CONCERT

Thursday, 13 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Chris and Betsy Little.

BACH SAYS BONJOURBaroque Gems from France and Germany

Judith Malafronte, mezzo-sopranoAnne Timberlake, recorders

Daniel Lee, baroque violin and violoncello da spallaMartha McGaughey, viola da gamba

Arthur Haas, harpsichord

Suite in C Minor for Recorder, Violin, and Continuo Pierre Gautier 1642 – 1696 Symphonie Air Passacaille Sommeil

Concerto No. 16 in D Minor, BWV 987 [c. 1716] Johann Sebastian Bach transcription of the Violin Concerto, Op. 1, No. 4 1685 – 1750 by Duke Johann Ernst of Sachsen-Weimar [1696-1715]

Adagio e staccato – Presto Allegro-Adagio-Vivace

from Cello Suite No. 1 in G Major, BWV 1007 [c. 1727-31] Johann Sebastian Bach

Allemande Courante Sarabande

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Songs [1733/34] Georg Philipp Telemann 1681 – 1767 Etwas neues vorzutragen Die großte Kunst ist Geld zu machen Zufriedenheit Getrost in Leiden

Sonata in G Major for Violin and Continuo, BWV 1021 [c. 1732 – 33] Johann Sebastian Bach

Adagio Vivace Largo Presto

INTERMISSION

Sonata VI, L’Impromptu, for Recorder and Continuo Louis-Nicolas Clérambault 1676 – 1749

Pièces de Viole for Gamba and Continuo Marin Marais 1656 – 1729

Ah mortel douleurs, from George Dandin [1672] Jean-Baptiste Lully 1632 – 1687

8e Concert Dans le Goût Théatral François Couperin 1668 – 1733 Ouverture Grande Ritournèle Air Noblement Air Tendre Sarabande Air de Baccantes

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FRIDAY NOON CONCERT14 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Roy and Donna Heatwole.

from Quintet for Clarinet & Strings, K. 581 [1789] Wolfgang Amadeus Mozart 1756 – 1791 Allegro Larghetto

Leslie Nicholas, clarinet Joan Griffing & Jennifer Rickard, violins Amazi Azikiwe, viola Kelley Mikkelsen, cello

from Sonata for Violin & Piano in G Minor, L. 140 [1917] Claude Debussy 1862 – 1918 Allegro vivo Intermède: fantasque et léger

Eleonel Molina, violin Lise Keiter, piano

In Praise of Sun Dogs [1994] Katrina Wreede b. 1960 Amadi Azikwe, Christy Kauffman, Tom Stevens & Diane Phoenix-Neal, violas

The Last Hope, Op. 16 [1854] Louis Moreau GottschalkThe Banjo, Op. 15 [1853] 1829 – 1869 David Berry, piano

What a wonderful world [1967] Bob Theile & George Weiss, 1922 – 1996 1921 – 2010 arr. Tara Islas

David Wick, Jay Chadwick, Tara Islas & Roger Novak, horns

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FESTIVAL OF CONCERTS JUNE 29 – AUGUST 9, 2019

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merchandise and concert information

107 E. Beverley Street • Staunton, VA 24401www.heifetzinstitute.orgC

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FESTIVAL CONCERT 2 Friday, 14 June 2019, Lehman Auditorium

This concert is underwritten in part by Ed and Cathy Comer, Alden and Louise Hostetter, and Ron and Shirley Yoder.

from Les nuits d’été, Op. 7 [1840-1841] Hector Berlioz 1803 – 1869 Barbara Rearick, mezzo-soprano Villanelle Quand viendra la saison nouvelle, When the new season comes, Quand auront disparu les froids, when the cold has vanished, Tous les deux nous irons, ma belle, we will both go, my lovely, Pour cueillir le muguet aux bois; to gather lily of the valley. Sous nos pieds égrenant les perles Gathering the pearls underfoot, Que l’on voit au matin trembler, that one sees shimmering in the morning, Nous irons écouter les merles we will hear the blackbirds Siffler. whistle. Le printemps est venu, ma belle, Spring has come, my lovely, C’est le mois des amants béni, it is the month blessed by lovers; Et l’oiseau, satinant son aile, and the bird, preening his wing, Dit des vers au rebord du nid. speaks verse from the edge of his nest. Oh! viens donc, sur ce banc de mousse Oh! come now to this mossy bank Pour parler de nos beaux amours, to talk of our beautiful love, Et dis-moi de ta voix si douce: and say to me in your sweet voice: Toujours! “Always!” Loin, bien loin, égarant nos courses, Far, far away, straying from our path, Faisons fuir le lapin caché, causing the hidden rabbit to flee Et le daim au miroir des sources and the deer, in the mirror of the spring Admirant son grand bois penché; bending to admire his great antlers, Puis chez nous, tout heureux, tout aises, then home, completely happy and at ease, En paniers enlaçant nos doigts, our hands entwined round the basket, Revenons, rapportant des fraises returning carrying strawberries Des bois. from the wood. La spectre de la rose Soulève ta paupière close Open your closed eyelids Qu’effleure un songe virginal; touched by a virginal dream! Je suis le spectre d’une rose I am the ghost of a rose Que tu portais hier au bal. that you wore yesterday at the ball.

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Tu me pris, encore emperlée You took me, still pearly Des pleurs d’argent, de l’arrosoir, with silver tears, from the watering can, Et parmi la fête étoilée and in the starlit party, Tu me promenas tout le soir. you carried me all evening. Ô toi qui de ma mort fus cause, O you who caused my death Sans que tu puisses le chasser, without being able to chase it away Toutes les nuits mon spectre rose every night, my rose-colored specter À ton chevet viendra danser. will dance by your bedside. Mais ne crains rien, je ne réclame But fear not, I claim neither Ni messe ni De profundis: mass nor De Profundis. Ce léger parfum est mon âme, This light scent is my soul Et j’arrive du paradis. and I come from Paradise. Mon destin fut digne d’envie: My destiny is enviable Et pour avoir un sort si beau, and to have a fate so beautiful Plus d’un aurait donné sa vie, more than one would have given his life; Car sur ton sein j’ai mon tombeau, for on your breast I have my tomb, Et sur l’albâtre où je repose and on the alabaster on which I repose Un poète avec un baiser a poet with a kiss Écrivit: Ci-gît une rose, wrote, “Here lies a rose Que tous les rois vont jalouser. of which all kings will be jealous.” Absence Reviens, reviens, ma bien-aimée!  Come back, come back, my beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée the flower of my life is closed Loin de ton sourire vermeil. far from your bright red smile! Entre nos cœurs quelle distance!  Between our hearts what a distance! Tant d’espace entre nos baisers! So much space between our kisses! Ô sort amer! ô dure absence! O bitter fate! O harsh absence! Ô grands désirs inapaisés! O great desires unappeased! Reviens, reviens, ma belle aimée!  Come back, come back, my beautiful beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée the flower of my life is closed Loin de ton sourire vermeil! far from your bright red smile! D’ici là-bas que de campagnes, Between here and there what fields, Que de villes et de hameaux, what towns and hamlets, Que de vallons et de montagnes, what valleys and mountains, À lasser le pied des chevaux! that will tire the hoofs of the horses.

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Reviens, reviens, ma belle aimée!  Come back, come back, my beautiful beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée the flower of my life is closed Loin de ton sourire vermeil! far from your bright red smile!

L’île inconnue Dites, la jeune belle, Tell me, young beauty, Où voulez-vous aller? where do you want to go? La voile enfle son aile, The sail swells its wing, La brise va souffler. the breeze begins to blow. L’aviron est d’ivoire, The oar is of ivory, Le pavillon de moire, the flag is of silk, Le gouvernail d’or fin; the rudder of fine gold; J’ai pour lest une orange, I have for ballast an orange, Pour voile une aile d’ange, for sail an angel’s wing, Pour mousse un séraphin. for cabin boy a seraph. Dites, la jeune belle, Tell me, young beauty, Où voulez-vous aller? where do you want to go? La voile enfle son aile, The sail swells its wing, La brise va souffler. the breeze begins to blow. Est-ce dans la Baltique? Is it to the Baltic? Dans la mer Pacifique? To the Pacific Ocean? Dans l’île de Java? The isle of Java? Ou bien est-ce en Norvège, Or perhaps to Norway, Cueillir la fleur de neige, to pick the snow-flower Ou la fleur d’Angsoka? or the flower of Angsoka? Dites, la jeune belle, Tell me, young beauty, Où voulez-vous aller? where do you want to go? Menez moi, dit la belle, Take me, says the beautiful one, À la rive fidèle to the faithful shore Où l’on aime toujours! where one loves forever! Cette rive, ma chère, That shore, my dear, On ne la connaît guère is almost unknown Au pays des amours. in the land of love. Où voulez-vous aller? Where do you want to go? La brise va souffler. The breeze begins to blow.

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Richard Bratby, program annotator for the Liverpool Philharmonic Orchestra, introduces these songs this way: Think Berlioz, and you think spectacular. This is the composer who wrote a symphony based on opium-fueled hallu-

cinations; scored a requiem for four brass bands and a choir of thousands; raced across Italy disguised as a woman on a mission to assassinate an unfaithful lover, and started riots at the Paris opera. And then wrote about it all in memoirs that are probably the spiciest, funniest and most candid book ever written by a great composer. Les nuits d’été is the opposite of all that.

These songs (six of them in the complete set) were written with piano accompaniment only. Gradually, and over time, first one, and then the others were orchestrated. The poems were written by Théophile Gautier, a good friend of the composer, and one whose poetry Berlioz admired deeply. These love poems caught the spirit of Berlioz’ state of mind when he wrote,

“Love cannot give an idea of music; music can give an idea of love. But why separate them? They are the two wings of the soul.”

The concept of an orchestral song cycle had not been used prior to Les nuits d’été. Berlioz’ choice of orchestral colors is from a limited palate: delicate, highly expressive, and intimate. He wrote many songs over his lifetime, though he is rarely thought of as an art song composer. Les nuits d’été should dispel any doubts about his expertise with song. Melodies are exquisite; poetry well-chosen and aptly set. “This understated song-cycle takes us as close as we’re ever likely to be to Ber-lioz’s troubled, poetic and deeply romantic soul,” observes Bratby.

Night Scene, from Roméo et Juliette, Op. 17 [1839] Hector Berlioz

After winning the Prix de Rome in composition in 1830, Berlioz spent a significant number of months in Italy, absorb-ing Italian history and culture, a culture that found its way into a number of his compositions: Harold in Italy, Roméo et Juliette, Benvenuto Cellini, Les Troyens, and Béatrice et Bénédict. Over this time, he developed a deep love for the work of Shakespeare (partly due to a love interest in a Shakespearean actress). He spent much of 1839 turning Shakespeare’s play into “something splendid on a grand and original plan, full of passion and imagination” (his words). His work was supported through the generosity (20,000 francs!) of violinist Niccolò Paganini. This orchestral segment, Night Scene, is delicately and beautifully scored. This interlude comes after the ball at the home of the Capulets, where Romeo has seen and recognized Juliet. Romeo wanders in the forest, thinking fondly of Juliet. The famed balcony scene between the two follows shortly after this interlude.

INTERMISSION – 20 MINUTESDesserts and drinks are available on the patio.

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La création du monde, Op. 81 [1923] Darius Milhaud 1892 – 1974 Overture

1er tableau: Chaos before Creation: slow and mysterious, gradually growing in intensity

2e tableau: The lifting darkness and creation of trees, plants, insects, birds and beasts

3e tableau: Man and woman created: increase of movement and excitement

4e tableau: The desire of man and woman

5e tableau: The man and woman kiss: a beautiful conclusion, ending with softly fluttering flutes with a tender goodbye from the saxophone

Mary Kay Adams & Carol Warner, flutes Sandra Gerster, oboe Leslie Nicholas & Lynda Dembowski, clarinets Ryan Romine, bassoon David Wick, horn Judith Saxton & Susan Messersmith, trumpets Jay Crone, trombone Marvin Mills, piano Eric Guinivan, percussion Joan Griffing & Amy Glick, violins Ryan Kauffman, saxophone Paige Riggs, cello Peter Spaar, bass

When Darius Milhaud made his first visit to the U.S., a friend took him to hear jazz at a Harlem night club. Later he wrote, “The music was completely different, the melodic lines set off by the percussion, overlapping contrapuntally in a throbbing mixture of broken, twisted rhythms.” He heard a blues singer whose voice seemed to “come from the depths of the centu-ries.” Milhaud was entranced by the sounds and sights: “Its effect on me was so overwhelming that I could not tear myself away. From then on, I frequented other Negro theaters and dance halls…. I never missed the slightest opportunity of visit-ing Harlem.”

In 1923, Milhaud composed La création du monde for seventeen instrumentalists, influenced by the jazz idioms he had heard in Harlem. The score was created for a Parisian ballet company. Its subject is based on various African tribal myths about the creation of the world:

“The curtain rises on a dark stage, heaven and earth have just been separated, and three deities move about in a clearing: Nzamé, Mébère and N’Kwa, the three masters of creation. Insects, apes, rainbirds, and other animals be-gan to take form. As each new creature appears, it rushes to join the round dance of animals encircling the deities. At last, creation stirs again; a monstrous leg is seen and a hairy head, then two torsos rise and stand facing each other. They are Man and Woman, Sékoumé and Mbongwé. They execute the primal dance of desire, culminating in a kiss.”

The five scenes are played without interruption, and they are each briefly described above.

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(from Frederick Starr, Gottschalk biographer)Before his death at the age of forty in 1869, Louis Moreau Gottschalk achieved a stunning list of ‘firsts’. He was the first American composer to be hailed in Europe; the first American virtuoso (on piano) to be saluted by the likes of Chopin; the first American musician to erase the hardline dividing “serious” from “popular” genres; the first to intro-duce American themes into European classical music; the first Pan-American artist in any field; and among the first American artists to champion such causes as abolitionism, public education, and popular democracy. Above all, he was the first to capture the syncopated music of South Louisiana and the Caribbean in enduring works that antici-pate ragtime and jazz by half a century.

(notes condensed from www.louismoreaugottschalk.com biography)Born in New Orleans in 1829, Louis Moreau Gottschalk grew up in a neighborhood where he was exposed to the Cre-ole music with its African-Caribbean rhythms and the melodious folk songs that would later become a characteristic ingredient of much of his own music. The house where he was born still stands at the southwest corner of Esplanade and Royal streets in New Orleans, and it was from this rather unassuming place that his brilliant career started, a career that would eventually spur him on to international fame.

Some of his past biographers have taken the idea of his childhood home as the “geographical center” of his musical inspiration quite literally. One describes vividly how young Gottschalk would listen to the music that filled the streets of New Orleans in the 1830s at many of the ubiquitous Sunday afternoon public dances held by slaves across the city. He was exposed to the music also within the household; via his Grandmother Buslé and his nurse Sally, both of whom were natives of Saint-Domingue.

However, none of this is to suggest that Gottschalk´s later work was derivative: When he borrowed from traditional sources he did so openly and acknowledged his sources, and at any rate such occasional “quotations” are outweighed by his playful inventiveness and creativity. An example of this is his informal début at the (then) new St. Charles Hotel in 1840, at a time when despite his numerous recitals in salons of wealthy New Orleans households he had not yet performed in public concerts. The program described Gottschalk as “a young Creole” and his début already foreshad-owed his later work: Taking a Latin dance tune and performing a series of variations on the tune, thus combining the popularity of the tune and subjecting it to a very Gottschalkian treatment, he charmed the audience, and the début became an instant success.

In 1842 he left the United States and sailed to Europe, realizing that a classical training would be required to achieve his musical goals. While such professionalism in a thirteen-year old would normally be the result of the parents´ am-bitions, it is clear from Gottschalk´s letters that he himself was the driving force. In a letter to his mother, for example, he wrote that “I definitely expect that in two years or perhaps less I shall be earning a living on my own.” In Europe, however, Gottschalk had a rather bumpy start, as the Conservatoire in Paris rejected his application. In the years to follow, despite the initial rejection by the musical establishment, he built a first career as a pianist virtuoso, prompt-ing Frédéric Chopin to predict that Gottschalk would soon become one of the foremost pianists of the century.

In 1853, Gottschalk returned to the United States, possibly trying to escape an environment that he regarded as be-ing dominated by egotism and vanity. Re-adjusting to American culture seems to have been accompanied by some problems (and, typically for Gottschalk, by rather caustic criticism on his side, culminating in remarks such as “New Jersey is the poorest place in the world to give concerts, except Central Africa”), and in the years to come he would

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travel extensively throughout the United States and Canada to earn a living. In 1854 he also spent an extensive pe-riod of time in Cuba, his musical interest gradually shifting towards Central and South America.

In the 1860s, he had established himself again as a major figure in American musical life, partly as a result of tremen-dous hard work as is evident from his travel schedule which, at one point in 1862, included eighty-five concerts (all at different locations) in just four and a half months. What life under such pressure was like is best summed up by the following remark in Gottschalk´s diary: “Arrived half past eight at the hotel, took in a hurry a cup of bad tea, and away to business. One herring for dinner! nine hours on the train! and, in spite of everything, five hundred persons who have paid that you may give them two hours of poesy, of passion, and of inspiration. I confess to you secretly that they certainly will be cheated this evening.”

In September 1865, his career took a sharp turn when Gottschalk had to leave the United States after a scandal about his relationship with a student at Oakland Female Seminary. Gottschalk left the country, embarking on what would become his last (and perhaps most successful) tour, during the course of which he travelled to Santiago de Chile, Buenos Aires, and Rio de Janeiro (and many other less well-known locations). His concerts were tremendously suc-cessful all across South America and sometimes took the form of “monster concerts” involving up to 650 performers.

Louis Moreau Gottschalk died Saturday, December 18, 1869, in Tijuca (Brazil), three weeks after collapsing during one his concerts.

La nuit des tropiques, Night in the Tropics, D. 104 [1852, rev. 1858] Louis Moreau Gottschalk 1829 – 1869 Andante: Nuit dans les tropiques Allegro molto: Une fête sous les tropiques: Fiesta criolla

Louis Moreau Gottschalk was born in 1829 in New Orleans, a slave port at the time. His father was a Jewish business man from London, and his mother was French Creole. As detailed above in the biographical notes, he took Paris by storm, was endorsed enthusiastically by Chopin and Berlioz, called the “Chopin of the Creoles.” Chopin, on having heard Gottschalk play his Piano Concerto in E Minor, congratulated him, saying, “Give me your hand, my child; I predict that you will become the king of pianists.” Berlioz, writing as a music critic, said, “He phrases soft melodies with perfect grace and has mastered the keyboard’s delicate traits…. His playing dazzles and shocks. In the presence of a musically civilized public, Mr. Gottschalk’s success is immense.” North American audiences preferred European music and performers. Although he was prolific and popular, he is nearly unknown today.

Gottschalk called La nuit des tropiques his Symphony No. 1. The first movement (Andante) pays musical homage to one of his mentors, Berlioz. It was finished in 1858 and premiered two years later in Havana. The second movement (Allegro molto) was written in 1859, and is clearly in a festive Latin mode, with tropical rhythms of various countries, and Latin percussion instruments (a new thing at that time). For the Cuban premiere, players from a large Afro-Cuban percussion ensemble joined the full symphonic orchestra, an unusual occurrence for the mid-nineteenth century, and much to the pleasure and delight of the Havana audience. In 1860, Gottschalk arranged this work for two pianos.

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See them in any combination, but don’t miss this epic journey in the lives of Caesar, Cleopatra, Antony, and the history of the Roman Empire.

3 GREAT PLAYS. 2 GREAT AUTHORS. 1 GREAT STORY.

JULIUS CAESARby William Shakespeare

ANTONY AND CLEOPATRAby William Shakespeare

CAESAR AND CLEOPATRAby George Bernard Shaw

Blackfriars Playhouse 10 South Market Street, Staunton, VA 1.877.Much.Ado | americanshakespearecenter.com

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SUMMER: FESTIVAL SEASONJune 25 - September 10

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SATURDAY NOON CONCERT15 June 2019, Asbury United Methodist Church

This concert is underwritten in part by Rosemary King.

Suite for Oboe, Clarinet & Viola [1941] Randall Thompson 1899 – 1984 Gaio Adagio assai Allegro Lento religioso Grave – Allegretto

Kevin Piccini, oboe Lynda Dembowski, clarinet Diane Phoenix-Neal, viola

from Two-Part Inventions Johann Sebastian Bach 1685 – 1750 Nos. 14, 2, 9, 6 & 8

Phil Stoltzfus, violin Eric Stoltzfus, cello

Lament for Two Violas [1912] Frank Bridge 1879 – 1941 Amadi Azikiwe & Diane Phoenix-Neal, violas

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Six Elizabethan Songs [1962] Dominick Argento 1927 – 2019 Winter Dirge Sleep Spring Diaphenia Hymn

Christine Fairfield, soprano Mary Kay Adams, flute Sandra Gerster, oboe Amy Glick, violin Paige Riggs, cello Marvin Mills, harpsichord

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June 22nd – July 23rd

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Oct. 5th – 29th

Nov. 29th – Dec. 18th

HOURSMonday – Thursday10am – 5pm

Friday – Saturday10am – 6pm

SundayNooN – 5pm

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In the Department of Music at Bridgewater College, you will be quickly immersed into a supportive musical environment that will help you hone your skills to reach your career goals. Through ensembles, applied lessons, and other academic music courses, you will explore many facets in the field of music.

Music majors may specialize in Music Performance or Music Pedagogy (Music Pedagogy leads to a certification to teach vocal and/or instrumental music in the public schools). The music minor has the flexibility to fit the interest and goals of all students.

Music Ensembles are open to all students on campus:• A Cappella Choirs• Chamber Ensembles • Chamber Strings • Chorale • Concert Choir• Gospel Choir• Handbell Choir

• Jazz Combo• Jazz Ensemble• Oratorio Choir• Pep Band• Praise Band• Symphonic Band

Music scholarships are available to all students, regardless of major.

bridgewater.edu/music

Department of Musicat Bridgewater College

The use of any photography, video or audio recording devices is

not permitted in the auditorium.

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FESTIVAL CONCERT 3 Saturday evening, 15 June 2019, Lehman Auditorium

This concert is underwritten in part by Sidney Bland and Linda Heatwole Bland and Janet S. Einstein.

Listening to Haydn’s The Creation, a thoroughly optimistic late eighteenth-century work, through the ears of 2019, the perfection described by Haydn’s creation can elicit a sigh of nostalgia (e.g., How beautiful it used to be!). Or it can remind us of what creation is now – endangered and abused, with its original beauties willfully defaced and sullied. One might hope that this performance in 2019 might call us to care more deeply about our creation. These words of the poet Wendell Berry can help to focus our minds, our ears, and our senses:

Nobody can discover the world for somebody else.

Only when we discover it for ourselves

does it become a common bond and we cease to be alone.

[from A Place on Earth]

The divine mandate to use the world justly and charitably, then, defines every person’s moral

predicament as that of a steward. But this predicament is hopeless and meaningless unless

it produces an appropriate discipline: stewardship. And stewardship is hopeless and meaningless

unless it involves long-term courage, perseverance, devotion, and skill. This skill is not to be confused with any accomplishment or grace of spirit or of

intellect. It has to do with everyday proprieties in the practical use and care of the created things –

with “right livelihood.”

[from The Gift of Good Land]

The care of the earth is our most ancient and

most worthy and, after all, our most pleasing responsibility.

To cherish what remains of it, and to foster its renewal, is our

only legitimate hope. [from The Art of the Commonplace]

To live, we must daily break the body and shed the blood of creation.

When we do it knowingly, lovingly, skillfully, reverently,

it is a sacrament. When we do it ignorantly,

greedily, destructively, it is a desecration.

[from The Art of the Commonplace]

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The Creation, Hob. XXI:2 [1796-98] Franz Joseph Haydn 1732 – 1809 Sharla Nafziger, soprano (Gabriel, Eve) Corey Shotwell, tenor (Uriel) David Newman, baritone (Raphael, Adam) Barbara Rearick, mezzo-soprano Festival Chorus Festival Orchestra

Introduction: The Representation of Chaos

Recitative [Raphael, Chorus & Uriel] In the beginning, God created the heaven and the earth; and the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. And God said: Let there be light. And there was light. And God saw the light, that it was good; and God divided the light from the darkness.

Aria [Uriel & Chorus] Now vanished by the holy beams, the ancient, ghostly, shuddering darkness; the first of days appears. Confusion yields and order shines most fair. Aghast, the fiends of hell confounded fly, down they sink in the deep of abyss to endless night. Convulsion, rage and terror engulf their monstrous fall. A new created world springs forth at God’s command.

Recitative [Raphael] And God made the firmament, and divided the waters, which were under the firmament, from the waters, which were above the firmament. And it was so. Then howling raged the blast of the tempest, the clouds were driven like chaff in the wind, the lightnings slashed the heavens asunder, the crashing thunder resounded on high. From the waters rose at God’s command the all-refreshing rain, the devastating hail, the light and gentle snow.

Aria [Gabriel] & Chorus What wonder does his work reveal to heaven’s host in joyful throng: and loud resounds throughout the skies the praise of God, and of the second day.

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Recitative & Aria [Raphael] And God said: Let the waters under the heaven be gathered together in one place, and let the dry land appear. And it was so. And God called the dry land earth, and the gathering of waters he called seas; and God saw that it was good. Rolling in foaming billows, tumultuous swells the raging sea. Highland and headland uplifted, through clouds their towering summits rise. Through broad and ample plains full flows the gathering stream, and winding wanders. Lightly murmuring, gently glides through the silent glade the crystal brook.

Recitative & Aria [Gabriel] And God said: Let all the earth bring forth grass, the herb yielding seed, and the fruit-tree yielding fruit after his kind, whose seed is in itself, upon the earth. And it was so. Now robed in cool refreshing green the fields their new enchantment wear, and more to charm the sight arise the flowers in bright array. Here herbs of every leaf abound, here dwells a healing grace. The burdened boughs their golden fruit afford, here arbors spread their vaulted restful shade, and lofty hills are crowned with kingly groves.

Recitative [Uriel] And the heavenly host proclaimed the third day, praising God, and saying:

Chorus Awake the harp, ye choirs awake! Rejoice in God, the mighty God, surely the heavens and the earth has he girded with splendor and light.

Recitative [Uriel] And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years. He made the stars also. In shining splendor radiant now the sun bestrides the sky; a wondrous, joyful bridegroom, a giant proud and glad, he runs his ordered course. With softer steps and wistful shimmer steals the moon through still enshadowed night. The boundless vaults of heaven’s domain shine with unnumbered magnitude of stars. And the hosts of heaven rejoiced in the fourth day in chorus divine, praising God’s great might, and saying:

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Chorus & Trio [Gabriel, Uriel & Raphael] The heavens are telling the glory of God. With wonders of his works resounds the firmament. Revealed are his ways from day unto day, from night that is gone, to following night. In every land is known the word, every ear will hearken, never tongue be dumb.

Recitative & Aria [Gabriel] And God said: Let the waters bring forth abundantly the moving creature that has life, and fowl that fly above the earth in the open firmament of heaven. On mighty wings now circling soars the eagle proud, and cleaves the air with swift exulting flight to greet the sun. At morn the lark his cheerful welcome sings, adoring coos the tender turtle dove. From every bush and grove pours now the nightingale her sweetest carol; no grief has ruffled yet her breast, nor yet to sorrow has been turned her charming rondelay.

Recitative [Raphael] And God created great whales, and every living creature that moveth, and God blessed them, saying: Be fruitful all, and multiply, ye creatures of the sky, be multiplied, and fill the air with singing; multiply, ye creatures of the waters, and fill each watery deep, be fruitful, grow, and multiply! Rejoice in the Lord your God! And the angels struck their immortal harps, and the wonders of the fifth day sung.

Trio [Gabriel, Uriel & Raphael] & Chorus In fairest raiment now, with verdure green adorned, the rolling hills appear. From deep and secret springs, in fleeting crystal flow, the cooling brook doth pour. In joyful garlands borne on wheeling tides of air, upwings the feathered host. The myriad feathers’ gleam reflects in shimmering flight the golden sun’s pure light. From sparkling waters leap the fish, and twisting flash in ceaseless motion round. From deepest ocean home waltzes up Leviathan in foaming waves to play. How many are thy works, O God! Who may their numbers tell? The Lord is great, and great his might, and ever stands his name.

INTERMISSION – 20 MINUTESDesserts and drinks are available on the patio.

Recitatives [Raphael] & Aria And God said: Let the earth bring forth every living creature after its kind, cattle, and creeping things, and beasts of the earth, after their kind.

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Straight opening her fertile womb, the earth brings forth at God’s command unnumbered living creatures in perfect forms, and fully grown. Triumphant, roaring, stands the lion there; with a lightning leap the tiger appears; bounding with branching head, the nimble stag. With snorting and stamping, flying mane, appears in might the noble steed. In pleasant pastures, quietly the cattle graze on meadows green, and o’er the ground, as growing there, abide the fleecy gentle sheep. As clouds of dust arise, in swarms assembled the hosts of insects. Unnumbered as the sands, in whirls arose the host in long dimension creeps with sinuous trace, the worm.

Now heaven in fullest glory shone; earth smiled in all her rich attire. The air is filled with soaring processions, the water swelled by swarming legions, the ground is trod by wondrous beasts. But all the work was not complete; there wanted yet that wondrous being, that God’s design might thankful see, and grant his goodness joyful praise.

Recitative [Uriel] & Aria And God created man in his own image; in the image of God created he them, male and female created he them. And God breathed into his nostrils the breath of life, and man became a living soul. In native worth and honor clad, with beauty, strength and courage formed, toward heaven raised uprightly, stands a man, the lord and king of nature all. His broad and arching noble brow proclaims of wisdom’s deep abode, and in his eyes with brightness shines the soul, the breath and image of his God. And to his breast he softly holds one of and for him formed, his otherself, his pure delight. With virgin grace so sweetly given as springtime’s charms bestowed, she loves him, yields her joy and bliss.

Recitative [Raphael] And God saw everything that he had made, and behold, it was very good. And the heavenly choir, loud rejoicing, raised their song of praise, and hailed the sixth day.

Chorus & Trio [Gabriel, Uriel & Raphael] Fulfilled at last the glorious work, the Maker sees with sure delight. Let all our joy resound aloud Eternal praise to him accord!

From thee, O Lord, doth all proceed; all nature must thy bounty wait; if open be thy hand, its fullness feedeth all. But if thy face be turned away, a ghostly terror fills the night; the living breath is gone and dust returns to dust. Thy breath, O Lord, is felt again, and life awakes with sweet surprise. Renewed is all the earth, refreshed its charm and might.

Fulfilled at last the glorious work, eternal praise to him accord! Glorious be his name forever, for he alone doth reign exalted. Alleluia!

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Recitative [Uriel] In rosy mantle, bright awakened by the sweetest tones, the morning, young and fair, appears. From heaven’s vaulted realm streams purest harmony to earth below. Behold the happy pair, as hand in hand they go, and from their eyes radiant shines the thanks they owe. Full soon their tongues shall tell the louder praise of God; then let our voices ring, united with their song!

Duet [Adam and Eve] & Chorus By thee with grace, O bounteous Lord, are earth and heaven restored. This world, so great, so wonderful, thy mighty hand has framed. O blessed be his holy might, his praise we sing eternally! Thou star of morning, O, how fair thy tidings of the day, what radiance rare, O sun, is thine, thou eye and soul of all. Proclaim, in your extended course, your Maker’s power and glory birth. And thou, the tender queen of night, and all ye starry host, proclaim in every land his praise in heaven’s harmonies! Ye mighty elements, by his power, your endless changes make; ye misty vapors, which the wind doth spin and roll through heaven. O, sing the praise of God the Lord! O, sing the praise of God the Lord! Great is his name, and great his might. Soft flowing fountains tune his praise, and trees adoring bow; ye fragrant plants, ye flowers fair, with sweetness fill the air. Ye that on highest mountains climb, and ye that lowly creep, ye whose flight doth cleave the skies, and ye that swim the deep; ye creatures of our God and King, praise him, all breathing life! ye creatures of our God and King, praise him, all breathing life! Ye shadowed woods, ye hills and vales, your thanks with ours unite, the echo loud from morn to eve our joyful hymn of praise. Hail, mighty God, Creator, hail! The world springs forth at thy command, adoring earth and heaven stand. We praise thy name forevermore.

Recitative [Uriel] O happy pair! And happy evermore if not misled by false conceit to covet more than you have, and more to know than you should.

Chorus Sing to God, ye hosts unnumbered. Thanks for wonders new created. Praise his name in song unending, loud in festival rejoicing! The Lord is great, he reigns forevermore. Amen!

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Baron Gottfried van Swieten was a musical patron of Dutch birth whose family lived in Vienna. He had an active life as a diplomat in many European capitals. It is, however, for his encouragement of musical performances that he is still remem-bered. He called attention to the music of older composers, especially Handel and Bach. It was he who asked Mozart to re-orchestrate Handel’s oratorios according to the prevailing taste of the times. There are those who believed that van Swieten intended this libretto to be set by Handel. Haydn, however, found it on one of his sojourns in London and set it to music. Van Swieten’s work is an adaptation of the creation account from the book of Genesis, from various psalms, and from John Milton’s Paradise Lost.

The Creation is considered Haydn’s greatest musical achievement. Here is a musical imagination of wide experience, almost seventy years old, describing the incredible perfection of a world at the beginning of time, from the “big bang” through the emerging beauties of each day of creation.

The Creation was performed for the first time in a pair of concerts at the Schwarzenberg Palace in Vienna on 29 and 30 April. Haydn conducted; the performances were unprecedented successes. The day of the first performance began with lovely weather, but it soon turned rainy. There were so many people who had tickets and so many people wanting tickets that the pre-concert rush to get in was complete chaos. The entrance to the palace required eighteen mounted and twelve ordinary police to keep order!

Gottfried Griesinger, a Haydn friend and biographer, wrote,I had the fortune to be a witness to the deep emotion and the most lively enthusiasm which were felt by all the audience at several performances of this oratorio under Haydn’s own direction. Haydn admitted to me, moreover, that he could not describe the feelings with which he was filled when the performances went just the way he wished, and the audience listened to every note in total silence. ‘Sometimes my whole body was ice-cold, some-times a burning heat overcame me, and more than once I was afraid that I would suddenly have a stroke.’

H. C. Robbins Landon, the most eminent of all Haydn scholars, concluded his brilliant and thorough analysis of the oratorio with this observation:

All things considered, Haydn had entered the hearts of his countrymen in a way that no composer had ever done to that extent previously. It is really almost as if The Creation was man’s hope for a peaceful future (uncertain, at best, in 1799) and man’s consolation for a clouded present. That it brought real comfort, consolation and joy to thousands of Viennese and, very soon, other Europeans, is clear from every document available. Never in the his-tory of music… had a composer judged the temper of his time with such smashing success.

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LEIPZIG SERVICESunday, 16 June 2019, Lehman Auditorium

Prelude Toccata and Fugue in D Minor, BWV 538 [c. 1708] Johann Sebastian Bach 1685 – 1750

Hymn HWB 19 Open now thy gates of beauty

Missa STS 67 Khudaya, rahem kar Prelude on Allein Gott in der Höh sei Ehr, BWV 717 [1710-14] Johann Sebastian Bach All glory be to God on high Nikolaus Decius [1485 – 1550]

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46

Salutation and Collect Dominus vobiscum. The Lord be with you. Et cum spiritu tuo. And also with you.

Oremus: Let us pray: Ich will singen I will sing von der Gnade des Herrn ewiglich, of your steadfast love, O Lord, forever, Alleluia. Alleluia. und seiner Wahrheit verkündigen of your faithfulness will I proclaim mit meinem Munde für und für. forever with my voice. Alleluia. Alleluia. (Psalm 89.1) Deus qui Filii tui humilitate God, who humbled your son jacentem mundum erexisti, to come down to earth, fidelibus tuis perpetuam concede laetitiam, grant everlasting joy to your faithful, ut quos perpetuae mortis eripuisti casibus, so that being saved from eternal death gaudiis facias sempiternis perfrui. we might enjoy eternal light forever. Per Dominum We pray through nostrum Jesum Christum, our Lord Jesus Christ, qui tecum vivit et regnat who lives and reigns with you in unitate Spiritus Sancti Deus, and the Holy Spirit, one God per omnia secula seculorum. now and forever. Amen. Amen.

Readings from the Prophet Ezekiel, Chapter 34 & Psalm 23

The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures: he leadeth me beside the still waters. He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord forever.

47

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Fantasy, Toccata and Variations on Crimond [2000] Barbara Harbach b. 1946 HWB 578 The Lord’s my shepherd, I’ll not want

The Twenty-Third Psalm Bobby McFerrin (in honor of his mother) b. 1950 Cantata Der Herr ist mein getreuer Hirt, BWV 112 [1731] Johann Sebastian Bach Chorus Der Herr is mein getreuer Hirt, The Lord is my faithful Shepherd, hält mich in seiner Hute, who keeps me in his protection, darin mir gar nichts mangeln wird where nothing good can be lacking for me, irgend an einem Gute. not a single good thing. Er weidet mich ohn Unterlaß, I am led constantly darauf wächst das wohlschmeckend Gras where grows the delicious grass seines heilsamen Wortes. of God’s holy word.

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Aria – alto Zum reinen Wasser er mich weist, The shepherd leads me to pure water das mich erquicken tue. that will refresh me. Das ist sein fronheiliger Geist, It is his most holy spirit der macht mich wohlgemute. that makes me feel at ease. Er führet mich auf rechter Straß I am led on the right road seiner Geboten ohn Ablaß of his commandments unfailingly von wegen seines Namens willen. for his name’s sake.

Recitative – bass Und ob ich wandelt im finstern Tal, And if I wander in the dark valley, fürcht ich kein Ungelücke, I will fear no ills in Verfolgung, Leiden, Trübsal from persecution, sorrow, trouble und dieser Welte Tücke, or falsehoods of this world, denn du bist bei mir stetiglich, for you are always with me; dein Stab und Stecken trosten mich, your rod and staff comfort me auf dein Wort ich mich lasse. I trust in your word.

Duet – soprano & tenor Du bereitest für mich einen Tisch You prepare a table for me vor mein’ Feinden allenthalben, before my thronging enemies; machst mein Herze unverzagt und frisch, you refresh my heart and make me optimistic, mein Haupt tust du mir salben you anoint my head mit deinem Geist, der Freuden Öl, with your spirit, the oil of joy, und schenkest voll ein meiner Seel and you offer to my soul deiner geistlichen Freuden. the fullness of your spiritual joy.

Chorale Gutes und die Barmherzigkeit Goodness and mercy folgen mir nach im Leben, will follow me in my life, und ich werd bleiben allezeit and I will remain forever im Haus des Herren eben, in the house of the Lord, auf Erd in christlicher Gemein, here on the earth among the saints; und nach den Tod da werd ich sein and after death I will be bei Christo, meinem Herren. with Christ, my Lord.

Pulpit Hymn Trio on Herr Jesu Christ, dich zu uns wend, BWV 655 [c. 1723] Johann Sebastian Bach HWB 22 Lord Jesus Christ, be present now

Homily Shepherding God

Prayer, ending with the Lord’s Prayer

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Closing Song HWB 519 Shepherd me, O God Marty Haugen [b. 1950]

Blessing May God bless you and keep you. May the very face of God shine on you and be gracious to you. May God’s presence embrace you and give you peace.

HWB 424 God, be merciful and gracious unto us

Postlude Pastorale in F Major, BWV 590 [after 1720] Johann Sebastian Bach (in four short movements, without tempo designations)

Sharla Nafziger, soprano Joel Ross, countertenor Corey Shotwell, tenor David Newman, baritone

Marvin Mills, organist

Festival Choir and Orchestra

Moriah Hurst, homilist Les Helmuth, cantor Ted Swartz, reader

Leipzig in the middle of the eighteenth century was a vibrant city of about 80,000 inhabitants. Of the four churches in the city for which Bach was to provide music each Sunday, most of his musical attention was lavished on the St. Thomas church. St. Thomas had the most music in its service, the best singers, and the most proficient orchestral players. People traveled for great distances to attend St. Thomas; its music and its preaching were well known throughout the country. The churches of Leipzig were also known for their generosity. Refugees came from all over Europe to find haven from their religious, political, and social woes, knowing that they would be well-cared for and find acceptance in Leipzig.

Church bells began ringing at 6 a.m., calling the faithful to worship. The first, and most elaborate, service began at 7 a.m. and lasted about three hours. The first hour included most of the music for the day, the reading of scriptures, and a number of prayers. The performance of the cantata occurred during this first hour and, especially in Bach’s hands, came to function as a musical illumination of the gospel for the day, a sermon in music. The second hour was taken up by the sermon, and the third was for the celebration of the Eucharist. The Leipzig service was bilin-gual, retaining many parts of the Latin liturgy along with Luther’s German service.

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There were enormous expectations of the St. Thomas cantor. For each Sunday, Bach was expected to compose a new cantata: copy (by hand) the orchestral and choral parts; rehearse and conduct soloists, chorus and orchestra; and serve as the organist/musical director. Sunday responsibilities were only a small part of Bach’s total job descrip-tion for the city of Leipzig. The town fathers, who reluctantly accepted Bach as their third choice because no one of better qualifications was available, had at their service for about twenty-seven years the greatest church musician, and, in all likelihood, the greatest musician the world has ever known.

Bach wrote the cantata Der Herr ist mein getreuer Hirt for the second Sunday after Easter, also known as Mi-sericordias Domini (the tender mercies of the Lord); it was first performed on 8 April 1731. The text is a version of Psalm 23, in five stanzas by Wolfgang Meuslin (c. 1530. The opening movement is a chorale fantasia, colored by the two high brass parts and a rhythmically energetic orchestral accompaniment. The sopranos of the choir sing the melody of the chorale, Allein Gott in der Höh sei Her (the melody that was sung earlier in the service, All glory be to God on high). The same chorale ends the cantata, sung in four parts, with a fifth voice in the second brass part.

The music of the three solo sections is reflective of each of the Psalm texts. The alto aria is written for an oboe d’amore and alto duet, in which the voice is led by the oboe to pure water and fresh pastures. The bass recitative reflects the walk through the valley of shadows, and to the ensuing comfort as the entire string section of the orchestra joins. The soprano-tenor duet is set as a festive dinner-music gavotte for the text Du bereitest für mir einen Tisch. Many regard this as one of the jewels among all of Bach’s cantatas.

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THE FESTIVAL RECOGNIZES THE MEMBERS OF

The Bach Guild FOR THEIR GENEROUS GIFTS OF $1,500 OR MORE

AnonymousSidney Bland and Linda Heatwole Bland

Jay and Leslie ChadwickEd and Cathy Comer

Janet S. EinsteinRoy and Donna Heatwole

Alden and Louise HostetterLaDene King and Gretchen Nyce

Rosemary KingChris and Betsy Little

Anne S. McFarlandRodney Riddle and Corja MulckhuyseEugene Stoltzfus and Janet Trettner

Judith Strickler*Ron and Shirley Yoder

lifetime member*

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Bach’s music has enriched our lives for nearly three centuries. The Shenandoah Valley Bach Festival, now in its 27th year, brings that music to life!

For Bach’s music to continue enriching our lives we need:

• Performers, instrumentalists, and vocalists to play and sing magnificent compositions.

• Audiences to attend the performances and be lifted up by wonderful concerts.

• Funds to make PERPETUAL BACH possible.

Support the Bach Festival today and receive income from your gift for a lifetime - even for two people! Create a charitable gift annuity.

Here are some things a charitable gift annuity can do for you:

• Receive an income tax deduction this year.

• You and/or someone you love will receive life income.

• Income you receive may be tax-free.

• Build up the Bach endowment and ensure that the Shenandoah Valley has PERPETUAL BACH.

The chart on this page shows a few of the rates, which are based on the age(s) of the person(s) receiving the income. Ask the EMU development office what rate would apply for you.

(The minimum contribution for a charitable gift annuity is $10,000.)

Perpetual Bach! Gift Annuity Payment RatesSelected rates for one person

Age Rate

90 9.0%

85 7.8%

80 6.8%

75 5.8%

70 5.1%

65 4.7%

Selected rates for two people

Ages Rate

90/90 8.2%

85/85 6.7%

80/80 5.7%

75/75 5.0%

70/70 4.6%

65/65 4.2%

For more information contact: Contact Jasmine Hardesty: 540-432-4971 or 800-368-3383 (toll free), jasmine.hardesty@emu.edu

Thank you for considering the opportunity to share PERPETUAL BACH.

53

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ARTIST BIOSAmadi Azikiwe, violist, violinist and

conductor, has been heard in recital in major cities throughout the United States, such as New York, Boston, Cleveland, Chi-cago, San Francisco, Pittsburgh, Houston, Baltimore, and Washington, D.C., includ-ing an appearance at the U.S. Supreme Court. Azikiwe has also been a guest of the Chamber Music Society of Lincoln Center at the Alice Tully Hall and the Ken-nedy Center. Abroad, he has performed throughout Israel, Canada, South America, Central America, Nigeria, India, Japan, and Hong Kong.

As a soloist, Azikiwe has appeared with the Prince George’s Philharmonic, Delaware Symphony, Virginia Sym-phony, North Carolina Symphony, Fort Collins Symphony, Virginia Beach Symphony, Roanoke Symphony, Winston-Salem Symphony, Western Piedmont Symphony, Salisbury Symphony, the Gateways Music Festival Orchestra, the City Island Baroque Ensemble of New York, the National Symphony of Ecuador, and at the Costa Rica International Music Festival.

Currently, Mr. Azikiwe is music director of the Harlem Symphony Orchestra, and a member of the Harlem Cham-ber Players.

As an orchestral musician, he has appeared with the New York Philharmonic and Indianapolis Symphony Or-chestra, and as guest principal violist of Canada’s National Arts Centre Orchestra.

A native of New York City, Amadi Azikiwe was born in 1969. After early studies with his mother, he began training at the North Carolina School of the Arts as a student of Sally Peck. His studies continued at the New England Conserva-tory with Marcus Thompson and at Indiana University as a student of Atar Arad.

A native of Syracuse, New York, David Berry’s performances have been featured in venues such as Carnegie Hall, Merkin Hall, the UW World Series at the University of Washington, as well as live

broadcasts of WQXR (New York City). As a performer of new music, he has worked with or premiered works by a num-ber of noted composers, including James Lee III, Jeffery Scott (Imani Winds) and Grammy-award winning composer Jennifer Higdon.  Berry was a featured soloist in the Juilliard School’s Focus Festival, All About Elliott, celebrating the 100th birthday of Elliott Carter, and was also featured in a piano series hosted by author David Dubal at the Kosciusko Foundation and the Cervantes Institute. Berry was Grand Prize Winner of the Bradshaw & Buono International Piano Competition, as well as a prizewinner in the Thousand Islands International Piano Competition.

An avid chamber musician, Berry has collaborated with members of many of the nation’s leading orchestras, including the New Jersey, Houston, St. Louis, Dallas, and Se-attle Symphonies. He has toured and regularly concertized as a resident member of the Jacksonville, Florida-based Ritz Chamber Players, the New York City-based Harlem Cham-ber Players, and the innovative chamber music theater group, The Core Ensemble.

Berry received his Bachelor of Music with High Distinc-tion from the Eastman School of Music, and Master of Music and Doctor of Musical Arts degrees in Piano Performance from the Juilliard School where he was a recipient of the C.V. Starr Doctoral Fellowship and Susan W. Rose Piano Scholarship. Berry’s piano teachers have included Martin Canin, Douglas Humpherys, and George Skafidas, with col-laborative piano studies under Russell Miller and chamber music studies under Seymour Lipkin, Jacob Lateiner, and Jonathan Feldman.

Berry is currently assistant professor of music at Eastern Mennonite University and president of the Harrisonburg Music Teachers Association/Piano Teachers Forum. He also serves as a member of the artistic planning committee and as Coordinator of Chamber Music for the Gateways Music Festival at the Eastman School of Music.

Sandra Gerster has been practicing the oboe for over half a century. Praised for “exemplary bravura” (New Haven Register), and “expressive animation” (Baltimore Sun), she is a busy musician who is delighted to celebrate her 26th anniversary as principal oboist of the Shenandoah Valley Bach Festival Orchestra.

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A proud Baltimore resident, Gerster performs regularly with the Baltimore, Maryland and Annapolis Symphonies. As principal oboist of the Bach in Baltimore orchestra, she plays Bach cantatas each month and is frequently featured as a concerto soloist.

For many years Gerster lived in Virginia, performing with the Richmond and Virginia (Norfolk) Symphonies, as well as Virginia Opera and Williamsburg Symphonia. Early in her musical career she was Principal Oboist of the Hartford Symphony, Connecticut Opera, Berkshire Opera, and Opera New England. A frequent chamber music collaborator, Gerster has concertized with the New World, Franciscan and Cavani String Quartets. She was a founding member of Soni Fidelis Quintet; the wind ensemble made an ac-claimed Carnegie Hall debut, held a residency at the Hartt School of Music and worked with celebrities such as Susan Saint James and Captain Kangaroo.

Currently a faculty member of the Peabody Institute of Music and Baltimore School for the Arts, she also coordi-nates the music program of BSA’s TWIGS community out-reach arts program. Gerster has previously held teaching appointments at more than twenty educational institutions, including James Madison and Virginia Commonwealth Uni-versities, and the Universities of Richmond and Connecticut.

Arthur Haas is one of the most sought-after performers and teachers of Baroque music in the United States today. He received the top prize in the Paris International Harpsichord Competition in 1975 and then stayed in France for a number of years as an active member of the growing European early music scene. While in Paris, he joined the Five Centuries Ensemble, a group acclaimed for its performances and recordings of Baroque and contem-porary music.

He is a member of the Aulos Ensemble, one of America’s premier period instrument ensembles, whose recordings of Bach, Vivaldi, Telemann, and Rameau have won critical ac-claim in the press, as well as Empire Viols, and the exciting new group, Gold and Glitter. He has recorded harpsichord music of Jean-Henry D’Anglebert, Forqueray, Purcell and his contemporaries, Elisabeth Jacquet de La Guerre, Fran-çois Couperin, and most recently the three books of Pièces de Clavecin of J.P. Rameau.

Annual summer workshop and festival appearances in-clude the International Baroque Institute at Longy, Portland (ME) Bach Festival, and the Amherst Early Music Festival, where he served as artistic director of the Baroque Acad-emy from 2002 to 2011. Haas is professor of harpsichord and early music at Stony Brook University, where he leads the award-winning Stony Brook Baroque Players, and is a founding faculty member of Juilliard’s historical perfor-mance program. In fall 2012, he joined the distinguished faculty of the Yale School of Music.

Raised on a farm outside of Spar-tanburg, South Carolina, Phillip Chase Hawkins serves as principal trumpet with the Knoxville Symphony Orchestra, a position he has held since 2013. He is an active performer on historical instru-ments as a member of Sonitus Clarissima Baroque Trumpets and Kettledrum Ensemble, Kentucky Baroque Trumpets, and Saxton’s Cornet Band. Hawkins can also be heard as a performing and recording artist for Nash-ville Music Scoring Studio and Sound Lair Studio. His previ-ously held positions include visiting professor of trumpet at Centre College and interim professor of trumpet at the University of Kentucky, principal trumpet of the Genesee Valley Symphony Orchestra, and principal trumpet of the Greece Symphony Orchestra.

In January 2019, Hawkins released his debut solo album titled Great Southern Land: Australian Music for Trumpet by Brendan Collins. The album features works for trumpet and piano as well as pieces involving an additional solo voice. The album was recorded by Joel Crawford Recording and released on the Navona Records label, a PARMA Recordings imprint label.

Hawkins has appeared as guest principal trumpet with the Louisville Orchestra and has performed with the Bos-ton Pops Orchestra, West Virginia Symphony Orchestra, and Le Château de la Voix Baroque Orchestra, among others. He has appeared as guest soloist with the Knoxville Symphony Orchestra, Shenandoah Valley Bach Festival, and the Lex-ington Philharmonic Orchestra.

Receiving several awards and achievements in solo competitions, Hawkins has gained both national and inter-national recognition. In 2014, Hawkins won first prize in the Grand Valley State University International Solo Trumpet

59

Competition. In 2013, Hawkins took first prize at the NABBA Solo Competition in the high lyric category. In 2012, he was the first-place winner of the National Trumpet Competition in the Graduate division, having taken second place in 2011, as well as winning first place in the National Brass Sympo-sium Solo Competition. And in 2010, Hawkins was selected as a top ten finalist in the Prague Spring International Solo Competition in Prague, Czech Republic.

Hawkins holds a Doctor of Musical Arts degree from the Cincinnati College-Conservatory of Music, a Master of Music degree from the University of Kentucky, as well as both Master of Music and Bachelor of Music degrees from the Eastman School of Music. At Eastman, Hawkins received the distinguished Performer’s Certificate, was the inaugural recipient of the Sidney Mear Trumpet Prize, and a Howard Hanson Scholarship recipient for academic merit.

Phillip Chase Hawkins is a Yamaha Performing Artist and Blackbinder Artist.

Moriah Hurst joined the Park View Mennonite pastoral team in May 2016 after finishing an eight-year term with Mennonite Mission Network in Austra-lia. Moriah worked with several Baptist Churches in Australia in their youth min-istries and taught ecumenically in young adult faith formation. She holds a Master of Divinity in Youth Ministry from Anabaptist Mennonite Biblical Seminary in Elkhart, Indiana.

Award-winning violinist Daniel S. Lee enjoys a varied career as a soloist, leader, collaborator, and educator. Praised for his “ravishing vehemence” and “soulful performance” (New York Times), he has appeared as a soloist and leader with Early Music New York, Freiburg Baroque Orchestra, New York Baroque Incorporated, Quodlibet Ensemble, Trinity (Wall Street) Baroque Orchestra, and Yale Schola Cantorum, among others. As the core violinist of the Sebastians, the critically-acclaimed period ensemble that he founded and co-directs, he won the Audience Prize at the 2012 Early Music America Baroque Performance Competi-tion, and was a finalist of the 2011 York Early Music Interna-tional Competition.

With the Sebastians, in collaboration with TENET Vocal Artists, he led—jointly with keyboardist Jeffrey Grossman—conductor-less performances of J. S. Bach’s St. Matthew Pas-sion and St. John Passion and Handel’s Messiah. He has also appeared on the stages of the 4×4 Baroque Music Festival, Connecticut Early Music Festival, Internationale Bachakad-emie Stuttgart, NYS Baroque, Pegasus Early Music, and York Early Music Festival.

A violino piccolo specialist, he has performed as soloist in Bach’s Brandenburg Concerto No. 1 and Cantata 140, and has premiered his own transcription of Johann Pfeiffer’s concerto. His latest musical interest includes the repertoire and performance practice of the violoncello da spalla.

A graduate of The Juilliard School (Bachelor of Music), Yale School of Music (Master of Music and Artist Diploma), and University of Connecticut (Doctor of Musical Arts), he studied early violins with Robert Mealy and Petra Müllejans and modern violin with Patinka Kopec, Stephen Clapp, Ani Kavafian, and Theodore Arm. As a modern violinist, he made his Carnegie Hall debut at age sixteen performing alongside Itzhak Perlman, Pinchas Zukerman, and the Israel Philhar-monic Orchestra. He has held teaching positions at Con-necticut College, the University of Bridgeport, the University of North Carolina at Chapel Hill and Purchase College, SUNY, and has given lectures and masterclasses at Connecticut College, The Juilliard School, Manhattan School of Music, Purchase College (SUNY), and the University of Kansas. He currently teaches early music and chamber music at the Yale School of Music.  

Lynne Mackey is founder and direc-tor of the Virginia Baroque Performance Academy, with this year’s Baroque work-shop marking its eleventh year as part of the Shenandoah Valley Bach Festival. She is a pianist and harpsichordist, and has performed solo recitals and chamber mu-sic in the United States, South America, Europe, and Africa. In Virginia, she also tours with the Virginia Commission for the Arts. Mackey holds master’s and doctoral degrees from The Juilliard School and the Eastman School of Music, and a bachelor’s degree from the University of Michigan. High-lights of her career include performances at Weill Recital Hall and Merkin Hall in New York City, the Banff Centre in Alberta, Canada, and at the International Gaudeamus Inter-

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Patricia F. Koogler CPA, CRPC®, CLTC® Private Wealth Advisor, Franchise Owner

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preters Competition in Rotterdam. Awards include an Appalachian College Association

Fellowship for a one-year residency at the University of Virginia in the field of contemporary music, and a residency in Paris at the Cité Internationale des Arts for winter and spring of 2014. In 2016, she performed in April as guest harpsichord concerto soloist with the Chamber Symphony of Presbyterian College in South Carolina. Most recently, she was accepted as a participant in the International Baroque Institute at Longy. She has taught as associate professor at Eastern Mennonite University and at Bluefield College, where she was also department chair. She has also taught at the University of Virginia, Hollins University, and the Uni-versity of Mary Washington, and currently teaches at Mary Baldwin University.

Judith Malafronte has sung with op-era companies, orchestras, oratorio societ-ies, and early music groups throughout the world. She has appeared as mezzo-soprano soloist with the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, and Mark Morris Dance Group, as well as opera companies in Europe and oratorio societies and early music groups throughout the United States. Master classes have taken her to Europe and Asia.

Malafronte is on the faculty at Yale University, where she is a lecturer in voice. She teaches a freshman seminar on Shakespeare and Music as well as graduate-level courses in historical performance. Former director of the Yale Collegi-um Singers, Malafronte has curated and produced numer-ous concerts and theater projects in collaboration with Yale’s museums, libraries, professional schools and social clubs. In addition, she teaches a popular course on opera for Yale Alumni College and instructs choral conductors in vocal technique.

She has earned degrees from Vassar College and Stan-ford University, and studied in Paris with Mlle. Nadia Bou-langer and with Giulietta Simionato as a Fulbright scholar. Malafronte has recorded for major labels in a broad range of repertoire, from medieval chant to contemporary music, and writes regularly for online and print outlets including Opera News, Early Music America Magazine, The Classical

Review, and Parterre Box. She maintains an active private voice studio in New York City.

David McCormick performs regularly on both violin and viele (medieval fiddle) and is in demand as an educator and arts leader. He was founding artistic director of Charlottesville-based baroque ensem-ble Three Notch’d Road and is a founding member of Alkemie, a medieval ensemble based in New York City.  With Alkemie, McCormick has ap-peared at Indianapolis Early Music Festival, Music Before 1800, and Amherst Early Music Festival. He is the founding artistic director of Early Music Access Project (EMAP), a rotat-ing group of musicians bringing a wide range of early music to Charlottesville and surrounding communities. Through EMAP, McCormick has been awarded a 2020 Fellowship with the Robert H. Smith International Center for Jefferson Stud-ies, which will culminate in a series of concerts exploring Thomas Jefferson’s extensive music library.

McCormick is executive director of the Shenandoah Valley Bach Festival, where he recently appeared as featured violin soloist for the opening concert of the 25th anniversa-ry season. He has recently performed with Washington Bach Consort, Mountainside Baroque, North Carolina Baroque Orchestra, and as featured guest artist for the Bach-Handel Festival at Shenandoah University.

McCormick served for two years as president of the Charlottesville Music Teachers Association and has nearly two decades of teaching experience through both the public schools and his private violin and viola studio. He has offered performance practice workshops for educators, students, and performers through Virginia Music Teachers Association, James Madison University, Fordham University, Fairmount State University, and others. His degrees in music education and performance from Shenandoah University and Case Western Reserve University include specialized training in chamber music and historical performance. He is a 2017 recipient of Shenandoah Conservatory’s Rising Stars Alumni Award.

McCormick’s instruments include a viele by Karl Dennis and violin by Jonathan Vacanti, with period bows by Louis Bégin, Michelle Speller, Ralph Ashmead, and H. F. Graben-stein.

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Martha McGaughey, viola da gamba, was for many years a member of the Paris-based Five Centuries Ensemble, known for its performances of both early and contemporary music. She is a founding member of New York’s Empire Viols and Aula Harmoniae, and of Musical Assembly, whose recording of the chamber music of François Cou-perin has received critical acclaim. Aula Harmoniae toured Korea in the fall of 2013.

She has toured with the Waverly Consort, performed with Concert Royal, the Aulos Ensemble, and the New York Collegium, and appears regularly with the Long Island Baroque Ensemble as well as the Capella Oratoriana of Brooklyn. McGaughey has also collaborated with the British viol consort Phantasm in several concerts and a CD of the consort music of William Byrd. She has recorded for the Fonit Cetra and Erato labels in Italy and France, as well as for EMI.

McGaughey has taught at the École Nationale de Musique in Angoulême (France), at the Eastman School of Music, and at Stanford University. She studied in Basel with Jordi Savall and in Brussels with Wieland Kuijken. She has twice been a Regents’ Lecturer at the University of California, San Diego; teaches regularly at Amherst Early Music, the Al-buquerque Baroque Workshop, and the San Francisco Early Music Society summer workshops; and has been on the fac-ulty at the Mannes College of Music in New York since 1986.

Andrew Messersmith recently gradu-ated from Fort Dorchester High School in North Charleston, South Carolina. He be-gan violin at 6 years old and has studied with numerous teachers over the years including festival musician Amy Glick.

 Messersmith was the concertmaster of the Charleston Symphony Youth Orchestra from 2016 to 2019, performing several concertmaster solos including Scheherazade and Nocturne from Carmen Suite No. 2. The CSYO also recently performed alongside Black Violin. Mess-ersmith participated in the South Carolina All-State Orches-tra, earning first chair in 2017 and 2018. Messersmith was the recipient of the Charleston Symphony Orchestra League summer studies scholarship for 5 years in a row, as well as the Summerville Music Club scholarship.

 Messersmith will attend the University of Oklahoma to major in meteorology and business starting in the fall of 2019 and plans to continue his musical aspirations while in Oklahoma.

A native of South Dakota, cellist Kelley Mikkelsen has performed in concerts throughout the United States, Europe, and Asia, and has performed with numer-ous celebrated soloists, chamber musi-cians, and conductors including Yo-Yo Ma, Bobby McFerrin, Joan Tower, Renee Fleming, and Ursula Oppens, as well as the Cleveland, Juil-liard, Colorado and Cavani Quartets. She has also worked with and recorded for some of the world’s leading contem-porary composers, including Pulitzer Prize winners John Corigliano, George Crumb, Jennifer Higdon, Steven Stucky, Virgil Thompson, David Lang, and Julia Wolfe.

Mikkelsen has been invited as artist-in-residence to the Banff Centre (Canada) in both long and short-term residen-cies, and she has been artist-in-residence at Yale, Princeton, Harvard, Syracuse, Bucknell, and East Carolina Universities, the University at Buffalo, Cornell College, the University of Pennsylvania, Bard College, the University of Idaho, and University of California, Berkeley, among others. She was named recipient of the prestigious Charles Ives Award of Excellence from the Academy of Arts and Letters in New York City for her commission and subsequent performances of Edward Jacobs’ Al Momento for cello and pre-recorded tape. She has been invited to numerous prominent United States chamber and orchestral music festivals, including the Norfolk (CT), Tangelwood (MA), Aspen (CO), Music Academy of the West (CA), Bowdoin (ME), and Interlochen (MI) Festi-vals, as well as several others across the globe.

As cellist of the internationally renowned Cassatt Quartet, Mikkelsen made appearances at Alice Tully Hall in New York City, Weill Recital at Carnegie Hall, the Tanglewood Music Theatre, Symphony Space, Bargemusic, the Kennedy Center, and the Library of Congress. She was also the recipient of numerous prizes and awards, including several CMA/ASCAP awards for adventurous programming, as well as commis-sioning grants from The Mary Flagler Trust, Meet the Com-poser, and the National Endowment for the Arts.

Currently, Mikkelsen serves as Principal Cellist of the Roa-noke Symphony Orchestra, Opera Roanoke, Opera on the

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James, the Virginia Ballet, and the Williamsburg Symphony Orchestra; she is also cellist of the four-member eclectic chamber music group, the Cardinal Ensemble.

Mikkelsen earned her Bachelor of Music degree from the Eastman School of Music, and her Master of Music degree at the University of Akron; her major studies were with Paul Katz of the Cleveland Quartet, and Michael Haber of the Gabrielli Trio, respectively. With a deep commitment to nurturing young musicians, Mikkelsen has taught on the faculties of Augustana College (SD), Sioux Falls University (SD), the University of Nevada, Las Vegas, East Carolina Uni-versity (NC) and Hollins University in Virginia. She currently performs regularly at both Virginia Tech and the University of Virginia. She also maintains a private studio of aspiring young cellists.

Named three times by the New Yorker Magazine’s Best of…CD selections, her work has also been presented on major radio stations such as NPR Performance Today, New York’s WQXR and WNYC, WGBH Boston, CBC Radio Canada, and Radio France. She can also be heard on Spotify, iTunes, and Apple.com. Mikkelsen has recorded for the Sony, Koch, Naxos, New World, Point, CRI, Tzadik, Bandcamp, and Albany labels.

Marvin Mills, organist and choral director, has performed throughout the United States, often at the invitation of chapters of the American Guild of Organ-ists, and has been featured at three of its national conventions. Concerto appear-ances include the Jacksonville, Pittsburgh, and Peabody Symphonies in works by Handel, Rheinberger, Hindemith, and Jongen. He has served as university organ-ist at Howard University, music director of The National Spiritual Ensemble, and is organist at St. Paul’s United Methodist Church, Kensington, Maryland. A frequent guest artist with The Ritz Chamber Players (Jacksonville, Florida) and Mastersingers of Wilmington (Delaware), he has been keyboard artist/choral director for the Shenandoah Valley Bach Festival since 2001.

PipeDreams (Minnesota Public Radio) featured Mills, a prize-winning composer, in the broadcast Music of Color; his Kennedy Center Millennium Stage Recital was webcast; and he was a recitalist for the inaugural weekend of the Dobson pipe organ in Philadelphia’s Kimmel Center Verizon Hall. As-

piring singers have performed his Four Spirituals for Denyce Graves at colleges and universities throughout the country. The Cathedral of St. John the Divine commissioned a setting of a Phyllis Wheatley poem, On Virtue, for its Poets Corner.

Ken Nafziger, artistic director and conductor, is professor emeritus of music at Eastern Mennonite University. A graduate of Goshen College, he received a Doctor of Musical Arts in music his-tory and literature from the University of Oregon and was a post-doctoral conduct-ing student with Helmuth Rilling in Frankfurt-am-Main and Stuttgart, Germany.

In addition to his 27 years of work with the Shenandoah Valley Bach Festival, Nafziger is also music director and conductor of the chamber choir Winchester Musica Viva in Winchester, Virginia. This past spring, the choir and orches-tra presented the mid-Atlantic premiere of Los Angeles based composer Shawn Kirchner’s Songs of Ascent.

In June 2015, Nafziger received the 2015 Circle of Excel-lence in the Arts Award, given by the Forbes Center for the Performing Arts, the Arts Council of the Valley, and the Col-lege of Visual and Performing Arts at James Madison Univer-sity, in recognition of his sustained contributions in the arts and his creative and superior accomplishments that have improved the cultural vitality of the Shenandoah Valley.

Nafziger has worked with many of Cuba’s premier orchestra and choral ensembles over the past number of years, including guest conducting appearances, teaching master classes on a variety of musical topics, and participat-ing with musical colleagues in a number of joint projects. These visits have resulted in the guest appearance of Exaudi and its director, María Felicia Pérez, at the 2001 Bach Festival, and invitations to the EMU Chamber Singers and Winchester Musica Viva to perform there.

His resume includes significant work in church music. He edited or assisted in editing three hymnals (the ones in the hymnal racks), producing correlated teaching materials and recordings for those hymnals, and co-wrote a book on the significance of singing among Mennonites. His work is widely known across many denominations. He is a frequent guest conductor, workshop leader, and clinician across the United States and Canada.

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A Fundraising Concert at

The Paramount Theater of Charlottesville, VA

Symphonic Masquerade

An Evening of Fantasy and Flight

October 25, 2019

Waynesboro Symphony Orchestra

Peter Wilson, Music Directorwsomusicva@gmail.com

WWW.WSOMUSIC.ORG

FORBES CENTER F OR T H E P E R F O R M I N G A R T S

Box Office: 147 Warsaw AvenueFREE parking right next door

TICKETS: jmuforbescenter.com OR 540.568.7000FORBES CENTER PHOTO BY ROBERT BENSON; THE HOT SARDINES

PHOTO BY LEANN MUELLER; WIND SYMPHONY AND OPERA PHOTOS BY CALEB SCHLABACH; DANCE AND THEATRE

PHOTOS BY RICHARD FINKELSTEIN; BLACK VIOLIN PHOTO BY COLIN BRENNAN; A.I.M PHOTO BY

JERRY AND LOIS PHOTOGRAPHY.

T H E P R E M I E R P E R F O R M I N G A R T S C E N T E R I N T H E S H E N A N D OA H VA L L E Y

Celebrate with us!2019-2020 Masterpiece Season

tickets on sale June 27th!

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Soprano Sharla Nafziger has per-formed almost seventy works in the oratorio and concert repertoire including the major works of Bach, Handel, Mo-zart, Brahms, Mendelssohn, Poulenc and Orff. She has appeared with symphony orchestras, choral societies and festivals across North America, including appearances with the symphony orchestras of Vancouver, Edmonton, Calgary, Winnipeg, Colorado, Monterey, the Buffalo Philharmonic Orchestra, the Florida West Coast Symphony, the Mormon Tabernacle Choir, the National Chorale at Avery Fisher Hall, and the Elora Festival (Canada). She made several appear-ances on the main stage at New York City Opera in Il Viaggio a Reims (Corinna), Carmen (Fraquita), Die Tote Stadt (Juliette) and Cosi fan Tutte (Despina). Other operatic roles include Nannetta, Lucia (The Rape of Lucretia), Lucy (The Telephone), Ilia, Norina, Gilda, Konstanze, Zerlina, and Belinda.

She made her Carnegie Hall debut with the Oratorio Society of New York in 2002, and her New York recital debut at Merkin Hall as the 2001 winner of Joy in Singing. In 2008 she made her Kennedy Center debut in John Adams’ El Niño with the Choral Arts Society of Washington, and is featured on premiere recordings of works by American composers Larry Nelson (on Albany Records) and Boaz Tarsi (on ERM Media). She can also be heard on the Naxos label in Scott Wheeler’s opera The Construction of Boston (Nikki), Lully’s Ballet Music for the Sun King, and the Telarc label in Die Agyptische Helena (Erste Elfe). She has been on the voice fac-ulty at the American Musical and Dramatic Academy (New York City), since 2003, and maintains a private studio as well.

Baritone David Newman enjoys an active and varied concert career through-out North America. Hailed as “electrifying” by the Washington Post and noted by The Philadelphia Inquirer for his “eloquent, emotional singing,” he is particularly well known as a Baroque specialist. He has per-formed Messiah with Tafelmusik, Portland Baroque Orches-tra, Jacksonville Symphony, and with Masterwork Chorus in Carnegie Hall; St. John Passion with the American Bach Soloists, Carmel Bach Festival, and the Bach Chamber Or-chestra of Honolulu; and St. Matthew Passion with the Bach Society of St. Louis, San Francisco Bach Choir, and on tour

with the combined forces of Santa Fe Pro Musica and the Smithsonian Chamber Players. In his debut with the Wash-ington Bach Consort, Newman was noted by the Baltimore Sun for his “exquisitely phrased, velvet-toned Mache dich, mein Herz.” Other notable appearances include Bach’s B Minor Mass and Christmas Oratorio with The Bethlehem Bach Choir, Coffee Cantata, Easter Oratorio, and Christmas Oratorio with the Santa Fe Bach Festival, and Haydn’s Cre-ation with The Honolulu Symphony. His European appear-ances have included the 2003 Berlioz Festival in Paris, Le Tournoi de Chauvency with Ensemble Aziman in Sarrebourg and Metz, and Le Roi et le Fermier with Opera Lafayette at the Opera Royale in Versailles. He has appeared regularly as a guest artist with the Four Nations Ensemble, including per-formances in Lincoln Center and Merkin Hall, and has also performed with the Spoleto Festival, Opera Company of Philadelphia, Metropolitan Opera Guild, Opera Birmingham, Philadelphia Orchestra, and the Russian National Orchestra. He has recorded opera and oratorio for the Philips, Dorian, Analekta, K617 and Naxos labels. Newman teaches voice and music theory at James Madison University.

Violist Diane Phoenix-Neal performs nationally and internationally as a collaborative chamber musician and as a soloist. She also enjoys her roles as a clinician and educator nationwide. Her performances, including chamber performances with Musica Harmonia, have taken her to concert stages throughout the world, most recently to France, Poland, and Puerto Rico. Her sound is described as “rich and sumptuous” (Classical Voice of North Carolina) with “an admirable combination of precision and fire” (The New York Times).

Originally from North Carolina, she is a longstanding performing faculty member of the Eastern Music Festival and currently holds the positions of assistant professor of viola at James Madison University and principal violist of the Shenandoah Valley Bach Festival. A champion of new music for viola, she commissions works from composers world-wide and regularly presents world premiere performances of works written for her.

Her recent recitals and projects featuring contemporary music for viola have been presented at the Northwestern University New Music Conference, the New Frontiers Fes-

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tival at the University of Wyoming and at the Academy of Music in Kraków, Poland. Phoenix-Neal received her train-ing from the Juilliard School as a student of William Lincer and of the Juilliard Quartet, from North Carolina’s School of the Arts, and received her doctorate from the University of North Carolina at Greensboro.

Mezzo-soprano Barbara Rearick, whom Opera News singles out for her

“tonal beauty” and Gramophone Magazine for her “charm and finesse,” has estab-lished herself as one of today’s most versa-tile and fascinating artists. Her career has taken her around the world singing with orchestras including Chicago, Houston, Baltimore, Buffalo, Colorado, Indianapolis, Hallé, City of Birmingham Symphony Orchestra, Orchestra of St. John Smith’s Square in London, the Orquesta Sinfonica Nacional in Costa Rica and the Rund-funk Sinfonieorchester in Berlin where she portrayed several roles for the world-premiere performance and recording of Kurt Weill’s The Eternal Road.

Rearick is a founding member of the Britten-Pears Ensemble, a chamber group based in London and special-izing in contemporary music. During her career she has performed several premieres including the world premiere performance of Douglas Cuomo’s Arjuna’s Dilemma at BAM; The Blind with American Opera Project for the Lincoln Center Festival; A History of the Thé Dansant — a song cycle written especially for Rearick by the late composer-pianist Sir Rich-ard Rodney Bennett; the United States premiere of Nicholas Maw’s Nocturne with Leon Botstein and the American Sym-phony Orchestra; and at the 2012 Virginia Arts Festival she gave the world premiere performance of Three Eady Songs by the late Ethan Frederick Greene. She made her Chicago Symphony debut in their “MusicNow” series performing Twice Through the Heart by Mark Anthony Turnage. She has appeared in recital at London’s Wigmore Hall and has sung with the Winter Park and Northwest Bach Festivals and has performed with Voices of Ascension under Dr. Dennis Keene and with Musica Sacra under Richard Westenburg and Kent Tritle.

Rearick sang Messiah with the United States Naval Acad-emy chorus and orchestra at Annapolis and Beethoven’s Ninth Symphony with Augusta Symphony. Last May, she

returned to England for a recording and performance of songs by British composer John Mosesson at Potton Hall with pianist Martin Jones.

Rearick has appeared on BBC World Service Radio, WQXR, and NPR and has recorded for Naxos, Gateway Classics and the ASV label. A native of Pennsylvania, she is a graduate of Manhattan School of Music and is on the voice faculty at Princeton University.

Sian Ricketts enjoys a multi-faceted career as a singer and a period wood-winds specialist. This season, she per-forms chamber music and orchestral repertoire with ensembles such as Bach Collegium Fort Wayne (IN), Apollo’s Fire (OH), Dallas Bach Society, and the Gamut Bach Ensemble (PA). Sian is a co-founding member of the early music ensemble Alkemie, specializing in music of the medieval period. This season, Alkemie is featured on several concert series, including Music Before 1800 (NY) and the Amherst Glebe Arts Response (VA), and also performs in collaboration with Fordham University and the Metropolis Ensemble. In addition to her interest in early music, Sian also regularly performs 21st-century repertoire as both an instrumentalist and singer, and has recently collaborated with composers such as Jonathan Dawe, Gregory Spears, Elliot Cole, and Mark Nowakowski. Sian holds a Doctor of Musical Arts degree in historical performance practice from Case Western Reserve University with concentrations in voice and baroque oboe.

Joel Ross graduated from Messiah College in Grantham, Pennsylvania, with a Bachelor of Science in Music Education with a concentration in voice. In 2011, he completed a Master of Music in Conduct-ing at Shenandoah Conservatory. While at Shenandoah, he studied conducting with Karen Keating and Deen Entsminger and voice with Michael Forest. He has performed with several professional choirs in Washington D.C., including Chantry, an early music ensem-ble, and the National Cathedral Choir, directed by Michael McCarthy. He spent six years singing with Sons of the Day, an all-male a cappella septet, and currently sings in Good Company, a semi-professional a cappella sextet based in

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Harrisonburg, Virginia. He also serves as the music director and writes and arranges music for Good Company.

Ross teaches in Shenandoah County, where he directs the string orchestra programs at Signal Knob Middle School and Strasburg High School and teaches AP music theory and musical theatre. He also regularly composes and arranges music for the Strasburg High School String Ensemble. He is the founder and administrator of “Shenan-doah Summer Strings,” a week-long summer orchestra camp in Shenandoah County. Under his direction, the Signal Knob and Strasburg orchestras have received exclusively “superior” and “excellent” ratings at District Concert Assessment for the past ten years. In 2014, Ross was presented with the John D. Hodson Academic Service Award, an honor given to one person each year for outstanding contributions to academic excellence at Strasburg High School.

Tenor Corey Shotwell, whose voice has been praised for its “light, sweet beauty,”(Bay Area Reporter) is particularly celebrated for his performance of music from the 17th and 18th centuries. Often sought after for his interpretations of Bach, his St. John Passion Evangelist has been lauded as being sung with “dramatic involvement and seeming ease” and whose “involvement in the text and its declamation was total” (ClevelandClassical.com). Recent concert engagements include making his Carnegie Hall debut premiering David Lang’s cycle the writings with the Yale Voxtet and Theatre of Voices under the direction of Paul Hillier, performing Handel’s Alexander’s Feast with Masaaki Suzuki in New York City, and appearances with the Yale Phil-harmonia Orchestra, Santa Fe Desert Chorale, The Newberry Consort, Haymarket Opera Company, The Thirteen, Quire Cleveland, and the Bach Collegium of Fort Wayne. He has

been a Young Artist Apprentice with Apollo’s Fire and the Boston Early Music Festival. A native of Michigan, he cur-rently resides in New Haven, Connecticut, and is pursuing a Master of Musical Arts from the Institute of Sacred Music at Yale University.

Anne Timberlake has appeared across the United States performing repertoire from Bach to 21st- century premieres. She holds degrees in recorder performance from Oberlin Conservatory, where she studied with Alison Melville, and Indiana University, where she studied with Eva Legene and won the 2007 Early Music Institute Concerto Competition. Critics have praised her “fine technique and stylishness,” “unexpectedly rich lyricism” (Letter V), and “daz-zling playing” (Chicago Classical Review).

Timberlake has received awards from the American Recorder Society (ARS) and the National Foundation for the Advancement of the Arts, and was awarded a Fulbright Grant. With Musik Ekklesia, she has recorded for the Sono Luminus label. Timberlake is a founding member of the ensemble Wayward Sisters, specializing in music of the early baroque. In 2011, Wayward Sisters won Early Music Ameri-ca’s Naxos Recording Competition. Wayward Sisters released their debut CD on the Naxos label in 2014.

Timberlake enjoys teaching as well as playing. In ad-dition to maintaining private and online studios, she has coached through Indiana University’s Pre-College Recorder Program, Amherst Early Music Festival, San Francisco Early Music Society, Virginia Baroque Performance Institute, Mountain Collegium, and for numerous ARS chapters. Students have ranged in age from 6-83, and in level from beginning to pre-professional.

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Harrisonburg, Virginia

emu.edu/music

Whatever your major at EMU, music can be a part of your journey! Major or minor in music studies

(music education, performance, interdisciplinary studies)

Perform with an auditioned choral group or other choir

Join the jazz band, pep band or jazz ensemble

Be part of the orchestra or wind ensemble

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A COMMITMENT TO EDUCATIONAL OUTREACH

The Bach Festival is proud to be a leader in educational programming in the Shenandoah Valley. We’ve created opportunities for hundreds of local students through an instrument petting zoo,

festival internships, and much more!

INSTRUMENT PETTING ZOO – Explore More Discovery Museum

On February 1, the Bach Festival entertained over 500 children and parents during the museum’s monthly First Friday Free program.

Children heard local classical musicians perform and then were able to try instruments like the violin, recorder, trombone, and tambourine.

This free event was made possible by generous funding from the Arts Council of the Valley.

Musicians from the Bach Festival, Eastern Mennonite University and James Madison University:

Robbie Chaplin, Greg Childress, Cassie Coss, Josh Cummings, Bob Curry, Christa Hoover, Hannah Menefee, Sharon Miller, Patria Morrison, David Perry, Caleb Pickering, Jacinda Stahly-Dahl, Elijah Steele,

Becca Walker, and Ian Zook.

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BACH FOR THE AGES – Virginia Mennonite Retirement CommunityBach for the Ages began in 2018 as a collaborative event between the Bach Festival and VMRC to promote

classical music to an intergenerational audience in a way that is educational, entertaining and child-friendly.

Violinist David McCormick and pianist David Berry presented an eclectic, family-friendly program of “Songs Without Words” on May 11 at VMRC’s Detwiler Auditorium. Grandparents were encouraged to invite

grandkids to this unique performance generously funded by VMRC.

FESTIVAL ORCHESTRA FELLOWSHIPSAn elite group of high school and college musicians play on select Festival Orchestra concerts each summer.

2019 Fellows: violinists Rachel Helm, Evelina Kilimnik, James Kim, John Wu, and Ada Zhang

FESTIVAL INTERNSHIPSOur Festival Interns provide valuable management assistance during the Festival.

Additionally, two EMU students were selected for a Spring semester internship for school credit.

2019 Spring Semester Interns: Kaleb Branner and Leah Wenger

2019 Summer Interns: Kaleb Branner, Rachel Helm, Evelina Kilimnik, Leah Wenger, and Ada Zhang

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For 27 years, the Shenandoah Valley Bach Festival has enriched our lives by bringing incredible music to our community.

You can help make sure the music never has to stop!

Estate gifts build the Bach endowment and help KEEP THE MUSIC ALIVE! Advantages of an estate gift include:

• Keeping control of the funds during your lifetime.

• Easy to make and can be amended to reflect changes in your circumstances or interests.

• Creates a legacy that reflects your values and commitment to music, live performance and the community.

• You can support the festival in general or choose a special project or purpose.

An estate gift may be made:

• Through your will or trust; or

• By designating the Shenandoah Valley Bach Festival as a beneficiary of a life insurance policy, an IRA or other financial or retirement account.

The EMU development office can help you choose the best option to create your legacy.

If you have included the Bach Festival in your estate plan or want to learn how, let us know by mailing the attached coupon in a stamped envelope. Or email the information to jasmine.hardesty@emu.edu.

* Jubilee Friends Society, with over 500 members, honors those who have made planned gifts. (We list names, but not amounts, in the annual report.)

Keep the Music Alive!Yes! I want to

KEEP THE MUSIC ALIVE!

☐ I have included the Shenandoah Valley Bach Festival in my will or other estate planning.

☐ Please tell me how I can direct my gift for a specific purpose.

☐ You may include me in Jubilee Friends Society* ☐ Please do so anonymously ☐ I have not yet included the Shenandoah Valley Bach Festival in my estate plans but would like information about how to do so.

Name ___________________________

Address __________________________

__________________________________

Phone____________________________

Email ____________________________

Mail to: Office of Development Eastern Mennonite University 1200 Park Road Harrisonburg, VA 22802Or contact Jasmine Hardesty: 540-432-4971 or 800-368-3383 (toll free), jasmine.hardesty@emu.edu.

Thank you for helping toKEEP THE MUSIC ALIVE!

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BACH FESTIVAL ADVISORY BOARD AND STAFF

Michael Allain, President; Jim Benedict, Vice President; Katherine Axtell; Benjamin Bergey; Susan Black; Donna Heatwole; Patty Huffman; Ming Ivory; Douglas Kehlenbrink; LaDene King; Ronald G. King; Diane Phoenix-Neal; Paul Weber

Festival Support TeamSusan Huxman, EMU President

Fred Kniss, EMU ProvostKenneth Nafziger, SVBF Artistic Director & Conductor

David McCormick, SVBF Executive DirectorJoan Griffing and Jacob Roege, SVBF Orchestra Personnel Managers

Kris Shank Zehr, SVBF Choir ManagerStephen Farrar, EMU Music Department Office Manager

Braydon Hoover, EMU Associate Director of Development

Ex-Officio MembersStephen Farrar

Braydon HooverDavid McCormickKenneth NafzigerJames Richardson

Honorary MembersLinda Heatwole Bland

Ed ComerHelen Nafziger

Nelson ShowalterShirley Yoder

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Hands-on care that makes a difference in your life

540-434-9267

rehabWAMPLER & ASSOC.

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SPECIAL THANKS… to Eastern Mennonite University,

for providing facilities for meetings, rehearsals, and concerts, and for its financial and campus-wide support to ensure the success of the festival.

… to Asbury United Methodist Church, for the use of their facilities for the noon concerts, the Baroque Workshop, and the Road Scholar program.

… to Jim Benedict, Susan Black, and Judy Bomberger, usher coordina-tors; and to all ushers.

… to Janet Trettner, for chairing the Bach Guild.

… to facilitators of the Road Scholar Program: Rosemarie Palmer and Charles Raisner, coordinators; and to speakers Katherine Axtell, Amazi Azikiwe, David McCormick, and Ken Nafziger.

… to Michael Ozment and Polymnia Music, for producing archival record-ings.

… to Jeff Warner, for preparing the stage design and lighting.

… to Hotel Madison, for offering a special rate to our guests and Road Scholar participants.

...to Ken Nafziger, for writing program notes, and to Jeremy Nafziger and Katherine Axtell, for assistance with program book copy editing.

… to EMU personnel for significant support:

Matt Hunsberger, stage and facili-ties management

the EMU Marketing and Commu-nications staff and freelancers, assistance in promoting the festival

Lynn Veurink, box office manager

the EMU Development Office, fund-raising assistance

Bruce Emmerson, food services

Lori Gant and Physical Plant staff, coordination of details

…to Donna Heatwole and LaDene King, musician housing coordinators

… to musicians’ housing hosts: Michael and Violet Allain

Katherine Axtell and Will Dabback Jim and Joyce Benedict Jerry and Phyllis Coulter Glenn and Sandy Hodge Alden and Louise Hostetter Ming Ivory Doug and Diane Kehlenbrink Fred and Rosalyn Kniss Phil and Irene Kniss David Lane and S. Grayson Sless Jack and Lynn Martin David McCormick Wes and Nancy Ross Harley and Sadie Showalter Stuart and Shirley Showalter John and Virginia Spicher Ted and Sue Swartz Loren and Pat Swartzendruber Millicent Terrell

Performance rights and materials for: Darius Milhaud La création du monde, Op. 81 and Louis Moreau Gottschalk Night in the Tropics, D. 104 by arrangement with Boosey & Hawkes, 229 West 28th Street, 11th Floor, New York, NY 10001.

The organ used on June 16: Bennett & Giuttari, Op. 40 (David M. Storey, Baltimore, MD)

Programs and artists are subject to change without notice or refund.

The use of any photography, video or audio recording devices is not permitted in the auditorium.

Food and drink are not permitted in the auditorium.

Additional restrooms are available in the Campus Center.

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SopranoRetha Baer

Harrisonburg, VASue Cockley

Harrisonburg, VA+Jennifer Davis Sensenig

Harrisonburg, VA+Janelle Donaldson

Rockingham, VA+Christine Fairfield

Staunton, VACara Hayes

Stuarts Draft, VA+Caitlin Holsapple

Bridgewater, VARenee Huff

Staunton, VAPhyllis Lehman

Dalton, OhioMamie Mellinger

Harrisonburg, VAKrista Powell

Waynesboro, VATracey Reed

Harrisonburg, VA+Kris Shank Zehr

Harrisonburg, VAAngela Showalter

Christchurch, VASadie Showalter

Harrisonburg, VA

Alto+Sarah Brenneman

Harrisonburg, VA+Margaret Figgins

Woodstock, VA+Kathy Gray

Saint Johnsbury, VTNancy Heisey

Harrisonburg, VAAndrea Knight

Harrisonburg, VAMary Kratz

Harrisonburg, VASherilyn Layne

Mechanicsville, VA+Lucinda Mathews

Rockingham, VAJane Moll

New Market, VA+Meg Smeltzer-Miller

Harrisonburg, VABonny Strassler

Staunton, VADorothy Jean Weaver

Harrisonburg, VA

Tenor+Matthew Carlson

Harrisonburg, VA+Donna Heatwole

Harrisonburg, VA+Les Helmuth

Harrisonburg, VA+Craig Hofstetter

Linville, VAPaul Hoover

Harrisonburg, VARay Horst

Harrisonburg, VARobert Jochen

Mount Sidney, VARobert Maust

Keezletown, VADaniel Miller

Harrisonburg, VA+Jeremy Nafziger

Weyers Cave, VA+Steven Rittenhouse

Harrisonburg, VAAdrian Shank Zehr

Harrisonburg, VA+Eric Stoltzfus

Mount Rainier, MD

BassAdam Blagg

Harrisonburg, VADuane Bontrager

Harrisonburg, VABrian Martin Burkholder

Harrisonburg, VA+Ervie Glick

Harrisonburg, VAStan Godshall

Harrisonburg, VAJohn Horst

Harrisonburg, VASam Kauffman

Harrisonburg, VAEvan Knappenberger

Harrisonburg, VA+Philip Kniss

Harrisonburg, VAJames Newman

Luray, VA+Stephen Stutzman

Harrisonburg, VA+Donald Tyson

Rockingham, VAJohann Zimmerman

Harrisonburg, VA

+Leipzig Service Choir

2019 FESTIVAL CHOIR

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Violin 1Joan Griffing, concertmaster

Wichita, KS Amy Glick

North Canton, OH Mark Hartman

Shippensburg, PAEleonel Molina

Ellicott City, MDJennifer Rickard

Fairfax, VA Mark Taylor

Buena Vista, VA *John Wu

Charlottesville, VA*Ada Zhang

Harrisonburg, VA

Violin 2Jacob Roege, principal

Charlottesville, VA*Rachel Helm

Luray, VA*Evelina Kilimnik

Rockingham, VA*James Kim

Waynesboro, VAMaria Lorcas

Grottoes, VAViolaine Michel

Richmond, VASharon Miller

Rockingham, VAPhil Stoltzfus

Northfield, MN

'

ViolaDiane Phoenix-Neal, principal

Harrisonburg, VAAmadi Azikiwe

New York, NYChristy Heatwole

Lancaster, PATom Stevens

Midlothian, VA

CelloPaige Riggs, principal

Pittsburgh, PAKelley Mikkelsen

Fairfield, VANadine Monchecourt

Cincinnati, OHEric Stoltzfus

Mt Rainier, MDLIsa Wright

McGaheysville, VA

Double BassPete Spaar, principal

Charlottesville, VAFred Dole

Rochester, NY

HarpAnastasia Jellison

Midlothian, VA

FluteMary Kay Adams, principal

Bridgewater, VACarol Warner

Bridgewater, VACari Shipp

Charlottesville, VA

ClarinetLeslie Nicholas, principal

Wichita, KSLynda Dembowski

Annapolis, MD

OboeSandra Gerster, prinicipal

Baltimore, MDKevin Piccini

Woods Hole, MA

BassoonRyan Romine, principal

Winchester, VADavid Savige

Portsmouth, VA

SerpentGabe Stone

Yorktown, VA

HornDavid Wick, principal

Virginia Beach, VAJay Chadwick

Reston, VATara Islas

Alexandria, VARoger Novak

Richmond, VA

SaxophoneRyan Kauffman, principal

Lancaster, PA

TrumpetJudith Saxton, principal

Winston-Salem, NCSusan Messersmith

Charleston, SCChristine Carrillo

Harrisonburg, VAChris Carrillo

Harrisonburg, VA

TromboneJay Crone, principal

Blacksburg, VAMatthew Wright

New Orleans, LAHarold Van Schaik

St Petersburg, FL

TubaKevin Stees, principal

Harrisonburg, VA

TimpaniRaymond Breakall, principal

Chester, VA

PercussionEric Guinivan, principal

Harrisonburg, VACaleb Pickering

Harrisonburg, VA

*indicates violin orchestra fellow

Emeritus MusicianDouglas Kehlenbrink, bassoon (21 years)

Harrisonburg, VA

2019 FESTIVAL ORCHESTRA

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THANK YOU SHENANDOAH VALLEY BACH FESTIVAL FOR BRINGING THE

GIFT OF MUSIC TO OUR COMMUNITY!

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ACKNOWLEDGEMENTSGenerous underwriting and grant support is provided in part by …

ConductorEugene Stoltzfus and Janet Trettner

Festival Concert 1Rodney Riddle and Corja Mulckhuyse

Festival Concert 2Ed and Cathy Comer

Alden and Louise HostetterRon and Shirley Yoder

Festival Concert 3Sidney Bland and Linda Heatwole Bland

Janet S. Einstein

Baroque Academy Faculty ConcertChris and Betsy Little

Noon ConcertsAnonymous gift in honor of

Ken and Helen Nafziger • MondayMichael and Violet Allain, Jim and Joyce Benedict • Tuesday

Jay and Leslie Chadwick • WednesdayAnne McFarland • Thursday

Roy and Donna Heatwole • FridayRosemary King • Saturday

Principal Second Violin ChairSusan Black

Principal Oboe ChairBeryl and Mark Brubaker

Principal Trumpet ChairAnonymous, in memory of Roddy Amenta

E. Rhodes and Leona B. Carpenter Foundation, in support of the expansion of the Bach Festival’s year-round free programming

Arts Council of the Valley, in support of the Instrument Petting Zoo at Explore More Discovery Museum

Valley Arts and Culture Fund of the Community Foundation of Harrisonburg and Rockingham County

C. Robert and Charity S. Showalter, in support of the Bach Festival’s appearance at the Community Collage Concert at The Forbes Center

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WE ARE GRATEFUL TO OUR DONORS. THANK YOU!This list reflects gifts received May 22, 2018 – May 24, 2019.

Founding SponsorsIn tribute to Louise Showalter: Carl Showalter C. Robert and Charity S. Showalter Donald E. and Marlene C. Showalter Nelson L. and Phyllis E. ShowalterCharles and Judith Strickler

Virtuoso’s Circle, $5,000-$9,999 Rodney Riddle and Corja MulckhuyseEugene Stoltzfus and Janet Trettner

Musician’s Circle, $2,500-$4,999 Sidney and Linda Heatwole BlandDoris GoodVirginia Mennonite Retirement

Community

Benefactor, $1,000-$2,499Michael and Violet AllainAnonymous (4)Arts Council of the ValleyMyron and Esther AugsburgerSusan BlackMark and Beryl BrubakerEarl and Donna BurkholderJay and Leslie ChadwickEd and Cathy ComerJanet S. EinsteinJoe and Barbara GaschoBob GilletteStanley GodshallRoy and Donna HeatwoleAlden and Louise HostetterLaDene King and Gretchen NyceRonald G. and Lila KingRosemary KingFred and Rosalyn KnissAnne McFarlandElmo and Ella PascaleS. Grayson Sless and David LaneRon and Shirley Yoder

Patron, $500-$999Joyce and Jim BenedictThe Community Foundation of

Harrisonburg and Rockingham CountyJerry and Phyllis CoulterLinda DoveMary GibbThe Leo E. and Ruthanne J. Heatwole

Charitable Advised Fund of the Community Foundation of Harrisonburg and Rockingham County

Robert JochenJohnson and Johnson Family of CompaniesTimothy and Ruth JostKen and Helen NafzigerBarkley and Marina Rosser Jr.C. Robert and Charity ShowalterHarley and Sadie ShowalterHollis and Marty ShowalterLynn SmithDavid and Mary Wick

Partner, $250-$499Richard and Elaine BachmanF.J. and Mary BarnesBenjamin and Kate BergeyStephanie BoughtonLarry and Marcia BrownErvie and Mary GlickNancy HeiseyLes and Sylvia HelmuthPatty HuffmanMelvin JanzenDoug and Diane KehlenbrinkMiki LisztRobert Lock and John DobrickyDavid and Margaret Ann MessnerJames Robertson Jr.Jon and Sheryl ShenkDel and Lee SnyderBarbara StickleyLoren and Pat SwartzendruberRichard and Margaret Wurst

Sustainer, $100-$249Mary Kay and Gary AdamsDonald AlbrightDaniel BlyDon and Judy BombergerArt BordenElizabeth BrunkElizabeth CalabriaGeorge Chadwick III and Marguerite

ChadwickAllen and Naoma ClagueJennifer CooperPat CostieJay CroneWill Dabback and Katherine AxtellGerard and Sue EdwardsElisabeth T. EgglestonDiana and Joe EnedyEtta and Earl EschJody and David EvansJohn and Kathryn FairfieldHoward and Miley FrostJoni and Les GradyKathleen GrahamLynn GrimmGlenn and Sandra HodgeBraydon and Heidi HooverLarry and Pat Hoover, Jr.Linda HooverBill and Becky HunterElizabeth IhleDavid and Deborah JacksonMary Ruth KellerPhil and Irene KnissRoland and Darlene LandesJay and Peggy LandisJoseph and Hannah Mack LappLarry and Jane LehmanRuby LehmanKnute and Betty LeidalCarroll LisleDavid LynchJack and Lynn MartinCharlette and David McQuilkin

81

Clair and Mamie MellingerAnne MillerCalvin and Jean MillerJim and Sharon MillerAnn MischeGregory and Karen MontgomeryJames and Ginny NewmanRhoda NoltZack and Judith PerdueJohn and Joyce PetroMary ReitzWesley and Nancy RossDavid and Beth RothRobert and Deb RyderMichael Schenz and Beverly Harris-SchenzVerne and Carol SchirchKenneth Seitz Jr. and Audrey MetzCraig Shealy and Lee SternbergerKen Sheldon and Barbara Perry-SheldonSteve and Karen Moshier ShenkJohn and Virginia SpicherThomas TeisbergJim and Carol WarnerDorothy Jean WeaverPaul Weber and Florence JowersConnie and Hugh WestfallRichard and Martha WestonJudy WiegandHarvey and Leslie WilcoxAnn WillTilli Yoder

Friend, up to $99AnonymousRobert and Mary AtkinsPam BeverageEmmert and Esther BittingerJim and Doris BombergerTodd and Maria BowmanRuth ChodrowJames CockleySamantha ConnorLesslie CrowellGary and Kaye CrowtherAbraham Davis Jr.Lou Dolive and Ruth ArnoldRebecca DriverDennis and Gayle DupierTom DuVal and Lorie MerrowJohn Eley and Donna Scott

Mrs. David ElpheeNancy FarrarStephen and Diane Bowman FarrarAnna FarrellMargaret FigginsMichelle GagnonJim and Phyllis GaskinsRonald GaykemaAnna GearyKathy GrayAnn HawkinsPhil and Josie HenningFrank and Sherrel HissongJim and Judith HollowoodEliza HooverElizabeth HooverBob and Betty HoskinsDonald and Sarah HunsbergerJonathan Jay and Ellen NashLynn and Kermit JohnsonJan KirbyWayne and Kathie KurtzAnne LeonardTerry and Judith LePeraJoan LosenDwayne and Pat MartinVernon and Karen MastCindy and David MathewsMarge Maust and Sandy BahrDavid McCormickLinda McCormickEdward McLaughlinCharles Miller and Barbara BrennanClarence and Elizabeth MoyersAnh Thu NguyenJoan and Leslie NicholasAnne NielsenDiane Phoenix-NealFrank and Margaret RiceJudith A. SaxtonTony ScidaKent Sensenig and Jennifer Davis SensenigJC and Jewel ShenkCharlotte ShnaiderOma SimmonsIlene SmithCindy and LeVon SmokerRoger SteppCathy and Charlie StricklerErvin and Bonnie Stutzman

Betty SullivanDonald and Julie TysonJo UmbergerWilliam VoigeAndrea and Delbert WengerCharles and Stephanie WollertonMary Lou WylieMarshall and Julie YoderKirk and Kris Shank ZehrKevin and Kara Zook

In memory of:Carl Roskott Susan BlackKatherine S. Leonard Anne LeonardLeonard Huffman Patty HuffmanMariellen DuVal Tom DuVal and Lorie MerrowMarijke Kyler Fred and Gail FoxMatthew Garber Jennifer CooperMiriam L. Weaver Dorothy Jean WeaverPaul Longacre Nancy Heisey

In honor of:Ada Mae Saxton Judith A. SaxtonDavid McCormick Michelle GagnonElmo and Ella Pascale Richard and Martha WestonGary Adams Mary Kay AdamsMarvin Mills Mary GibbMichael and Violet Allain Elizabeth Calabria Ann Hawkins Elizabeth Ihle Ken Sheldon and Barbara Perry-Sheldon S. Grayson Sless and David Lane

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Jubilee Friends (SVBF in estate plans)James GibbonsRoy ThomasCarol A. Yetzer

Heritage Circle (SVBF Endowment Fund)Gary and Mary Kay AdamsMichael and Violet AllainBenjamin and Kate BergeySusan BlackSidney Bland and Linda Heatwole BlandJay and Leslie ChadwickCaroline DeKayDennis and Gayle DupierJanet S. EinsteinLes and Joni GradyFrank and Sherrel HissongLarry and Pat Hoover Jr.Harold HuberJustin and Heidi KingLaDene King and Gretchen NyceMarge A. MaustSusan and Charles MessersmithCharles Miller and Barbara Brennan

Ann W. NielsenRoger NovakZack and Judith PerdueMichael Schenz and Beverly Harris-SchenzDorothy Jean WeaverDean and Janet WeltyDavid WickIngeborg and Vernon Yeich Deal-Thomas Families EndowmentUlla and Victor BogdanMark Cudek and Lisa Green-CudekDavid and Susan HowardShahab KhanahmadiMelinda O’NealJeffrey and Rebecca PrzyluckiJanice RaffelMr. and Mrs. Charles RiesSteven SilvermanRobert C. ThomasRobert and Debra ThomasRoy ThomasSusan and Jay Treadway

Virginia Baroque Performance AcademyLaurie BermanRandolph BertinJohn and Janet BoodyMichael BorenSara BullardJo DavisHarriet HangerDonna Hegstrom Chris and Betsy LittleJames LottLynne MackeyPreston and Jane ManningCarolyn MacDonaldJames and Marion MorrisonMichael and Mary James QuillanLouise RexrodeJohn RobertsJames RobertsonBenjamin and Jennifer RoeDavid SchuenkeTerry SoutheringtonJuliette SwensenGeorge and Carol TaylorThomas WagnerMartha WalkerEmily Weed

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American Shakespeare Center ......................................................30Ameriprise Financial, Patricia F. Koogler ....................................60Arts Council of the Valley .................................................................78Ashby Animal Clinic, Inc ...................................................................69Bluestone Vineyard .............................................. inside back coverBotkinRose PLC ...................................................................................53A Bowl of Good ...................................................................................78Bridgewater College Music Department ...................................34Bridgewater Retirement Community .........................................16Caitlin Batchelor, DDS, PC ................................................................74The Chadwick Law Firm, PLLC ............................................ center 2Echard Insurance Agency, Inc. .......................................................34EMU Graduate & Professional Studies ........................................19EMU Music Department ..................................................................68EMU Preparatory Music Program .................................................55Eugene Stoltzfus Architects ............................................... center 4Everence ................................................................................................10Forbes Center for the Performing Arts .......................................64Friendly City Co-Op ...........................................................................32Garth Newel .........................................................................................54Gift & Thrift............................................................................................32Green Valley Book Fair ......................................................................33Harrisonburg OB/GYN ......................................................................74Heifetz Institute ..................................................................................22Hotel Madison ......................................................................... center 3House of Oak & Sofas ........................................................................42Hugo Kohl Jewelry .............................................................................56James McHone Jewelry ....................................................................53

JMU Lifelong Learning Institute ....................................................43Keep the Music Alive! ........................................................................72Landes Heating and Air Conditioning, Inc. ...............................69LD&B Insurance and Financial Services ..................... back coverMartin Beachy & Arehart .................................................................69Mast Landscapes ................................................................................78Park View Federal Credit Union .....................................................33Perpetual Bach ....................................................................................52Rockingham Cooperative ...............................................................42Shenandoah Valley Children’s Choir ............................................55Shenandoah Valley Choral Society ..............................................69 Shenandoah Valley Music Festival ...............................................56Shenandoah Valley Regional Airport ............................................ 4Silver Lake Mill .....................................................................................53Staunton Music Festival ...................................................................54Sunnyside Retirement Community .............................................12Ten Thousand Villages ......................................................................22Victory Hall Opera ..............................................................................54Virginia Mennonite Retirement Community ................................. ..................................................................................... inside front coverVMRC Juried Art Exhibition ............................................................20Wampler & Associates Rehabilitation .........................................74Waynesboro Symphony Orchestra ..............................................64WCPE, The Classical Station .............................................................. 8Weavers Flooring America ..............................................................53WMRA 90.7-WEMC 91.7 Public Radio .........................................84ZN Stained Glass .................................................................................14

OUR ADVERTISERSWe appreciate the support of our advertisers and encourage you to patronize their businesses.

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svbachfestival.org • 540-432-4582 • EASTERN MENNONITE UNIVERSITY • HARRISONBURG, VIRGINIA

JUNE 14-21,2020 Please join us for the 28th Annual Shenandoah Valley Bach Festival, featuring Ein deutsches Requiem of Johannes Brahms, music of Johann Sebastian Bach (of course!), and much more.