KENNETH NAFZIGER, artistic director/conductor

welcome to the neighborhood

solar, netzero-ready single-family homes,

row houses, town homes and modern lofts with

private spaces and large green commons

now under construction

August 2015

a project by

WELCOME…

The magnolia is one of the earth’s oldest lowers, according to fossil records. It is native to the Americas and

to eastern Asia, and has taken on many roles in those cultures: a stately and noble presence, medicinal uses,

and as a symbol of that which is long lasting and held dear to the heart.

In this year’s festival design, a magnolia blossom overlays a Bach manuscript. With it, artist Kirsten Moore

illustrates the meeting, this week in Harrisonburg, of the music of Bach and the music from the Satur-

day night concert, which originated in Charleston, South Carolina. Through the miracle of music, Leipzig,

Charleston, and Eisenstadt (Haydn’s work place) will be in the Shenandoah Valley this week—and so will

many other cities and towns.

In addition, Harrisonburg this week is a gathering place for musicians who come from many corners of the

country and of the world to work together, to play and sing lots of notes, and to develop the friendships

that have evolved over the past 22 years of festivals. And, when you consider the many places from which

you, the audience come, this is an amazing time!

The music passes from the inspiration of a composer, through the breath and ingers of players and singers,

to the ears of listeners who ind pleasure, nourishment, and more. The art of music inspires more ideas and

more sounds and new ways of hearing, and the sound never ceases, and never stops evolving. We, in times

past, present and future, ind resonance in John Dryden’s view of music that encompasses both the begin-

ning and the ending of the universe:

As from the power of sacred lays

The spheres began to move,

And sung the great Creator’s praise

To all the blest above;

So when the last and dreadful hour

This crumbling pageant shall devour,

The trumpet shall be heard on high,

The dead shall live, the living die,

And music shall untune the sky. 1

1 from John Dryden [1631-1700], A Song for St. Cecilia’s Day

Ken Nafziger

Artistic Director and Conductor

2

Did you know?• Musicians rehearse/perform a combined total

of 3,000+ hours during festival week.

• You can attend 7 of our 10 concerts without purchasing a ticket.

• Ticket sales account for only 13% of our bud-get.

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

• Musicians’ fees total approximately $70,000.

• We rely on your generous donations to pay the

musicians.

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

emu.edu/bach/support/form, or mailed to:

EMU Development Oice1200 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.edu

540-432-4367

emu.edu/bach

3

THE FESTIVAL AT A GLANCE

SUNDAY, JUNE Festival Concert 1 ..............................................................................................................................................................5

Lehman Auditorium, 3 p.m.

The Score Is Not the Music, artwork by Melinda Stefy

Margaret Martin Gehman Gallery (University Commons) and lobby of Lehman Auditorium

On display June 14-21; artist talk June 14, 2 p.m., Margaret Martin Gehman Gallery

Choir rehearsals (open to listeners)

Martin Chapel, 7-9:30 p.m., Sunday-Thursday

MONDAY, JUNE Baroque Workshop Faculty Recital .......................................................................................................................... 11

First Presbyterian Church, 17 Court Square, noon

TUESDAY, JUNE Noon Chamber Music Concert ................................................................................................................................. 13

First Presbyterian Church, 17 Court Square, noon

Orchestra rehearsals (open to listeners)

Lehman Auditorium, 9-11:30 a.m. and 2:30-5 p.m., Tuesday-Thursday

WEDNESDAY, JUNE Noon Chamber Music Concert .................................................................................................................................. 17

First Presbyterian Church, 17 Court Square, noon

THURSDAY, JUNE Noon Chamber Music Concert ..................................................................................................................................23

First Presbyterian Church, 17 Court Square, noon

FRIDAY, JUNE Noon Chamber Music Concert .................................................................................................................................25

First Presbyterian Church, 17 Court Square, noon

Festival Concert 2 .......................................................................................................................................................... 29

Lehman Auditorium, 7:30 p.m.

SATURDAY, JUNE Noon Chamber Music Concert .................................................................................................................................37

First Presbyterian Church, 17 Court Square, noon

Festival Concert 3 .......................................................................................................................................................... 39

Lehman Auditorium, 7:30 p.m.

SUNDAY, JUNE Leipzig Service ............................................................................................................................................................... 47

Lehman Auditorium, 10 a.m.

Father’s Day Brunch, Northlawn (main dining room), noon

Advance registration only (emu.edu/bach/brunch/, by June 15)

4

The Score is Not the MusicMelinda Stefy

[Artwork is on display in Margaret Martin Gehman Gallery (EMU, University Commons) and the lobby of Lehman Auditorium from

June 14-21, with an artist talk at 2 p.m. on June 14 in the Margaret Martin Gehman Gallery.]

“The score is not the music.” This maxim, referenced by composer Pat Muchmore in his 2011 New York Times essay about non-traditional music, reminds us that the heart of music lies in its performance, not just the notes on a page. But if looking at a score lacks some important quality of music, how else might music be visually conveyed that would capture its essence?

As both a visual artist and musician, I have long been fascinated by ways that visual and musical languages connect. In my current artwork, I have matched the 12 tones of the chromatic scale with 12 colors on a color wheel (primary, secondary and tertiary) to translate J.S. Bach’s Well-Tempered Clavier, Cello Suite No. 1 and the Chaconne, along with Bartók’s Mikrokosmos, into watercolors on paper. The music, usually time-based and heard in sequence, becomes spatial, able to be seen all at once. Unexpected patterns emerge, revealing the tonal and rhythmic complexity inherent in the music.

In relecting on how the artwork developed, I ofer three points of inspiration. Three movements, if you will.

I. A number of years ago, I saw a series of stunning hand-drawn “Haiku” scores by John Cage at the Phila-delphia Museum of Art. Although obviously music notation, with the usual symbols to provide a blueprint for producing sounds, the scores themselves were masterfully created—elegant composition, gorgeous mark-making, slight exaggeration of line and contour. I could barely take my eyes of of them, and I was struck by the sense that the scores “look” like what music sounds like.

II. In 2012, I was invited to sing here at the Shenandoah Valley Bach Festival in a performance of Bach’s Mass in B Minor. As I worked my way through the score in the months leading up to the Festival, I was astonished (and sometimes overwhelmed!) by the complexity of the music. In the alto part, there were almost no measures that repeated elsewhere. Even one note to the next felt new and unpredictable. And yet, over time the bigger picture started to emerge. I understood how my seemingly random assortment of notes created a line and how that line interwove with other lines to create a powerful whole. Around the same time, I was beginning to devel-op my visual language for music, and I igured if I could make my system work with music as complex as Bach’s, I could make it work with anything.

III. With so many quilters in my family, it’s only natural that I would inherit a love of colorful geometric patterns. I remember learning how traditional Mennonite quilters would deliberately make an “error” in a quilt—such as inserting the wrong color or disrupting the stitching—as a way to resist pride or vanity. Perfection was reserved for God, not human beings. I love the idea that imperfection or variation is what makes human creativ-ity so exciting. A live music performance has richness that recorded or computer-generated sound does not, precisely because of variations of tone, dynamics, energy. In my artwork, I have chosen to work with deliberate, often tedious hand processes because the inevitable imperfections contribute to the beauty of the work.

5

FESTIVAL CONCERT 1Sunday, 14 June • Lehman Auditorium, 3 p.m.

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

Brandenburg Concerto No. 2 in F Major, BWV 1047 [1717-18] Johann Sebastian Bach

1685-1750

[Allegro]

Andante

Allegro assai

Phillip Chase Hawkins, trumpet

Mary Kay Adams, lute

Sandra Gerster, oboe

Ralph Allen, violin

Marvin Mills, harpsichord

Bach composed six Brandenburg Concertos over a decade in the early 18th 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 Cöthen and had an array of ine

instrumentalists at his disposal. No concerto is like any other in its instrumentation. One program annotator calls the set “a

crazy diverse group of instrumental pieces…, Bach’s great chamber music colorfest.” They are the most beloved of Bach

compositions by both players and audiences.

A recording of opening movement of this concerto travels aboard the spacecraft Voyager, launched in 1977. This wanderer

in space carries with it materials, along with devices for deciphering and hearing them, intended to give any civilizations 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 Lewis Thomas, 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 brilliance of the opening and closing movements of this concerto, Bach placed a most exquisite gem, a sonata

for all the solo instruments except the trumpet.

Concerto in G Major for Violin, Viola and Strings Johann Sebastian Bach

restoration and editing by

Robert Bridges, 2002

Allegro amabile

Andante cantabile

Allegro moderato

6

Joan Griing, violin

Diane Phoenix-Neal, viola

Marvin Mills, harpsichord

Because so much music by Johann Sebastian Bach has been lost through carelessness, wars, and disasters both natural and

unnatural, the hope always exists that someone might ind yet one more lost manuscript, or that one more clue will be un-

covered that there may have been a composition that had been fashioned from an existing composition. The Concerto for

Violin, Oboe and Strings included after intermission in today’s concert is an example of a reconstruction.

A few years ago, Robert S. Bridges, a violist in the Houston Ballet Orchestra and the company’s music librarian, found some

shards of references to a Concerto for Violin, Viola and Strings, and through ardent work as a musical sleuth, reconstructed

this concerto from three movements of the St. Matthew Passion. The few historical details he found and the narrative he

wove around them is thoughtful. In Bridges’ words, the work was like “knitting a sweater out of cobwebs.” Acknowledging

that musicologists might not ind his work convincing, he concluded his essay on his work with these words:

The resulting concerto is, I think, an attractive addition to the repertoire. Whether it will be considered a work

of musical scholarship or a light of artistic license remains for the listener to decide. No doubt some musicolo-

gists will a cast a doubtful eye on my eforts, but I am satisied to have another vehicle by which to enjoy the

splendor of Bach’s gifts!

The irst performance occurred in Houston on September 6, 2002, with Jonathan Godfrey, violinist, and Robert Bridges, vio-

list, with the Mercury Baroque Ensemble. Bridges’ reconstruction has not been published. It took some sleuthing of our own

to ind the parts. Mary Kay Adams tracked down the Ars Lyrica Houston and learned from them that, indeed, such a work

existed. Mr. Bridges died in 2009, and the assumption was that a member of his family had taken his possessions to some

un-named location. The orchestra had no materials for the concerto except a conductor’s score. We got hold of that, and

Cindy Mathews very patiently reentered the entire score into Finale and printed a new score and a new set of parts. Thanks

to Cindy and to Mary Kay, you’re hearing a reconstructed concerto that has rarely been heard.

Brandenburg Concerto No. 6 in B-lat Major, BWV 1051 [by 1721] Johann Sebastian Bach

(without tempo designation)

Adagio ma non troppo

Allegro

Diane Phoenix-Neal, viola

Karen Johnson, viola

Christy Kaufman, viola

Thomas Stevens, viola

Paige Riggs, cello

Pete Spaar, bass

Marvin Mills, harpsichord

7

The sixth Brandenburg Concerto is probably the oldest one of the set. Bach, himself a violist, likely played the irst of the

solo parts (scored for viola da braccio, played held on the arm). The two accompanying viola parts (scored for viola da gam-

ba, played held between the knees) are less challenging, by request of his patron at Cöthen who was a capable amateur

gamba player. The color of this concerto is rich and dark, and explores the magniicent and expressive sounds of the viola in

all its registers.

INTERMISSION

Concerto in C Minor for Violin, Oboe and Strings, BWV 1060 [c. 1713-1723] Johann Sebastian Bach

Allegro

Adagio

Allegro

Joan Griing, violin

Sandra Gerster, oboe

Marvin Mills, harpsichord

The Concerto in C Minor for Violin, Oboe and Strings is a reconstructed version of a concerto for two harpsichords. When Bach

took the position in Leipzig, he reworked concertos he had written earlier as keyboard concertos. By various means of mu-

sical detective work, modern editors have made educated guesses about the original instruments used as solo voices for

these concertos. No manuscripts remain that would tell us Bach’s original choices. This one works very well for two melody

instruments whose ranges for the solo lines match the ranges of the violin and the oboe. Bach wrote the concerto during

his tenure in Cöthen.

Brandenburg Concerto No. 3 in G Major, BWV 1048 [1718] Johann Sebastian Bach

[Allegro]

Adagio

Allegro

Joan Griing, Amy Glick and Ralph Allen, violins

Diane Phoenix-Neal, Karen Johnson and Christy Kaufman, violas

Paige Riggs, Nadine Monchecourt and Beth Vanderborgh, cellos

Pete Spaar, bass

Marvin Mills, harpsichord

The third of the Brandenburg Concertos is scored for strings only, with three violins, violas and cellos. Each player functions

as a soloist in this high-energy work. It may well be the best known and most loved of the six concertos.

8

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9

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We are proud to remain a family owned and operated

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our community. We look forward to sharing many more

years with you, and we encourage others to support the

Shenandoah Valley Bach Festival.

10

CommunityIt’s our family group, our social group, our shared heritage, our common ideas,

our shared values, our pattern for daily life.

Whether you are sixty-five or more, planning for yourself or a family member, the Community you choose makes

a difference in how you enjoy your retirement. At Bridgewater Retirement Community it’s all about that sense of

community, that “welcome home” feeling you get, even if you have never been here before.

We would love to share our community with you! Come for lunch,

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11

MONDAY NOON CONCERT15 June • First Presbyterian Church

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

Virginia Baroque Workship Faculty Concert

Anne Timberlake, recorder

Linda Quan, baroque violin

Martha McGaughey, viola da gamba

Mark Rimple, countertenor and lute

Arthur Haas, harpsichord

Trio Sonata for Violin, Gamba, and Harpsichord Dietrich Buxtehude

1637-1707

Partite diverse di Follia for Harpsichord Bernardo Pasquini

1637-1710

Music for Countertenor and Viol

Sleep faire virgin John Wilson

1595-1674

Love’s farewell Tobias Hume

1569 (?)-1645

O fayre sweet face John Wilson

Pièce de Clavecin en Concert No. 5 Jean-Philippe Rameau

1683-1764

La Forqueray

La Cupis

La Marais

Quadro in G Minor for Recorder, Violin, Gamba, and Continuo Georg Philipp Telemann

1681-1767

Allegro

Adagio

Allegro

12

13

TUESDAY NOON CONCERT16 June • First Presbyterian Church

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

from Partita No. 3 for Violin in E Major, BWV 1006 [1720] Johann Sebastian Bach 1685-1750 Preludium * Louré

Ralph Allen, violin

[* Another version of the Praeludium will be heard as the Sinfonia of the cantata for the Sunday morning service, this time for

organ and orchestra.]

from Piano Trio No. 1 in D Minor, Op. 32 [1894] Anton Arensky 1861-1906 Elegia Scherzo

Susan Black, violin Lisa Wright, cello Anne Waltner, piano

from Trio, Op. 119 [1833] Friedrich Kuhlau 1786-1832 Allegro moderato Mary Kay Adams, lute Kevin Piccini, oboe Anne Waltner, piano

Le Grand Tango [1982] Astor Piazzolla 1921-1992 Karen Johnson, viola Anne Waltner, piano

Divertimento in C Major, MH 27 [1758-1760?] Michael Haydn 1737-1806 Allegro moderato Adagio Menuet Finale: Presto

Amy Glick, violin Paige Riggs, cello Pete Spaar, bass

14

For 23 years, the Shenandoah Valley Bach Festival has enriched

our lives by bringing incredible music and amazing artists to our

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

Estate Gifts relect your deep commitment to the Festival, to Bach’s

beautiful music, and to the performers, instrumentalists and vocalists

who bring it to life. Advantages of an estate gift include:

• You keep control of the funds during your lifetime.

• Easy to make and can be amended to relect changes in your

circumstances or interests.

• Creates a legacy that relects your values and commitment to music,

live performance and the community.

• You can choose to support the Festival in general or focus on a special

project or purpose.

• Builds up the Bach endowment and helps KEEP BACH ALIVE in the

beautiful Shenandoah Valley.

An Estate Gift may be made in your will or trust or by designating the

Shenandoah Valley Bach Festival as a beneiciary of a life insurance

policy or an IRA or other retirement account. The EMU Development

oice can help you choose the best option to create your legacy.

If you have made arrangements for this type of gift or would like to

talk with us about how to do so, please let us know by mailing the

attached coupon in a stamped envelope. Or email the information to

phil.helmuth@emu.edu.

Make an enduring gift that represents the things you

treasure about the Shenandoah Valley Bach Festival!

* Jubilee Friends, with over 500 members, honors those who have made planned gifts.

(We list names, but not amounts, in the annual report.)

Keep Bach Alive! Yes! I want to KEEP BACH 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 speciic purpose.

[ ] You may include me in Jubilee

Friends*

[ ] 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: Oice of Development

Eastern Mennonite University

1200 Park Road

Harrisonburg, VA 22802

Or contact Phil Helmuth: (540) 432-4597

or (800) 368-3383 (toll free),

phil.helmuth@emu.edu.

Thank you for helping to

KEEP BACH ALIVE!

15

16

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17

WEDNESDAY NOON CONCERT17 June • First Presbyterian Church

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

Sonata in D Major for Trumpet and Strings Henry Purcell

1659-1695

Allegro

Adagio

Allegro

Susan Sievert Messersmith, trumpet

Amy Glick and Susan Black, violins

Karen Johnson, viola

Paige Riggs, cello

Pete Spaar, bass

Lynne Mackey, harpsichord

Gavotte with Six Doubles [1729] Jean-Philippe Rameau

1683-1764

trans. Ryohei Nakagawa

Mary Kay Adams, lute

Sandra Gerster, oboe

Leslie Nicholas, clarinet

David Wick, horn

Jonathan Friedman, bassoon

Overture on Hebrew Themes, Op. 34 [1919] Serge Prokoiev

1891-1953

Leslie Nicholas, clarinet

Ralph Allen and Jennifer Rickard, violins

Diane Phoenix-Neal, viola

Beth Vanderborgh, cello

Anne Waltner, piano

18

premiere performance:

The Human One [2015] Ryan Keebaugh

b. 1980

Joan Griing, violin

Diane Phoenix-Neal, viola

Beth Vanderborgh, cello

premiere performance:

Suite Habana [2014] Elionel Molina

b. 1967

Afro Roots

Spirits

Riots

Elionel Molina and Maria Lorcas, violins

Christy Kaufman, viola

Beth Vanderborgh, cello

Rafael Monteagodo, percussion

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19

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

Box Office: 147 Warsaw Avenue

FREE parking right next door

TICKETS: jmuforbescenter.com OR 540.568.7000FORBES CENTER PHOTO BY ROBERT BENSON; SWEET CHARITY AND

DANCESCAPES PHOTOS BY RICHARD FINKELSTEIN; MADISON SINGERS AND

WIND SYMPHONY PHOTOS BY BOB ADAMEK; ROSEANNE CASH PHOTO

BY CLAY PATRICK MCBRIDE; AILEY II’S AUBREE BROWN, JAMAL WHITE IN

KATARZYNA SKARPETOWSKA’S Cuore Sott’olio

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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

Star power. Show-stopping performances.

2015-2016 Season Tickets on sale June 26th!

21

Take a News Break

Enjoy Classical24

90.7FM

91.7FM

WEMC App · wemcradio.org

WEMC

WMRA App · wmra.org

22

www.vmrc.org

VMRC Presents The 12th Annual Shenandoah Valley Lyceum

2015-16 Season Schedule

July 10, 2015, American Folk Music Comes Alive, Jef Davis

October 16, 2015, Scary Movies and Appalachian Stereotypes, Dr. Emily Satterwhite

January 15, 2016, Desegregation of Virginia Public Schools, A Personal Experience, Ron Deskins

February 26, 2016, Innovations in Biomedical Engineering, Dr. Martin Tanaka

All series events take place at 7 p.m. in Detwiler Auditorium on VMRC’s campus.

Individual Event Ticket - $8 in advance, $10 at the door

Season pass- $25

Lifetime Pass- $100

Contact the VMRC Wellness Center, 540-574-3850 or stop by at 1481 Virginia Avenue, Harrisonburg.

hese events are funded in part by the VMRC Shenandoah Lyceum Endowment established to

honor Karl and Millicent Stutzman.

Cultural events help you age well, live fully!

Congratulations on your 23rd Bach Festival season!

23

THURSDAY NOON CONCERT18 June • First Presbyterian Church

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

Capriccio on the Departure of a Beloved Brother, Johann Sebastian Bach

BWV 992 [1704?] 1685-1750

Arioso: Adagio

(Andante)

Adagiosissimo

(Andante)

Aria di Postiglione - Allegro poco

Fuga all'imitazione di Posta

Joseph Gascho, harpsichord

Blessing and Honor from Messiah [1741] George Frideric Handel

1685-1759

arr. Lowell Shaw

Apache Wedding Blessing [1988] Darmon Meador

b. 1961

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

Divertimento in G Major, Hob. XI:9 [1754-1755] Franz Joseph Haydn

1732-1809

Allegro molto

Menuet

Adagio cantabile

Menuet

Finale: Presto

Joan Griing and Susan Black, violins

Diane Phoenix-Neal and Christy Kaufman, violas

Paige Riggs, cello

Sandra Gerster and Kevin Piccini, oboes

David Wick and Jay Chadwick, horns

Kenneth Nafziger, conductor

24

Nulla in mundo pax sincera, RV 630 [1732] Antonio Vivaldi

1678-1741

Veronica Chapman Smith, soprano

Joan Griing and Jennifer Rickard, violins

Diane Phoenix-Neal, viola

Beth Vanderborgh, cello

Marvin Mills, harpsichord

Aria

Nulla in mundo pax sincera In this world there is no honest peace

sine felle; pura et vera, free from bitterness; peace

dulcis Jesu, est in te. sweet Jesus, lies in you.

Inter poenas et tormenta Amidst punishment and torment

vivit anima contenta lives the contented soul,

casti amoris sola spe. chaste love its only hope.

Recitative

Blando colore oculos mundus decepit This world deceives the eye by surface charms,

at occulto vulnere corda conicit; but is corroded within by hidden wounds.

fugiamus ridentem, vitemus sequentem, Let us lee the one who smiles, who follows us,

nam delicias ostentando arte secura for by skillfully displaying its pleasures,

vellet ludendo superare this world overwhelms us by deceit.

Aria

Spirat anguis The serpent’s hiss conceals its venom,

inter lores et colores as it uncoils itself

explicando tegit fel. among blossoms and beauty.

Sed occulto factus ore But with a furtive touch of the lips,

homo demens in amore one maddened by love

saepe lambit quasi mel. will often kiss as if licking honey.

Alleluia

25

FRIDAY NOON CONCERT19 June • First Presbyterian Church

This concert is underwritten in part by Welby C. Showalter, Attorney at Law.

Dover Beach, Op. 3 [1931] Samuel Osmond Barber, II

1910-1981

John Fulton, baritone

Joan Griing and Jennifer Rickard, violins

Diane Phoenix-Neal, viola

Beth Vanderborgh, cello

The sea is calm to-night.

The tide is full, the moon lies fair

Upon the straits; on the French coast the light

Gleams and is gone; the clifs of England stand;

Glimmering and vast, out in the tranquil bay.

Come to the window, sweet is the night-air!

Only, from the long line of spray

Where the sea meets the moon-blanched land,

Listen! you hear the grating roar

Of pebbles which the waves draw back, and ling,

At their return, up the high strand,

Begin, and cease, and then again begin,

With tremulous cadence slow, and bring

The eternal note of sadness in.

Sophocles long ago

Heard it on the Aegean, and it brought

Into his mind the turbid ebb and low

Of human misery; we

Find also in the sound a thought,

Hearing it by this distant northern sea.

The Sea of Faith

Was once, too, at the full, and round earth’s shore

Lay like the folds of a bright girdle furled.

But now I only hear

Its melancholy, long, withdrawing roar,

Retreating, to the breath

Of the night-wind, down the vast edges drear

And naked shingles of the world.

26

Ah, love, let us be true

To one another! for the world, which seems

To lie before us like a land of dreams,

So various, so beautiful, so new,

Hath really neither joy, nor love, nor light,

Nor certitude, nor peace, nor help for pain;

And we are here as on a darkling plain

Swept with confused alarms of struggle and light,

Where ignorant armies clash by night.

[Matthew Arnold, 1822-1888]

Chanson dans la nuit [1927] Carlos Salzedo

1885-1961

Andante from Violin Sonata No. 2 Johann Sebastian Bach

1685-1750

trans. Marcel Grandjany

1891-1975

Anastasia Jellison, harp

Quintetto Concertante [after 1980] Osvaldo Lacerda

1927-2011

Chóte

Scherzo

Seresta

Rondó

Judith Saxton and Susan Sievert Messersmith, trumpets

David Wick, horn

Jay Crone, trombone

Harold van Schaik, bass trombone

27

Saloon Music:

Music from the Turn-of-the-Century American Dance Halls, Saloons, and Brothels [2013]

Red Rooster Strut (Cakewalk) Ludwig Minkus

1826-1917

arr. James Sochinski

Enfare of Old (Juba Dance) James Sochinski

b. 1947

The Cascades (Rag) Scott Joplin

1868-1917

arr. James Sochinski

Mary Kay Adams, lute

Kevin Piccini, oboe

Jay Crone, trombone

Gypsy Medley traditional, arr. Karen Johnson

Ralph Allen, violin

Karen Johnson, viola

Mark Hartman, guitar

Pete Spaar, bass

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28

THE FESTIVAL RECOGNIZES THE MEMBERS OF

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

Anonymous

Sidney Bland and Linda Heatwole Bland

Ed and Cathy Comer

Elisabeth T. Eggleston

Janet S. Einstein

Alden and Louise Hostetter

Dr. LaDene King and Gretchen Nyce

Chris and Betsy Little

Dr. Kip Riddle and Corja Mulckhuyse

C. Robert and Charity S. Showalter

Donald E. and Marlene C. Showalter

Nelson L. and Phyllis E. Showalter

Welby C. Showalter, Attorney at Law

Eugene Stoltzfus and Janet Trettner

Judith Strickler *

Ron and Shirley Yoder

*lifetime member

29

FESTIVAL CONCERT 2Friday, 19 June • Lehman Auditorium, 7:30 p.m.

This concert is underwritten in part by Nelson L. and Phyllis E. Showalter, C. Robert and Charity S. Showalter,

and Donald E. and Marlene C. Showalter.

Franz Joseph Haydn [1732-1809] is justly famous for an enormous amount of music. He was a joyous and optimistic

man who lived a long, inluential and productive life, marked by a consistent creative imagination from his early years

through to his last ones. He was one of the last composers who had a basically good relationship with his patrons. The

system was going out of fashion, and composers were more and more thrown to their own marketing eforts to make

their music heard.

Born in a small eastern Austrian village just inside the Hungarian border, Haydn came into a family that enjoyed sing-

ing both within the family and among neighbors. His gift as a singer was recognized early on, and at age six he was

sent away to live away with a musician and choir director. Soon, he auditioned and was accepted for membership in

the choir of St. Stephen’s Cathedral in Vienna. After a period of work as a freelance musician, he was hired as the court

composer by the wealthiest Hungarian noble family, the Esterházys, and eventually took up residence in their palace in

Eisenstadt, 35 miles southeast of Vienna.

In 1779, Haydn’s patrons altered his contract to allow him to work for others in Europe and to have his music published

by others besides the Esterházy family. His fame spread quickly, and soon he was considered Europe’s leading compos-

er. Eventually he tired of the remoteness of Eisenstadt, and in 1790 was invited to travel to London for the irst of two

very successful visits there. His fame preceded him, and increased there. He composed his last 12 (of 104) symphonies

there along with other music, including his two oratorios, Creation and The Seasons. He was yet to compose six magnii-

cent choral-orchestral masses when he returned to Austria.

He died weakened, but with a spirit that fought with his body to write yet more before leaving this life. As he lay dying,

Napoleon conquered Vienna, and Haydn’s last days were honored by a soldier from the French occupying forces who

stopped by his home to sing for him an aria from Creation.

Symphony No. 31 in D Major, Hornsignal, Hob. I:31 [1765] Franz Joseph Haydn

1732-1809

Allegro

Adagio

Menuet

Finale

30

Franz Joseph Haydn’s Symphony No. 31 was composed in 1765 for Haydn’s patron Nikolaus Esterházy. It was published in

Paris 20 years later. Haydn’s relationship to the prince made him responsible to compose “such music as His Serene High-

ness may command.” Haydn had oversight of the musical standards of the court musicians, but more importantly, he was

expected to meet with the prince every day to discuss matters covering all musical details pertaining to court life. This as-

sociation resulted in thirty symphonies during Haydn’s years of employment with Prince Nikolaus; No. 31 was written during

the irst decade of Haydn’s service there.

The subtitle, Hornsignal, has been attached (not by the composer) because of the unusual inclusion of four horns in this

symphony. Given the size of the Esterházy orchestra (about twelve players), the horns would have left an overwhelming

impression of an imbalance in the ensemble! The initial horn fanfare that opens the symphony is brought back at the end as

well. The last movement is a theme and variations, a structure Haydn used on other occasions in his symphonies from this

era, in which solo instruments are each given a solo variation. Here, oboe, solo cello, lute, horns, solo violin, the entire or-

chestra, and string bass each take their turns with the theme. The opportunities for solo variations suggest that the caliber

of players in the Eisenstadt forces was indeed high.

Concerto No. 4 in D Major for Harpsichord and Orchestra, Hob. VIII:11 [c. 1782] Franz Joseph Haydn

Allegro vivace

Un poco adagio

Rondo all’Ungherse

Joseph Gascho, harpsichord

Concertos do not comprise a major part of Haydn’s catalog of works and are not widely known except for the Cello Concerto

in C, the Trumpet Concerto in E-lat, and the Sinfonia Concertante. Exactly how many concertos Haydn composed is not clear,

because a good number of the twenty credited to him are of doubtful origin. And some are simply designated “keyboard”

concertos, and work well for organ, or harpsichord, or fortepiano, or for the piano.

The Concerto for Harpsichord and Orchestra in D Major was published in 1784. Circumstances of its irst performance are not

clear, but what is known is that it was immediately a very popular work, as no fewer than eight diferent editions were pub-

lished in the next ten years. Haydn himself was not a piano virtuoso. He said to his biographer, “I was never a wizard on any

one instrument, but I knew the power and efectiveness of all of them.” One annotator described the work as demanding

“more luency, warmth, and taste than technical brilliance.” The opening movement is a cheerful, straightforward allegro; the

second a gently lyrical adagio. The inale is a rondo, Haydn’s frequent choice of a structure for a concluding movement, and

brings an exotic element to the concerto. It is based on a Croatian dance tune, Siri Kolo, and most likely surprised and de-

lighted listeners during Haydn’s time. This movement continues to bring delight to the ears of modern listeners as well.

INTERMISSION

31

Te Deum for Empress Marie Therese, Hob. XXIIIc:2 [1798-1800] Franz Joseph Haydn

Festival Chorus and Orchestra

Te Deum laudamus: We praise you, O God,

te Dominum conitemur. we acknowledge you to be the Lord.

Te aeternum Patrem You are the eternal Father,

omnis terra veneratur. all the earth venerates you.

Tibi omnes Angeli; To you all angels,

tibi caeli et universae Potestates; the heavens and all powers;

tibi Cherubim et Seraphim to you the cherubim and seraphim

incessabili voce proclamant: unceasingly cry:

Sanctus, Sanctus, Sanctus, Holy, holy, holy,

Dominus Deus Sabaoth. Lord God of Sabaoth.

Pleni sunt caeli et terra Heaven and earth are illed

majestatis gloriae tuae. with the majesty of your glory.

Te gloriosus Apostolorum chorus, The glorious chorus of apostles praise you,

Te Prophetarum laudabilis numerus, you are praised by the prophets,

Te Martyrum candidatus laudat exercitus. the white-robed martyrs praise you,

Te per orbem terrarium throughout all the world

sancta conitetur Ecclesia, you are acknowledged by the holy church,

Patrem immensae majestatis: Father of immense majesty:

venerandum tuum verum et unicum Filium; who is to be worshiped, your true and only Son;

Sanctum quoque Paraclitum Spiritum. also the Holy Spirit, the comforter.

Tu Rex gloriae, Christe. You are the King of Glory, O Christ.

Tu Patris sempiternus es Filius. You are the everlasting Son of the Father.

Tu ad liberandum suscepturus hominem, When you took upon yourself to deliver humankind,

non horruisti Virginis uterum. you did not abhor the Virgin’s womb.

Tu, devicto mortis aculeo, You, by overcoming the sting of death,

aperuisti credentibus regna caelorum. opened the kingdom of heaven to all.

Tu ad dexteram Dei sedes, in gloria Patris. You sit at the right hand of God, in the Father’s glory.

Judex crederis esse venturus. We believe you will come to be our judge.

Te ergo quaesumus, tuis famulis subveni: We therefore ask you, help your servants:

quos pretioso sanguine redemisti. whom you have redeemed with your precious blood.

Aeterna fac cum sanctis tuis in gloria numerari. Count us among your saints in glory.

Salvum fac populum tuum, Domine, Save your people, Lord,

et benedic hereditati tuae. and bless your heritage.

Et rege eos, et extolle illos usque in aeternum. Rule them, and lift them up forever.

32

Per singulos dies benedicimus te; Every day we bless you;

et laudamus Nomen tuum in saeculum, and we worship your name forever,

et in saeculum saeculi. and forever, for all ages.

Dignare, Domine, Vouchsafe, O Lord,

die isto sine peccato nos custodire. this day to keep us sinless.

Miserere nostri Domine, miserere nostri. Have mercy on us, Lord, have mercy.

Fiat misericordia tua, Domine, super nos, Let your mercy be on us, Lord,

quemadmodum speravimus in te. since we have trusted in you.

In te, Domine, speravi: In you, O Lord, I have trusted:

non confundar in aeternum. let me not be put to shame.

Te Deum laudamus is an early Christian hymn of praise, dating from the 4th century. It is sometimes attributed to St. Am-

brose on the occasion of St. Augustine’s baptism in 387. It very quickly became an important hymn in the tradition, both

for church and state; it was sung for high church events (ordinations, consecrations, and the like) as well as for major state

events (coronations, battle victories, peace treaties, and the like). The text appears in most modern Christian hymnals as

Holy God, we praise thy name.

The Empress Maria Theresa, wife of Franz I of Austria, was a ine singer and for some time badgered Haydn to write some

church music for her to be sung on some special occasion. As he was a frequent visitor to the palace in Vienna, he eventu-

ally acquiesced to her request, and, around 1798 to 1800 he composed for her the magniicent setting of Te Deum laudamus

for chorus and orchestra in C major. The irst performance was on the occasion of Lord Nelson’s and Lady Hamilton’s arrival

at Eisenstadt.

Haydn composed the piece with the same luency with which he wrote his last six masses, using principles of 18th century

classical composition and form, and with great economy of materials. In a simple fast-slow-fast structure, this work of under

ten minutes includes a prominent quotation of the Gregorian tone for Te Deum laudamus at the opening, and, at the end, a

double fugue with both rhythmic and harmonic surprises. It is, like other sacred music of Haydn, joy-illed. “Since God has

given me a cheerful heart,” Haydn said on one occasion, “he will forgive me for serving him cheerfully.”

Symphony No. 104 in D Major, Hob. I:104 [1795] Franz Joseph Haydn

Adagio. Allegro

Andante

Menuet and Trio

Finale: Spirituoso

By the time Haydn composed his last 12 symphonies, often referred to as his “London” symphonies, the musical world in

which he operated had been signiicantly altered. His early employment by the Esterházy family that asked of him music

for private and royal entertainment gave way to later employment by the clamoring public audiences who admired him,

33

respected his work, and would pay to see him and to hear his music. Public events had become much more lucrative than

private patronage. Music had become more readily available, and had become an international art. Haydn was successful in

both worlds, but the trends had clearly shifted.

Symphony No. 104, the last symphony that Haydn composed, was written in 1795 during his second sojourn in London. The

composer conducted the irst performance. An anonymous critic in the Morning Chronicle wrote for the following morn-

ing’s edition, “This wonderful man [Haydn] never fails, and the various powers of his inventive and impassioned mind have

seldom been conceived with more accuracy by the Band, or listened to with greater rapture by the hearers, than they were

this evening.”

One might think that already having composed 103 symphonies, the composer might have found that his imagination had

run dry. But Symphony No. 104 gives no sign that Haydn’s creative powers were anywhere close to being exhausted. Each

of the movements is characterized by an economy of materials, by constant unexpected turns in the music, by inventive

variations (the second movement), by a simplicity of themes (all movements), by the appearance of a Croatian folk tune (Oj,

Jelena, Jelena, jabuka zelena in the inal movement), and by that certain Haydn-esque cheerfulness. The reviewer at the irst

performance had it right: “This wonderful man never fails…” Here, at age 63, Haydn composed his last symphony, and still

had six orchestral mass settings, two major oratorios, and more lurking within his eternally young imagination.

34

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SATURDAY NOON CONCERT20 June • First Presbyterian Church

This concert is underwritten in part by Carol Yetzer.

Sonata for Viola da Gamba No. 2 in D, BWV 1028 [c. 1720] Johann Sebaastian Bach

1685-1750

Adagio

Allegro

Andante

Allegro

Fred Dole, bass

Anne Waltner, piano

Septet in E-lat Major, Op. 20 [1799-1800] Ludwig van Beethoven

(dedicated to the Empress Maria Theresa) 1770-1827

Adagio – Allegro

Adagio cantabile

Tempo di menuetto

Tema con variazioni: Andante

Scherzo: Allegro molto e vivace

Andante con molto alla Marcia – Presto

Ralph Allen, violin

Diane Phoenix-Neal, viola

Paige Riggs, cello

Pete Spaar, bass

Lynda Dembowski, clarinet

David Wick, horn

Jonathan Friedman, bassoon

38

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Center 1

Prelude from Cello

Suite No. 1 in G Major

(blue-green)

watercolor by

Melinda Stefy

Stained glass window

by Barbara Camph

The Shenandoah Valley Bach Festival is pleased to ofer a valuable selection of items in a silent auction. The auction

will occur in the foyer of the auditorium at each festival concert and noon concert, with bids being placed on

clipboards. Winners will be notiied as soon as possible after June 20, and arrangements will be made for payment

and pick-up or delivery of items. Winners will be announced on the festival’s website: emu.edu/bach.

We thank our generous auction donors for the following items …Watercolor by Melinda Stefy Prelude from Cello Suite No. 1 in G Major (blue-green), watercolor on paper, based on music by J.S. Bach, 2014. 11” x 14”.

In this watercolor painting based on the well-known Prelude from J.S. Bach’s irst Cello Suite in G Major, the usually

linear, time-based format of music (in this case, about 2 and 1/2-minutes’ worth of quickly played notes) may be seen

simultaneously as spatial color patterns. Minimum bid $350. Additional Stefy watercolors are on display in the Geh-

man Gallery (University Commons) and Lehman Auditorium June 14-21.

Chamber music performance with Anne WaltnerAnne Waltner, professional pianist and EMU piano professor, and another professional musician will perform at a

date and time to be agreed upon between the buyer and performers. Anne will determine the second musician

based on the interests of the buyer. A 1-hour house concert or 2.5 hours of background music for a social gathering

may be selected. Minimum bid $500.

Chamber music performance by Musica HarmoniaViolinist Joan Griing, violist Diane Phoenix-Neal, and cellist Beth Vanderborgh, of Musica Harmonia, will perform a

house concert on a date to be determined between the buyer and musicians, close to the 2016 Bach Festival, which

is June 12-19. Minimum bid $500.

Stained glass window by Barbara CamphThis gorgeous stained glass window, made by a local artist, has been donated anony-

mously. Minimum bid $200.

Vacation packages donated by Babs and Don FickesPackage 1: One week of a time share at Historic Powhatan Resort, Williamsburg,

Virginia, Oct. 31-Nov. 7, 2015. Unit is one bedroom, sleeps four, has full kitchen. 4 miles from historic

Williamsburg; 12 miles from Jamestown. Minimum bid $700.

Package 2: One week of a time share in Woodstone Meadows at Massanutten Resort, McGaheysville,

Virginia, June 12-19, 2016 (the week of Bach Festival). Unit is one bedroom, sleeps four, has full kitchen.

30 minutes from Harrisonburg and concert venues. Minimum bid $700.

Quilt, made and donated by Babs Fickes of Babs – Professional SeamstressThe quilt’s design, inspired by the festival’s 2015 graphic design, has an of-white background with faded

musical notes and a large gardenia quilted on dark green. Quilted wall hanging, 36” x 48”. Minimum bid

$125.

 

In addition, Babs – Professional Seamstress will create wall hangings on commission for $200, with $125

going to SVBF. To commission a quilt, contact Babs at 434-981-0699.

SVBF SILENT AUCTION JUNE 14-20

Center 2

THE SCORE IS NOT THE MUSICartwork by Melinda Stefy

June 14–21

Margaret Martin Gehman Gallery

(EMU, University Commons)

Gallery opening: June 14, 1:30 p.m.

Artist presentation: 2 p.m.

What does music look like? Artist Melinda Stefy translates the music of

J.S. Bach into visual artworks that reveal unexpected color patterns and

spatial conigurations. The exhibit features a series of watercolors based

on the Well-Tempered Clavier and Cello Suite No. 1. Before Festival Con-

cert 1, stop by the gallery for an artist presentation, “The Score Is Not the

Music,” discussing alternate music notation and intersections between

format/functionality and creative expression. For more information on

Stefy’s work, visit melindastefy.com.

Prelude in C Major (red), No. 1

Melinda Stefy with her Bach-inspired watercolors

Center 3

Bach Learns to Love the Masses (in b-minor)

You’ve hitched a ride to the form, to the form

you know will take you, take you where you know

the next hard hitch in the dance, and the score,

evened and smoothed, turns out, not a rondeau

or gavotte, gavottes being another

slow way to move. No, this, love, is the fugue,

like high mass where the man in his miter

holds the body aloft, then again. Fugue

where all manner of noise comes to matter–

the low voices even get their measure

of love. We are falling here, a clatter

of loves–men into women–b-minor

tonic drawing us deep, bearing us down,

weary voices and full, home to the ground.

– David Wright,

from The Small Books of Bach (Wipf & Stock, 2014)

David Wright’s poems have appeared in Image, Ecotone, Hobart, Books

& Culture and many other places. His most recent poetry collection is

The Small Books of Bach (Wipf & Stock, 2014). He is also the author of A

Liturgy for Stones. He teaches creative writing and American literature at

Monmouth College in Illinois.

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Center 4

39

FESTIVAL CONCERT 3Saturday, 20 June • Lehman Auditorium, 7:30 p.m.

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

Charlestonia: A Folk Rhapsody [1917] Edmund Thornton Jenkins

1894-1926

Abridged from the blog Charleston Past (http://charlestonpast.blogspot.com/2012/08/rev-daniel-jenkins-and-jenkins.html)

comes this incredible story that recounts the context from which Charlestonia was composed:

On a cold December day in 1891, Rev. Daniel Jenkins happened to come across four young black boys, all un-

der the age of 12, huddled together in an abandoned warehouse. He discovered that they were all orphans

and were left to fend for themselves on the streets. Rev. Jenkins immediately took them home with him and

gave them a place to live and a sense of family. Unfortunately, these four boys were simply the tip of a huge

iceberg that represented the hundreds of young black orphans in Charleston who had no place to live and

no parents to care for them. While there were nine orphanages in South Carolina for white orphans, none ex-

isted for black orphans. Rev. Jenkins set about to change the lives of the boys he encountered and the many

others they represented, and the Jenkins orphanage was born.

In January of 1892, Rev. Jenkins petitioned the city for the use of the abandoned Marine Hospital on Franklin

Street and received permission for its use and a small stipend. Robert Mills, who designed the Washington

Monument, as well as other famous national, state and local buildings, was the architect. The building was

built in 1834 and had once served as a hospital, but was badly damaged during the war.

Rev. Jenkins’ primary goal was to teach each of his young charges to become self-suicient so that as adults

they would no longer need to rely on the charity of others. To achieve this goal, he felt that farmland needed

to be purchased to teach the boys the skills they would need to become self-suicient. He petitioned the

City of Charleston for funds, but was denied. He could barely aford to make the orphanage livable and

provide for the basic needs of the children. Funds were not readily available for South Carolina’s only black

orphanage even though over 360 orphans lived at the orphanage now, instead of on the streets of Charles-

ton. In desperation he searched around for ideas that could help raise the necessary funds, and the Jenkins

Orphanage Band was born. His plan was based on the military bands of the day. His requests for funds were

not very successful; however, a request for instruments yielded more fruitful results. Old instruments were

donated, with a large donation of new and used instruments from Siegling Music House on King Street.

Graduating Citadel cadets donated their old uniforms which became the irst uniforms of the Jenkins Or-

phanage Band. Rev. Jenkins was not a musician himself and so he hired two local musicians to teach the

boys: “Hatsie” Logan and Francis Eugene Mikell. They learned not only to play instruments, but music theory

and music history as well.

Soon the band was playing on street corners all over Charleston to try to raise as much money as possible to

keep the orphanage open. Unfortunately, funds were much too meager but, instead of giving up, Rev. Jen-

40

kins used his last remaining funds to take the 13-member band on a tour of some northern cities. Their suc-

cess was less than they had hoped, but, once again, Rev. Jenkins was not ready to give up. With the last bit

of money they had, he took the group to London. There they performed on the streets of London, and were

promptly arrested for disturbing the peace. The group, which had become a favorite on the streets of Lon-

don, suddenly received the support of the churches in the area and a favorable support in the newspapers.

By 1896, the band had established regular tour routes up and down the Eastern coast and in Europe. They

played in Paris, Berlin, Rome, Vienna and London. In 1905, the band played in President Roosevelt’s inaugural

parade and President Taft’s inaugural parade in 1909. In the 1910s and 20s, the band included the styles and

rhythms of the jazz beats sweeping the nation and the Gullah songs and dances of their low country heri-

tage. DuBose Heyward insisted that the band play for the two-year run of his play Porgy on Broadway and

they performed at each performance. By now, there were ive separate bands and two vocal ensembles. 

Charlestonia, the work of the Rev. Jenkins’ son, Edmund Thornton, was one of the earliest symphonic works by an African-

American composer to attract the attention of European audiences. Edmund Thornton, most frequently called simply “Jenks,”

learned piano early in his life and quickly mastered clarinet and violin as well. His father enlisted his gifts as a music instruc-

tor for the band of orphans. Not comfortable functioning in that role, he persuaded his father to let him enter Morehouse

College to study music. He was forced to leave college to lead the orphans’ band on a tour to London, and when the tour

came to an abrupt end because of the outbreak of the war, he convinced his father to let him stay on in London to study

music at the Royal Academy. There he composed Charlestonia: A Folk Rhapsody. He was named an Associate of the Royal

Academy of Music in 1921. The work is relective of Charleston’s rhythms and life and spirit in the early 20th century.

Jenkins moved to Paris, where he continued to compose and perform, and became very heavily involved in the jazz clubs

popular at the time. During his time in Paris that he revised and orchestrated Charlestonia. Jenkins conducted a 1925 perfor-

mance in Belgium. He died in Paris in 1926 after complications resulting from appendicitis.

Three Spirituals [2005] Adolphus Hailstork

b. 1941

Everytime I feel the Spirit

Kum ba yah

Oh Freedom

A native of Rochester, New York, Adolphus Hailstork is currently a professor of music and Eminent Scholar at Old Dominion

University in Norfolk, Virginia. He studied at Howard University, the Manhattan School of Music, Michigan State University,

and with Nadia Boulanger, and participated in a number of contemporary music composer summer workshops. He is a pro-

liic composer of works for chorus, orchestra, band, chamber ensembles, two operas, piano and voice. His works have been

performed by leading conductors and orchestras around the world.

Hailstork wrote, “The Three Spirituals are orchestral settings of three spirituals I set for pipe organ…I made the arrangements

in 2005 to help celebrate the reopening of the Crispus Attucks Theater in Norfolk, Virginia.”

41

Ennanga for Harp, Piano and String Orchestra [1956] William Grant Still

1895-1978

Moderately fast

Moderately slow

Majestically

Anastasia Jellison, harp

Marvin Mills, piano

William Grant Still is considered by many to be the dean of African-American music. He was the irst African American to

conduct a major U.S. symphony orchestra, the Los Angeles Philharmonic in 1939. His Symphony No. 1 was the irst symphony

by a black composer to have been premiered by a major orchestra, the Rochester Philharmonic in 1931. He won commis-

sions and awards of all kinds. Still, a Mississippi native, studied music at Wilberforce University (Dayton, Ohio) and Oberlin

College. In addition to being a proliic composer of orchestral and chamber music, he also wrote eight operas, ilm and tele-

vision scores, and vocal music in classical, jazz and popular styles.

Still composed Ennanga for a virtuoso harpist friend of his, Louis Adele Craft, in 1956. It was performed for the irst time in

1958 in Los Angeles. An ennanga is a Ugandan harp, and Still describes the piece as his “impressions” of African folk themes.

Still does not write this as a concerto, but in the words of one annotator, he “does not play the piano and harp against the

strings in a traditional soloist-ensemble exchange. Rather all three play as equals in a constant back and forth to mimic the

simultaneously lyrical and percussive sound of the ennanga.”

INTERMISSION

Suite from Porgy and Bess [1935] George Gershwin

1898-1937

arr. Robert Russell Bennett

1894-1981

Veronica Chapman-Smith, soprano

John Fulton, baritone

Festival Choir

42

Overture

Summertime

A woman is a sometime thing

Gone, gone, gone

My man’s gone now

The promise’ lan’

Oh, I got plenty o’ nuttin’

Bess, you is my woman now

Oh, I can’t sit down

I ain’t got no shame

It ain’t necessarily so

There’s a boat dat’s leavin’ soon for New York

Oh, Lawd, I’m on my way

The setting for George Gershwin’s opus magnum, Porgy and Bess, is 1930s Charleston, South Carolina, in a former mansion,

now a tenement called Catish Row. The story, set in an African-American ishing community in Charleston, is a tale of love

and life, of love and loss, of the good and the not-so-good, of intrigues, of irrepressible joy and afections.

In 1926, Gershwin read the novel Porgy written a few years earlier by Charleston native DuBose Hayward. When Gershwin

indicated his interest in writing an opera based on Hayward’s book, Hayward agreed, and the two worked collaboratively to

create the libretto. The two were assisted by George’s brother, Ira.

In 1934, they worked together on Folly Beach, an island of the Charleston coast, and on September 30, 1935, the premiere

performance of Porgy and Bess was staged in Boston. The history of performances and thought about the opera are nearly

as complicated as the libretto itself, with surrounding racial and political issues, questions of classism, even whether or not

it could justly be called an opera.

Gershwin, however, according to biographer David Ewen, “never quite ceased to wonder at the miracle that he had been

its composer. He never stopped loving each and every bar, never wavered in the conviction that he had produced a work

of art.” The opera contains some of the most recognized and cherished songs in the entire American repertoire, especially

Summertime.

In his search for the ideal Porgy for that irst performance of Porgy and Bess Gershwin was introduced to Todd Duncan, a pro-

fessor of music at Howard University in Washington D.C. It was Duncan who set the standard for all who sang the role after

him. (He played the role more than 1800 times!) And it was Duncan, through his persistence, who persuaded the National

Theatre in Washington D.C. to abandon its segregationist rules so that the performance would be open to performers and

audiences alike of all races. Duncan had refused to perform in any house that “barred him from purchasing tickets to certain

seats because of his race.” In 1936, the irst performance in Washington took place in a newly desegregated National Theatre.

43

BACH FESTIVAL BOARD OF ADVISORY AND STAFF

Front row (l to r): Jane Burner, Mary Kay Adams, Judy Cohen, Joanne Gallardo

Second row: Ken Nafziger, Joyce Grove, Phil Helmuth, Michael Allain

Third row: Cindy Mathews, Louise Hostetter, Jim Benedict, Donna Heatwole, Babs Fickes

Back row: Benjamin Bergey, Ed Comer

Not pictured above: LaDene King and Joan Griing

Honorary Members

Nelson Showalter Linda Heatwole Bland

Festival Support TeamLoren Swartzendruber, EMU President // Fred Kniss, EMU Provost // Kenneth Nafziger, SVBF Artistic Director/Conductor //

Mary Kay Adams, SVBF Executive Director // Joan Griing, SVBF Orchestra Personnel Manager //

Cindy Mathews, EMU Music Department Oice Manager // Phil Helmuth, EMU Executive Director of Development //

Andrea Wenger, EMU Director of Marketing and Communications

44

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THE LEIPZIG SERVICESunday, 21 June • Lehman Auditorium, 10 a.m.

Prelude

Ascend the Mountain: A Walk with Dr. King James Lee, III

b. 1975

Hymn

Prelude on Cwm Rhondda Paul Manz

1919-2009

HWB 366 God of grace, and God of glory

Missa

Prelude on Herzlich tut mich verlangen Johann P. Kirnberger

1721-1783

STS 58 O God, how we have wandered

Prelude on Grosser Gott, wir loben dich Paul Manz

HWB 121 Holy God, we praise thy name

Salutation and Collect

Dominus vobiscum. The Lord be with you.

Et cum spiritu tuo. And also with you.

Oremus: Let us pray:

Schmecket und sehet, Taste and see

wie freundlich der Herr ist! how good the Lord is!

Alleluia. Alleluia.

Wohl allen denen, Blessed are they

die auf ihn trauen. who trust in him.

Alleluia. Alleluia.

Largire quasemus, Dominus, We beseech you, Lord, that

idelibus tuis indulgentiam placates et pacem, you give your people both pardon and peace,

ut partier ab omnibus mundemur ofensis cleanse them of their ofenses that

et secura tibi mente deserviatur. they may serve you with a safe and quiet mind.

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.

48

Hymn

HWB 34 When the morning stars together

A Responsive Reading from the Psalms:

Praise God with a song, all people!

The Lord strengthens your gates

and guards your children within.

God ills your lands with peace.

We give thanks to you, O God;

we thank you, and proclaim your wonders.

We your people, the lock in your pasture,

give unending thanks.

In every age to come, we will sing your praise.

“I,” says the Lord, “speak peace,

peace to all people who turn their hearts to me.”

Behold:

Salvation is coming near,

glory ills the land.

Steadfast love and faithfulness will meet;

righteousness and peace will kiss each other.

Faithfulness will spring up from the ground,

and righteousness will look down from the sky.

The Lord pours out richness;

the land springs to life.

Justice clears God’s path,

justice points the way.

We give thanks to you, O God;

we thank you, and proclaim your wonders.

God, our God blesses us all.

May the whole world worship you.

A Reading from the Prophet Jeremiah: 6.14-20

The word of the Lord.

Thanks be to God.

STJ 41 Alleluia

A Reading from the Gospel According to St. Mark: 4.35-41

STJ 41 Alleluia

49

Cantata

Wir danken dir, Gott, BWV 29 Johann Sebastian Bach

1685-1750

Sinfonia

Chorus

Wir danken dir, Gott, wir danken dir We thank you, O God, we thank you

und verkündigen deine Wunder. and proclaim your wonders.

Aria – tenor

Halleluja, Stärk und Macht Hallelujah, strength and might

sei des Allerhöchsten Namen! be to the name of the Most-High!

Zion ist noch seine Stadt, Zion is still his city,

da er seine Wohnung hast, where his dwelling is made,

da er noch bei unserm Samen and still to the generations

and der Vater Bund gedacht. remembers the covenant with our ancestors.

Recitative – bass

Gottlob! es geht uns wohl! Praise God who has blessed us!

Gott ist noch unsre Zuversicht, God is still our conidence,

sein Schutz, sein Trost und Licht whose protection, and comfort and light

beschirmt die Stadt und die Paläste. shelter us.

Sein Flügel hält die Mauern feste. God’s wings hold the walls secure.

Er läß uns allerorten segnen, Everywhere we are blessed;

der Treue, di den Frieden küßt, faithfulness that is kissed by peace

muß für und für Gerechtigkeit begegnen. is forever and ever.

Wo ist ein solches Volk wie wir, Righteousness is greeted

dem Gott so nah und gnädig ist! by all to whom God is so near and gracious!

Aria – soprano

Gedenk an uns mit deiner Liebe, Be mindful of us in your love,

schleuß uns in dein Erbarmen ein! envelop us in your mercy!

Segne die, so uns regieren, Bless those who govern,

die uns lieten, schützen, führen; who lead, protect and guide;

segne die gehorsam sein! and bless those who are governed!

Recitative – alto & chorus

Vergiß es ferner nicht, mit deiner Hand Forget not in the future

uns Gutes zu erweisen; to show your goodness in with your hand;

so soll so shall

dich unsre Stadt und unser Land, our cities and lands

das deiner Ehre voll, that are illed with your honor,

mit Opfern und mit Danken preisen, with sacriices and with thanksgiving,

und alles Volk soll sagen: all say to you:

Amen! Amen!

50

Aria – alto

Halleluja, Stärk und Macht Hallelujah, strength and might

sei des Allerhöchsten Namen! be to the name of the Most-High!

Chorale

Sei Lob und Preis mit Ehren Glory and praise with honor be to

Gott Vater, Sohn, Heiligen Geist! God – Father, Son and Holy Spirit!

Der woll in uns vermehren, May all be increased

was er uns aus Gnade verheißt, that has been promised through God’s mercy,

daß wir ihm fest vertrauen, that our trust might remain irm,

gänzlich verlass’n auf ihn, completely relying on God;

von Herzen auf ihn bauten, with all our heart building upon God,

daß unsr Herz, Mut und Sinn that our hearts, courage and mind

ihm tröstlich solln anhangen; would cling to him;

drauf singen wir zur Stund: therefore, we sing now:

Amen, wir werden’s Erlangen, Amen, so be it,

glaub’n wir aus Herzens Grund. this we believe with all our hearts.

Pulpit Hymn

Bicinium on Herr Jesu Christ, dich uns zu wend Georg Philipp Telemann

1681-1767

HWB 22 Lord, Jesus Christ, be present now

Homily

When There Is No Peace

Prayer, ending with the Lord’s Prayer

Aria

Mache dich mein Herze, rein, from St. Matthew Passion Johann Sebastian Bach

Mache dich, mein Herze, rein, Cleanse yourself, my heart,

Ich will Jesum selbst begraben. I myself want to entomb Jesus there.

Denn er soll nunmehr in mir For from now on he shall ind in me,

für und für forever,

seine süße Ruhe haben. his sweet rest.

Welt, geh aus, laß Jesum ein! World, away with you, let Jesus in!

51

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

Canzona dopo l’Epistola Girolamo Frescobaldi

1583-1643

Dona nobis pacem, from Mass in B Minor Johann Sebastian Bach

Dona nobis pacem. Grant us peace.

Veronica Chapman-Smith, soprano

Mark Rimple, countertenor

Joel Ross, tenor

John Fulton, bass

Festival Chorus and Orchestra

Marvin Mills, organ

David Evans, homilist

Church bells began ringing at 6 a.m., calling the faithful to worship. The irst, and most elaborate, service began at 7 a.m.

and lasted about three hours. The irst 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 irst 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 bilingual, retaining many parts of the Latin liturgy

along with Luther’s German service.

There were enormous expectations of the St. Thomas cantor. For each Sunday, Bach was expected to compose a new can-

tata, copy (by hand) the orchestral and choral parts, rehearse and conduct soloists, chorus and orchestra, and serve as the

organist. Sunday responsibilities were only a small part of Bach’s total job description for the city of Leipzig. The town fa-

thers, who reluctantly accepted Bach as their third choice because no one of better qualiications was available, had at their

service for about twenty-seven years the greatest church musician, and most likely the greatest musician, the world has

ever known.

Cantata No. 29 was composed for the inauguration of the Leipzig Town Council on August 29, 1731. This was both a civic and

a religious occasion, much like a Sunday morning liturgy, with sermon and music. Zion, or the city of God, mentioned in the

libretto was understood to be Leipzig in the minds of Leipzig’s citizens. The libretto is based on a number of verses from the

psalms. The responsive reading that we did together this morning is constructed from them.

52

The Sinfonia, a concerto-like movement for organ and orchestra, was originally the opening movement of Bach’s Partita

No. 3 for Solo Violin in E Major. (If you attended the Tuesday noon recital, you heard this original version performed by Ralph

Allen.) Before its appearance in this cantata, it also functioned as a piece for organ and strings in a wedding cantata. The

opening chorus also has another life, appearing twice in the Mass in B Minor, irst as the chorus Gratias agimus tibi, and then

at the end of the mass, as Dona nobis pacem, the concluding music of this morning’s service.

Some believe that each of the three arias is a recycled version of an instrumental movement. It is a unique detail that the

alto aria is a version of the tenor aria, having in common the irst two lines of text, and also having thematic connections.

The inal chorale is a stanza from Johann Graumann’s Nun lob’, mein Seel’, den Herren (1540) by an anonymous composer, also

from 1540. The cantata was used at two later dates, also for inauguration ceremonies for the Leipzig Town Council.

Dr. James Lee III, the composer of the prelude this morning, Ascend the Mountain (AWalk with Dr. King), is associate professor

of composition and theory at Morgan State University in Baltimore. Recipient of numerous commissions, his catalogue in-

cludes works for chorus, chamber ensemble, solo voice, orchestra and solo instruments. Holding degrees from The Univer-

sity of Michigan, he was a fellow at the Tanglewood Music Center in 2002 and recipient of the Wladimir and Rhoda Lakond

Award from the American Academy of Arts and Letters in 2009. Ascend the Mountain was commissioned by Andrews Uni-

versity and premiered by Kenneth Logan on the occasion of the annual Black History Weekend 2000.

One of this morning’s hymns, Holy God, we praise thy name is an English translation of an 18th century German translation of

the Latin Te Deum, heard in Haydn’s version on Friday evening.

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ARTIST BIOS

Mary Kay Adams, Bach Festival’s ex-ecutive director and principal lutist, is

also principal lutist in the Shenandoah

Symphony Orchestra. She has played

lute in the Roanoke Symphony and was

principal cellist of both the Shenandoah

Symphony Orchestra and the Fort Smith

Symphony. Active as a soloist and chamber musician on

both lute and cello, she has performed at conventions of

the National Flute Association and Music Educators Nation-

al Conference. Her bachelor’s and master’s degrees in lute

and cello performance are from the University of North

Texas, where she did additional doctoral work in lute per-

formance. A member of the music faculty at Eastern Men-

nonite University, Adams has played in the Shenandoah

Valley Bach Festival Orchestra for each of its 23 seasons.

Previously, she was the assistant director of the honors

program at James Madison University; a music faculty

member at JMU, Bridgewater College, Mary Baldwin Col-

lege, Washington and Lee University, Liberty University,

and Arkansas Tech University; a lute and cello instructor

in the preparatory music program at EMU; and a freelance

performer and teacher in the Dallas metropolitan area.

Ralph Allen, violinist, grew up in Phila-

delphia, where he began serious violin

studies with Estelle Kerner at the Settle-

ment Music School. His major teachers

have included Donald Weilerstein, Syoko

Aki, Robert Mann, and Vera Beths. He

worked in Holland for four years with

such groups as the Schoenberg Ensemble and the Neth-

erlands Chamber Orchestra. In New York, he performed

regularly with the Orchestra of St. Luke’s and The Knights

and started a chamber music series, R&R Concerts, that has

given more than 40 concerts. Allen currently lives in Israel,

where he performs with the Israel Contemporary Ensemble,

the Jerusalem Baroque Orchestra, and as a violist in the

Israel Symphony. He has taught in Harlem public schools, at

summer festivals in New Hampshire and New Haven, and

currently teaches in Nazareth and Ramat Hasharon in Israel.

With a voice that has been described

as “exquisite,” “sublime,” and “pure beauty,”

soprano Veronica Chapman-Smith

has performed with opera companies

and orchestras across the country while

keeping irm roots in her hometown

of Philadelphia. This summer’s perfor-

mances mark her third appearance with the Shenandoah

Valley Bach Festival, having previously been soprano soloist

for the Verdi Requiem, the Mozart C Minor Mass, and as the

Countess in Le Nozze di Figaro.

Chapman-Smith recently sang the role of Lily (Porgy and

Bess) at Lyric Opera of Chicago, a role she also performed

in the 2008 production. With Opera Birmingham, she has

performed several roles including Clorinda (Cenerentola),

about which Michael Huebner of The Birmingham News

remarked, “The role of Clorinda was engagingly sung, Ve-

ronica Chapman-Smith milked the sister’s arrogance and

ineptitude for all it’s worth.” Of her performance as Liu

(Turandot) with Opera Birmingham, Huebner noted that

Chapman-Smith “sang passionately in the tear-jerking Act

1 aria, ‘Signore, ascolta,’ her inal high pianissimo notes sus-

pended in pure beauty.”

She has performed a lengthy list of operatic roles, includ-

ing Sandrina (La Finta Giardiniera), Gianetta (The Gondoliers),

First Lady (The Magic Flute), Clara (Porgy and Bess), Nedda

(I Pagliacci), The Cousin (Madama Butterly), Solo Gospel

Quartet (Coin in Egypt), and Solo Voice for a commissioned

piece by Lembit Beecker titled I Have No Story to Tell with

Opera Philadelphia.

Chapman-Smith has been a soloist with leading or-

chestras and choral groups, performing with West Shore

Symphony and Memphis Symphony, Colorado Symphony,

Charlotte Symphony, Choral Arts Society of Philadelphia,

Mendelssohn Club of Philadelphia, Ursinus College, and

Orquestra Sinfonica Municipal de Caracas. In addition to

her private teaching studio, Chapman-Smith is an artist in

residence at Temple University.

David Evans, homilist, is assistant

professor of history, mission, intercultural,

and interfaith studies at Eastern Men-

nonite Seminary. His research focuses on

the braided identity categories of race,

nation and religion. In addition to teach-

58

ing, he loves to spend time with his three children, Isaac, Solomon and Sarah. He inds joy in playing and coaching basketball and soccer. He is also an avid music enthusiast who grew up playing the cello and singing. Above all else, Evans would like to be known as someone who loves God with deep conviction and loves God’s people with a heart that is wide open.

American baritone John Fulton made his European opera debut in 2014 at the Royal Danish Opera in its production of Porgy and Bess. He sang the role of Jake in this historic production, directed by Tony Award winner John Doyle and conducted by Mikel Boder. In the summer of 2012, he made his concert debut with the Berliner Philharmoniker under the baton of Sir Simon Rattle. The summer of 2011 included two important concert debuts, the irst under the direction of Lorin Maazel as a part of the Castleton Festival, in which he sang the baritone arias of Gershwin’s masterpiece, Porgy and Bess, and the second in a similar concert presentation under Bramwell Tovey with the Boston Symphony Orchestra at Tanglewood. Fulton recently completed two seasons with the Arizona Opera in the Marian Roose Pulin Young Artist Studio. During his resi-dency from 2008-10 with Arizona Opera, Fulton performed in several productions, including Don Giovanni and Tosca; the following season included Salome, La Bohème, and Il Barbiere di Sivigila. In 2007-08, he debuted as a member of the New York Harlem Productions, Inc., touring production of Porgy and Bess. With this company Fulton has performed the roles of Jake, Crown, and Jim in numerous opera hous-es across Europe, including Hannover, Amsterdam, Dresden, Leipzig, and Berlin.

In 2003 and 2005, when he was an apprentice artist at Central City Opera, his roles included John/Tom (Face on the

Barroom Floor), Barney Ford (Gabriel’s Daughter), and the narrator and soloist in “The Quartet of the Defeated” (Paul

Bunyan). Fulton was awarded the Richard F. Gold Career Grant and the Apprentice Artist Award at Central City in 2005 and the prestigious Dietrich Fischer-Dieskau Wolf Lie-der Competition in New York in 2003. He studies voice with Charles Schneider and has studied voice with Metropolitan Opera baritone Mark Oswald, Ashely Putnam, Charles Ly-nam, and Jane Dillard. Fulton has collaborated with con-

ductors Joel Revzen, Steuart Bedford, Sir Simon Rattle, and Lorin Maazel and has been directed by Catherine Malitano, Ken Cazan, James Robinson, Sonja Frisell, and Lemuel Wade. Fulton is a native of Charlotte, North Carolina, and studied at UNC Greensboro, before going on to gain his master’s of music at Eastman School of Music.

Harpsichordist Joseph Gascho re-cently joined the faculty at the University of Michigan School of Music, Theatre & Dance. He enjoys a multifaceted musi-cal career as a solo and collaborative keyboardist, conductor, teacher, and recording producer. Featuring his own transcriptions of Bach, Handel, and Char-pentier, his recent debut solo recording was praised in the American Record Guide for “bristling with sparkling articu-lation, subtle but highly efective rubato and other kinds of musical timing, and an enviable understanding of the various national styles of 17th and 18th century harpsichord music.”

In 2002, he won irst prize in the Jurow International Harpsichord Competition. As a student of Webb Wiggins and Arthur Haas, he earned master’s and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross. He is also a graduate in music from Eastern Mennonite University.

Recent highlights include performing with the National Symphony at Carnegie Hall, the Mark Morris Dance Group, and the Kennedy Center Opera Orchestra, and conducting Idomeneo for the Maryland Opera Studio. He has also con-ducted numerous operas from Monteverdi to Mozart for Opera Vivente.

At the Oberlin Conservatory’s Baroque Performance Insti-tute, he conducts the student orchestra, coaches chamber music, and teaches basso continuo. A strong proponent of technology in the arts, he has used computer-assisted tech-niques in opera productions, in a recent recording with the ensemble Harmonious Blacksmith and percussionist Glen Velez, and in his basso continuo classes.

In demand as a recording producer, Gascho has recently produced sessions and recordings for Pomerium, the Folger Consort, Trio Pardessus, the 21st Century Consort, Ensemble Gaudior, Three Notch’d Road, pianist/composer Haskell

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Small, Cantate Chamber Singers, and the Washington Mas-

ter Chorale.

Praised for “exemplary bravura” (New

Haven Register) and “expressive animation”

(Baltimore Sun), Sandra Gerster is a busy

musician who has served as principal

oboist of the Shenandoah Valley Bach

Festival Orchestra for 22 years.Currently residing in Baltimore, Ger-

ster performs regularly with the Baltimore, Annapolis, and Maryland Symphonies, as well as the Baltimore Chamber Orchestra, The Orchestra of St. John’s, and Annapolis Op-era. As principal oboist of the Bach in Baltimore concert series, Gerster performs Bach cantatas each irst Sunday of the month and is a frequently featured concerto soloist. A founding member of the acclaimed oboe trio, Trio La Milpa, she concertizes throughout the United States with mem-bers of the Baltimore Symphony oboe section. In August 2007, the trio became the irst American musical ensemble to tour Greenland. From 1993 to 2005 Gerster lived in Vir-ginia, performing with the Richmond and Virginia (Norfolk) Symphonies, as well as Virginia Opera and Williamsburg Symphonia. Formerly she was principal oboist of the Hart-ford Symphony, Connecticut Opera, Berkshire Opera, and Opera New England. As a founding member of the Soni Fi-delis Quintet, Gerster made an acclaimed Carnegie Hall de-but in 1989 and worked with celebrities such as Susan Saint James and Captain Kangaroo. Gerster has collaborated with the New World, Franciscan, and Cavani String Quartets and in 1998 participated in a special chamber music concert in London for Prime Minister Tony Blair and designated mem-bers of his cabinet.

Gerster serves on the faculties of the Peabody Conserva-tory of Music and the Baltimore High School for the Arts.

Violinist Joan Griing is a member of the Virginia Symphony, violin faculty with Eastern Music Festival, and a professor of music at Eastern Mennonite University. She earned her bachelor’s and master’s degrees in violin performance from In-diana University and her DMA from The Ohio State University. In the spring of 1999, she premiered a violin concerto written for her by Terry Vosbein, compos-

er-in-residence at Washington and Lee University. She has performed as concertmaster with the AIMS Festival Orches-tra in Austria and Italy, as well as with the Coronado, Grand Teton, Norfolk, and Spoleto festivals.

Her recent international appearances include a three-week tour of Taiwan with the Atlanta Pops Orchestra, a series of guest recitals and master classes in the state of São Paulo, Brazil, a presentation at the International Viola Congress in Adelaide, Australia, a series of chamber music recitals and master classes in the northeastern part of Brazil, and a ive-month collaboration with artists at the Univer-sity of Otago in Dunedin, New Zealand, studying the role of music in peace and conlict issues.

Griing is a founding member of, and tours regularly

with, the chamber music group Musica Harmonia, formed

to promote peace and cultural understanding through

musical collaboration. The group recorded a CD of chamber

music by Gwyneth Walker, When the Spirit Sings, in 2014.

Walker composed two of the works speciically for Musica

Harmonia. In 2012, Griing and cellist Beth Vanderborgh

gave the North American premiere of Double Concerto for

Violin and Cello by New Zealand composer Anthony Ritchie

as artists in residence at the Brush Creek Arts Foundation

in Wyoming. In May 2014, she was solo violinist in Vaughan

Williams’ The Lark Ascending with The Dance Theatre of

Harlem.

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 Ba-

roque and contemporary music. He is a member of the Au-

los Ensemble, one of America’s premier period instrument

ensembles, whose recordings of Bach, Vivaldi, Telemann,

and Rameau have won critical acclaim in the press, as well

as Empire Viols, and Aula Harmoniæ. He has recorded harp-

sichord music of Jean-Henry D’Anglebert, Forqueray, Purcell

and his contemporaries, Elisabeth Jacquet de La Guerre,

François Couperin, and most recently the three books of

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Pièces de Clavecin of J.P. Rameau. Annual summer workshop and festival appearances include the International Baroque Institute at Longy and the Amherst Early Music Festival, where he served as artistic director of the Baroque Academy 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 also on the faculty of Juilliard’s historical performance program. In fall 2012, he joined the distinguished faculty of the Yale School of Music.

A versatile performer on modern and historic instruments, Phillip Chase

Hawkins, trumpet, is an active performer, educator, and clinician. He holds the positions of principal trumpet with the Knoxville Symphony Orchestra in Knox-ville, Tennessee, and visiting professor of trumpet at Centre College in Danville, Kentucky. From 2012 to 2013, he served as interim professor of trumpet at the Uni-versity of Kentucky. He is a member of the UK Brass Quintet, the 1st B-lat cornet in Saxton’s Cornet Band (America’s pre-

mier Civil War Cornet Band), and soprano E-lat cornet in the

Lexington Brass Band.

He has appeared in concert halls and recital venues

around the world, including New York’s Carnegie Hall, Roy

Thomson Hall in Toronto, Canada, the National Center for

the Performing Arts in Beijing, China, Tianjin Concert Hall in

Tianjin, China, Brucknerhaus in Linz, Austria, Stefaniensaal

and Kasematten in Graz, Austria, Eastman School of Music’s

Kodak Hall, and National Conservatory of Music in Lima,

Peru, among others.

Hawkins has had the opportunity to perform with great

artists, such as Vincent DiMartino, James Thompson, Bob

Sullivan, Denver Dill, Gaudete Brass Quintet, and the U.S.

Naval Academy Brass Quintet. He has also performed with

professional ensembles such as the Boston Pops Orches-

tra, West Virginia Symphony Orchestra, and the Lexington

Philharmonic Orchestra, and as lead trumpet with Bluegrass

Area Jazz Ambassadors, Havana Nights Salsa Band, and Half

Ton Horns.

As a winner of multiple national and international compe-

titions, most recently he took irst place at the Grand Valley

State University International Solo Competition in July 2014.

In 2013, he won irst prize at the North American Brass Band

Association Solo Competition in the high lyric category. In

2012, he was the irst-place winner of the National Trumpet

Competition in the graduate division and also won irst

place in the National Brass Symposium Solo Competition.

Hawkins holds a bachelor of music and a master of mu-

sic degree from the Eastman School of Music, where he

was awarded the prestigious Performer’s Certiicate.

Anastasia Jellison holds a bachelor’s

degree from the Cleveland Institute

of Music, where she studied with Alice

Chalifoux, principal harpist of the Cleve-

land Orchestra for 47 years. In 1999 she

completed her master’s degree in harp

performance at the Shepherd School of

Music, Rice University, under the instruction of Paula Page,

principal harpist of the Houston Symphony.

Jellison has extensive experience as an orchestral harpist.

She has played with the Houston Symphony, the Houston

Ballet, the Houston Grand Opera, the Knoxville Symphony,

Richmond Symphony, Virginia Symphony, Opera Roanoke

and several other ensembles throughout Texas, Ohio and

Virginia. In addition, she has toured Europe with the North

Carolina School of the Arts, attended the International Festi-

val-Institute at Round Top in Round Top, Texas, and has trav-

eled to Japan with the Paciic Music Festival. Jellison spends

her summers playing with the Shenandoah Valley Bach

Festival and joined the Wintergreen Music Festival for their

2014 season. She debuted with the Roanoke Symphony for

its 50th anniversary concert in a performance of the Bartok

Concerto for Orchestra and has been principal harpist with

the symphony since 2005.

Currently she teaches at the University of Richmond, Uni-

versity of Virginia, and the College of William and Mary, and

has a private studio in Richmond, Virginia.

Lynne Mackey is founder and direc-

tor of the Virginia Baroque Performance

Academy, with this year’s Baroque work-

shop marking its seventh year as part of

the Shenandoah Valley Bach Festival. She

is a pianist and harpsichordist, has per-

formed solo recitals and chamber music in

the United States, South America, Europe, and Africa. In Vir-

ginia, she also tours with the Commission for the Arts. Mack-

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ey holds master’s and doctorate degrees from The Juilliard School and the Eastman School of Music, and a bachelor’s degree from the University of Michigan. Highlights of her career include performances at Weill Recital Hall and Merkin Hall in New York City, the Banf Centre in Alberta, Canada, and at the International Gaudeamus Interpreters Competi-tion in Rotterdam. Mackey was awarded an Appalachian College Association Fellowship for a residency at the Uni-versity of Virginia in the ield of contemporary music. More recently, she spent the winter and spring of 2014 in Paris as the recipient of an artist residency at the Cité Internationale des Arts. Most recently, in January of 2015, she was invited to perform in a week of solo harpsichord masterclasses conducted by Trevor Pinnock at Brandywine Baroque. In the spring of 2016, she will be harpsichord concerto soloist with the Symphony Orchestra of Presbyterian College in South Carolina. She also performs in the Gee-Mackey Duo (cello and piano), touring in the United States and also in Spain and Morocco. She has taught on the faculties of Eastern Mennonite University, the University of Mary Washington, the University of Virginia, and Blueield College.

Carol G. Marsh, Baroque dance special-ist, received her Ph.D. from the City Uni-versity of New York, with a dissertation on early 18th-century English dance sources. A professor emerita at the University of North Carolina at Greensboro, she taught music history and viola da gamba and was director of the Collegium Musicum. In spring 1998, she was a Fulbright Scholar at the University of Salzburg. Her books include Musical Theatre at the Court of Louis XIV: Le

Mariage de la Grosse Cathos (with Rebecca Harris-Warrick), La

Danse Noble: An Inventory of Dances and Sources (with Mer-edith Little), and the facsimile edition of L’Abbé’s New Collec-

tion of Dances. She has lectured and given dance workshops at numerous universities in the United States and abroad and has been on the faculty at many early music and dance workshops in North America and Europe, teaching viola da gamba, Renaissance music notation, and historical dance.

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 was a founding member of New York’s Empire

Viols and of Musical Assembly, whose re-cording of the chamber music of François Couperin has received critical acclaim.

She has toured with the Waverly Con-sort, performed with Concert Royal, the Aulos Ensemble, and the New York Col-legium, and appears regularly with the Long Island Baroque Ensemble as well as the Capella Ora-toriana 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 Albuquer-que Baroque Workshop, and the San Francisco Early Music Society summer workshops, and has been on the faculty at the Mannes College of Music in New York since 1986. McGaughey is a founding member of the New York-based groups Empire Viols and Aula Harmoniae. Aula Harmoniae toured Korea in the fall of 2013.

Marvin Mills, organist and choral direc-tor, has performed throughout the United States, often at the invitation of chapters of the American Guild of Organists, and has been featured at three of its national conventions. Concerto appearances in-clude the Jacksonville, Pittsburgh, and Peabody Symphonies in works by Handel, Rheinberger, Hin-demith, and Jongen. He has served as university organist at Howard University, music director of The National Spiritual Ensemble, and is organist at St. Paul’s UMC, Kensington, Maryland. A frequent guest artist with The Ritz Chamber Players (Jacksonville, Fla.) and MasterSingers of Wilmington (Del.), 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

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pipe organ in Philadelphia’s Kimmel Center Verizon Hall. His Four Spirituals for Denyce Graves has been performed throughout the country at colleges and universities by aspiring singers. A setting of a Phyllis Wheatley poem, On

Virtue, was commissioned by the Cathedral of St. John the Divine for its Poets Corner. He made his theatrical conduct-ing debut in Joplin’s Treemonisha with Washington Savo-yards in 2010.

Kenneth Nafziger, artistic director and conductor, is professor of music at Eastern Mennonite University. A gradu-ate of Goshen College, he received a doc-tor of musical arts in music history and literature from the University of Oregon and was a post-doctoral conducting stu-dent with Helmuth Rilling in Frankfurt/Main and Stuttgart, Germany. At EMU his teaching responsibilities include the EMU Chamber Singers and courses in conducting, interdis-ciplinary humanities studies, the honors program, church music, and world music.

Nafziger is also music director and conductor of the chamber choir Winchester Musica Viva in Winchester, Virgin-ia. A highlight of this past season included the irst U.S. per-formance of a recent choral work by Ysaye Maria Barnwell.

He has worked with many of Cuba’s premier orchestral and choral ensembles over the past number of years, includ-ing guest conducting appearances with Cuba’s leading or-chestras and choirs, teaching master classes on a variety of musical topics, and participating 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 signiicant work in church music. He edited or assisted in editing three hymnals (the ones in the hymnal racks), producing teaching materials and recordings, and co-wrote a book on the signiicance of singing among Mennonites. His work is widely known in many denomina-tions. A January workshop, which he founded for church music leaders, has run successfully for more than twenty years and draws a large population of church musicians from a wide geographic and denominational spread. He is a frequent guest conductor, workshop leader, and clinician

across the United States and Canada. Last January he spent a long weekend with St. Paul’s United Methodist Church in Ithaca, New York, as a song leader and worship consultant.

Violist Diane Phoenix-Neal performs regularly throughout the United States and worldwide as a recitalist and as a collaborative chamber musician. She received her training from UNC School of the Arts and at The Juilliard School, where she studied with William Lincer and with the Juilliard Quartet. As an educator, she enjoys her role as visiting assistant professor and orchestra director for Cen-tral College in Pella, Iowa. Currently principal violist of the Shenandoah Valley Bach Festival, she also serves on the fac-ulty of Drake University in Des Moines. In the summer, she is in residence in North Carolina, where she performs, coor-dinates a chamber music program, and teaches as a faculty member at the Eastern Music Festival. Her performances have taken her to concert stages worldwide, to France, Spain, Poland, Portugal, China, Morocco, and Brazil, and to the music festivals of Spoleto, Banf, and Evian. In France, she served as both the solo violist of the Orchestre de Picar-die and as violist of Quatuor Joachim.

She is a founding member of the chamber ensemble Musica Harmonia, formed to promote peace and cultural understanding through musical collaboration. An enthusi-ast of new music, Phoenix-Neal has collaborated with com-posers Jerzy Kornowicz (Poland) and Gwyneth Walker (U.S.) in commission projects in 2013, 2014, and 2015, presenting world premiere performances of works written for her and for Musica Harmonia. Her recent recitals and projects fea-turing contemporary music for viola have been presented at Central College, Northwestern University New Music Conference, the New Frontiers Festival at the University of Wyoming, and at the Academy of Music in Kraków, Poland. Recent collaborative performances include guest appear-ances at Eastern Mennonite University, Augustana College, and with Drake Fine Arts Faculty Series.

Linda Quan, violinist, was born in Los Angeles and earned her bachelor’s and master’s degrees in music at The Juilliard School under Joseph Fuchs. Quan has had a diverse career concertizing and recording in the United States, Canada, South America, Europe, Asia, and Australia as a so-

63

loist, a chamber musician, and a principal orchestral player.

Extremely active in the ield of “origi-nal instrument” performance, she is a founding member of the Aulos Ensemble and Classical Quartet, and she appears regularly as a principal player with The American Classical Orchestra, The Handel and Haydn Soci-ety, Smithsonian Chamber Players, and The Bach Ensemble. Quan has an equally strong involvement in new music, per-forming and recording with the Atlantic Quartet, The New York New Music Ensemble, the ISCM Chamber Ensemble, and the Composers Conference at Wellesley.

In the past, she has appeared and toured with such groups as The Orpheus Chamber Ensemble, The Classical Band, The St. Luke’s Orchestra of New York, and The Contem-porary Chamber Ensemble, and has appeared in numerous summer festivals, including Mostly Mozart at Lincoln Center, Tanglewood, Caramoor, Santa Fe, Blossom, June in Bufalo, and Wolf Trap.

International festivals include Festival of Perth, Schleswig Holstein, Lufthansa Festival of London, Edinburgh Interna-tional Festival, and contemporary music festivals in Beijing, Thailand, Cambodia, and Belgium. Besides her position on the faculty of Vassar College since 1980, Quan has led work-shops in old and new music performance practices at uni-versities and summer academies throughout America.

She has recorded on the Harmonia Mundi, Smithson-ian, CRI, Musical Heritage Society, MusicMasters, Opus One, Decca (L’Oiseau-Lyre), and Centaur labels.

Mark Rimple has appeared as coun-tertenor and lutenist with some of the top ensembles performing medieval through baroque music today, including Trefoil, The Newberry Consort, The Folger Consort, Ex Umbris, Pifaro, the Renais-sance Band, Tempesta di Mare, and Melo-manie. A Chicago Tribune reporter praised his “efortless upper notes capable of pinpoint accuracy.” His vocal perfor-mances of the music of Ciconia with Ellen Hargis and Drew Minter on Puzzles and Perfect Beauty (Noyse Productions) were lauded by critics. A Philadelphia Inquirer critic wrote that his lute playing has “the speciicity of a great vocal per-formance.” Rimple has accompanied solo recitals by Drew

Minter, Julianne Baird, and Laura Heimes. He has also re-corded new music by Matthew Greenbaum on archlute and recorded modern countertenor music by Jonathan Dawe.

As a composer, he incorporates the rhythmic and tonal aspects of early music and often includes early instruments and techniques in his works. Leading ensembles including The League of Composers/ISCM Chamber Players, Parnas-sus, Choral Arts Philadelphia, Pifaro, and Mélomanie have performed his compositions. Most recently, his Nouvelle

Chanson des Oiseaux (for SATB choir and lute) was deemed by critics as “nothing short of a masterpiece” and “movingly beautiful.” He is in the inal stages of recording his irst solo composition CD, January, featuring new works for archlute, countertenor, viola da gamba, and harpischord. Rimple holds a doctorate of musical arts in composition from Temple University and is professor of music theory and com-position at West Chester University, where he also directs the Collegium Musicum. He has lectured and taught early notation, coached vocalists, given lute masterclasses, and taught vocal and instrumental ensembles for the Amherst Early Music Festival, The Madison Early Music Festival, The Virginia Baroque Performance Academy, Pinewoods Early Music Week, and the Interlochen Summer Arts Camp. 

Joel Ross, tenor, graduated from Mes-siah College in Grantham, Pennsylvania, with a bachelor's degree in music edu-cation with a concentration in voice. In 2011, he completed a master’s in music in conducting at Shenandoah Conservatory. While at Shenandoah, he studied con-ducting with Karen Keating and Deen Entsminger and voice with Michael Forest. He has performed as a countertenor and as a tenor with several professional choirs in Washing-ton, D.C., including Chantry, an early music ensemble, 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 Harrisonburg, Va. He also serves as the music director and writes and ar-ranges music for Good Company.

Ross teaches in Shenandoah County, where he directs the choir and string orchestra programs at Signal Knob Middle School and Strasburg High School and teaches high school and AP music theory. He regularly composes and arranges

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music for the Strasburg High School String Ensemble and has submitted several of his works for publication. He also is the founder and administrator of Shenandoah Summer Strings, a week-long summer orchestra camp in Shenan-doah County.

Philadelphia artist Melinda Stefy creates visual artwork that fuses music theory and color theory, translating works by composers such as J.S. Bach and Bartók into complex color patterns. She received a master of ine arts in painting from The University of the Arts and a bachelor’s degree from Eastern Mennonite University. Her artwork has been on display across the northeast at galleries such as Rowan University (N.J.), Crane Arts (Philadelphia), Sam Quinn Gallery (Philadelphia), Delaware Center for Contem-porary Art, Fringe Wilmington (Del.), Lancaster Museum of Art (Pa.), Villanova University (Pa.), Finlandia University (Mich.), Micro Museum (N.Y.), and Stamford Art Association (Conn.), among others, and she was prize winner in the 29th annual Faber Birren Color Award Show. Melinda is an artist member of InLiquid and a LEADERSHIP Philadelphia fellow. She has taught art classes and workshops for all ages and previously worked as a freelance art reviewer, covering ex-hibitions in the Philadelphia region. Also an accomplished musician, Stefy currently serves as the executive director for innovative music nonproit LiveConnections and sings with a 15-voice a capella chamber choir, the Chestnut Street Singers.

Anne Timberlake has appeared across the United States performing repertoire from Bach to 21st-century premieres to Celtic tunes. She holds degrees in recorder performance from Oberlin Conservatory, where she stud-ied 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 “ine technique and stylishness,” “unexpect-edly rich lyricism” (Letter V), and “dazzling playing” (Chicago

Classical Review).Timberlake has received awards from the American

Recorder Society and the National Foundation for the Ad-

vancement of the Arts and was awarded a Fulbright Grant. With Musik Ekklesia, she has recorded for the Sono Luminus label. She is a founding member of the ensemble Wayward Sisters, specializing in music of the early Baroque. In 2011, Wayward Sisters won Early Music America’s Naxos Recording Competition. Wayward Sisters released its debut CD on the Naxos label in 2014.

Timberlake enjoys teaching as well as playing. In addition to maintaining a private studio, she has coached through Indiana University’s Pre-College Recorder Program, the San Francisco Early Music Society, the Virginia Baroque Perfor-mance Institute, Mountain Collegium, and for numerous ARS chapters.

Pianist Anne Waltner has performed on ive continents in numerous solo and collaborative roles. Currently assistant professor of music at Eastern Mennonite University, she is regarded both as a de-manding teacher and a highly artistic per-former. At EMU she coordinates the music theory sequence and the collaborative piano program and teaches studio piano. Previously she taught at West Virginia State University, Woodstock School in Mussoorie, India, and at the Rainey Institute in Cleveland, Ohio. A graduate of the Cleveland Institute of Music with a doctorate of musical arts and an artist diploma in collaborative piano, she studied with Anita Pontremoli and Olga Radosavljevich. Waltner received her master’s and bachelor’s degrees in solo piano performance from Chicago College of Performing Arts with Ludmila Lazar, and from Goshen College with Marvin Blick-enstaf, respectively.

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Conductor

Eugene Stoltzfus and Janet Trettner

Soloists

E. Rhodes and Leona B. Carpenter Foundation

Festival Concert 1

Ed and Cathy ComerAlden and Louise Hostetter

Ron and Shirley Yoder

Festival Concert 2

C. Robert and Charity S. ShowalterDonald E. and Marlene C. Showalter

Nelson L. and Phyllis E. Showalter

Festival Concert 3

Sidney Bland and Linda Heatwole BlandJanet S. Einstein

Principal Oboe Chair

Beryl and Mark Brubaker

Noon Concerts

Chris and Betsy Little • MondayDr. Kip Riddle and Corja Mulckhuyse • Tuesday

Roy and Donna Heatwole • WednesdayMichael and Violet Allain and Jim and Joyce Benedict • Thursday

Welby C. Showalter, Attorney at Law • FridayCarol Yetzer • Saturday

ACKNOWLEDGEMENTSGenerous underwriting and grant support is provided in part by …

66

Soprano

Judy BombergerHarrisonburg, Va.

Sue CockleyHarrisonburg, Va.

Christine FairieldStaunton, Va.

Sylvia FellowsHarrisonburg, Va.

Mamie MellingerHarrisonburg, Va.

Augusta NafzigerWeyers Cave, Va.

Barbara ReisnerHarrisonburg, Va.

Jennifer Davis SensenigHarrisonburg, Va.

Jewel ShenkSarasota, Fla.

Kris Shank ZehrHarrisonburg, Va.

Alto

Babs FickesPalmyra, Va.

Margaret FigginsWoodstock, Va.

Lynn GrandleHampton, Va.

Beth HarterBridgewater, Va.

Joyce LindHarrisonburg, Va.

Jane MollNew Market, Va.

Ginny NewmanLuray, Va.

Anna ShowalterDurham, N.C.

Bonny StrasslerStaunton, Va.

Dorothy Jean Weaver Harrisonburg, Va.

Abigail Shank Zehr Harrisonburg, Va.

Tenor

John BarrBridgewater, Va.

Les HelmuthHarrisonburg, Va.

Jim HershbergerLinville, Va.

Robert JochenMount Sidney, Va.

David KaeuperTimberville, Va.

Clair MellingerHarrisonburg, Va.

Daniel MillerHarrisonburg, Va.

Jeremy NafzigerWeyers Cave, Va.

Bass

Drew BellingerHarrisonburg, Va.

Joshua GoinesNew Market, Va.

David Holl,Bridgewater, Va.

Sam KaufmanHarrisonburg, Va.

Vernon MastBroadway, Va.

Sam MillerHarrisonburg, Va.

Jim NewmanLuray, Va.

Lowell NewmanStanardsville, Va.

Stephen StutzmanHarrisonburg, Va.

William TompkinsHarrisonburg, Va.

Don TysonHarrisonburg, Va.

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Violin 1

Joan Griing, concertmasterHarrisonburg, Va.

Ralph AllenRaanana, Israel

Amy GlickOrrville, Ohio

Mark HartmanShippensburg, Pa.

Eleonel MolinaEllicott City, Md.

Jennifer RickardFairfax, Va.

Phil StoltzfusNorthield, Minn.

Mark TaylorBuena Vista, Va.

Jacinda Stahly *Atmore, Ala.

Violin 2

Susan Black, principalCharlottesville, Va.

Susan BedellRichmond, Va.

Kaye CrowtherHarrisonburg, Va.

Rebecca HunterHarrisonburg, Va.

Maria LorcasGrottoes, Va.

Paul McEnderferHarrisonburg, Va.

Sharon MillerHarrisonburg, Va.

Miranda Helm *Luray, Va.

Viola

Diane Phoenix-Neal, principalPella, Iowa

Karen JohnsonDayton, Ohio

Christy KaufmanLancaster, Pa.

Thomas StevensRichmond, Va.

Cello

Paige Riggs, principalPittsburgh, Pa.

Nadine MonchecourtCincinnati, Ohio

Eric StoltzfusMt. Rainier, Md.

Beth VanderborghLaramie, Wyo.

Lisa WrightHarrisonburg, Va.

Bass

Pete Spaar, principalCharlottesville, Va.

Fred DoleRochester, N.Y.

Flute

Mary Kay Adams, principalBridgewater, Va.

Carol WarnerBridgewater, Va.

Oboe

Sandra Gerster, principalBaltimore, Md.

Kevin PicciniHampton, Va.

Michael LisickyBaltimore, Md.

Clarinet

Leslie Nicholas, principalHarrisonburg, Va.

Lynda DembowskiAnnapolis, Md.

Michael LippardYork, Pa.

Bassoon

Jonathan Friedman, principalRichmond, Va.

Lynda EdwardsRichmond, Va.

Horn

David Wick, principalVirginia Beach, Va.

Jay ChadwickReston, Va.

Tara IslasAlexandria, Va.

Roger NovakRichmond, Va.

Trumpet

Judith Saxton, principalWinston-Salem, N.C.

Susan MessersmithCharleston, S.C.

Christine CarrilloHarrisonburg, Va.

Trombone

Ron Baedke, principalGlen Allen, Va.

Jay CroneBlacksburg, Va.

Harold Van SchaikSt. Petersburg, Fla.

Tuba

Kevin SteesHarrisonburg, Va.

Timpani

Raymond Breakall Chester, Va.

Percussion

Michael Overman, principalBridgewater, Va.

Charlie NesmithStaunton, Va.

Josh Miller *Baltimore, Md.

Benjamin Hill *Harrisonburg, Va.

Harp

Anastasia Jellison Richmond, Va.

Organ and Harpsichord

Marvin Mills Baltimore, Md.

* orchestra fellows

Festival Interns

Erin HersheyMechanicsburg, Pa.

Benjamin HillHarrisonburg, Va.

Caitlin HolsappleHarrisonburg, Va.

Jacinda StahlyAtmore, Ala.

2015 FESTIVAL ORCHESTRA

68

SPECIAL THANKS

… to Eastern Mennonite University, for providing facilities for meetings,

rehearsals, and concerts, and for its

inancial and campus-wide support to

ensure the success of the festival.

… to First Presbyterian Church, for the

use of their facilities for the noon con-

certs, the Baroque Workshop, and the

Road Scholar program.

… to Whitesel Music and Josh Dove, owner, for loaning the grand piano for

noon concerts and for hosting “Bach &

Beyond II”; and to Deb Ryder, Teresa

Crawford, Joyce Grove, and Bill

Vance, “Four-in-a-Chord” pianists, for

performing at “Bach & Beyond II.”

… to WMRA 90.7-WEMC 91.7 Public

Radio, WHSV TV3, and Verstandig

Broadcasting, for promotional sup-

port.

… to Kirsten Moore, for contributing

her artistic gift in the creation of this

season’s concept design.

… to Susan Black, organizer, and West-

minster Presbyterian Church (Char-

lottesville), for hosting a fundraising

concert; to Polly Haynes and Babs

Fickes, for promotion; and to the per-

formers: Nancy Garlick, Jonathan

Schakel and other Charlottesville

musicians, and SVBF musicians

Kenneth Nafziger, Joan Griing,

Diane Phoenix-Neal, Susan Black,

Lisa Wright, David Wick, Rebecca

Hunter, Lynda Edwards, Pete Spaar,

and Mary Kay Adams.

… to Michael Overman and the JMU

Steel Band, for performing a fundrais-

ing concert at JMU.

… to Melinda Stefy, for sharing her

Bach-inspired artwork in the MM

Gehman Gallery and in Lehman Audi-

torium, and for her presentation on our

opening weekend.

… to our silent auction donors: Melinda

Stefy (watercolor); Babs and Don

Fickes (vacation packages, quilt);

Anne Waltner (performance);

Musica Harmonia musicians Joan

Griing, Diane Phoenix-Neal, and

Beth Vanderborgh (performance);

and an anonymous donor (a Bar-

bara Camph stained glass window).

… to Helen Nafziger (First Presbyterian)

and Judy Bomberger (Lehman), ush-

er coordinators; and to all ushers.

… to Janet Trettner, for chairing the

Bach Guild.

… to facilitators of the Road Scholar

Program: Phyllis Coulter and Elisa-

beth Eggleston, coordinators; to driv-

ers Paul Yoder (coordinator), Millard

Showalter, Tom Sawin, Ray Horst,

and Daniel Hoopert; to speakers Ken Nafziger, Sidney Bland, Fred

Dole, Judith Saxton, Lynne Mackey,

and Mary Kay Adams; and to Cross-

Roads Valley Brethren-Mennonite

Heritage Center, for hosting a tour.

… to Helen and Ken Nafziger, Cathy

and Ed Comer, and Loretta and

Phil Helmuth, for hosting events in

their homes or gardens.

… to Lynne Mackey, director, for man-

aging the Baroque Workshop.

… to Erin Hershey, Jacinda Stahly,

Benjamin Hill, and Caitlin Hol-

sapple, interns, for providing manage-

ment assistance.

… to VMRC, for providing meeting space

for the festival board.

… to Ken Nafziger, for writing program

notes, and to Jeremy Nafziger and

Judy Cohen, for their editorial work.

… to Evergreen & Victoria Floral, for

donating loral arrangements for the

foyer.

… to Blue Sprocket Sound, for produc-

ing archival recordings.

…to Jef Warner, for preparing the

stage design and lighting.

… to EMU personnel for signiicant sup-

port:

Cindy Mathews, ad management,

mailings, choir management assis-

tance, and music engraving

Matt Hunsberger, stage and facilities

management

Jessica Hostetler, marketing assis-

tance

Lindsey Kolb and Jon Styer, photog-

raphy and graphic design

Mary Jo Veurink, program book design

Mike Zucconi, media promotion

Lynn Veurink, box oice manager

Phil Helmuth, Kirk Shisler, and Su-

san Beck, development, advancement,

advertising

Jacob Kaufman, gift receipting

B.J. Gerber, development analysis

Cindy Smoker, development coordina-

tion, mailings

69

Bruce Emmerson, food services

Stella Knicely, Loretta Helmuth, and

Physical Plant staf, coordination of

details

… to musicians’ housing hosts:

Michael and Violet Allain

David and Julia Alleman

Hans and Linda Barthmus

Jim and Joyce Benedict

Ed and Cathy Comer

Jerry and Phyllis Coulter

Don and Margaret Foth

Phil and Loretta Helmuth

Glenn and Sandra Hodge

Paul and Shirley Hoover

Alden and Louise Hostetter

Jack and Lynn Martin

Wesley and Nancy Ross

Jack and Gloria Rutt

Harley and Sadie Showalter

John and Virginia Spicher

Loren and Pat Swartzendruber

Paul and Ann Yoder

Ron and Shirley Yoder

Performance rights and materials for: George Gershwin’s Porgy and Bess, by arrangement with European American Music Distributors Company, 60 Depot Street, Verona, N.J. 07044; Aldolphus Hailstork’s Three Spirituals, by arrange-ment with Theodore Presser Company, 488 North Gulph Road, King of Prussia, Pa. 19406; Edmund Thornton Jenkins’ Charlestonia: A Folk Rhapsody, by ar-rangement with the Charleston Sym-phony Orchestra, 756 St. Andrews Blvd., Charleston, S.C. 29407; William Grant Still’s Ennanga, by arrangement with

William Grant Still Music, 809 W. Rior-dan Rd., Suite 100, Box 109, Flagstaf, Ariz. 86001-0810. Johann Sebastian Bach’s Concerto in G Major for Violin and

Viola, Robert Bridges’ restoration, by arrangement with Ars Lyrica Houston, Matthew Dirst, artistic director, 4807 San Felipe, Suite 202, Houston, Tex. 77056; engraving by Cindy Mathews.

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

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

Food and drink are not permitted in the auditorium.

Additional restrooms are available in the Campus Center.

Serving the Shenandoah Valley for more than 120 Years.

www.mybrb.com

Charlottesville | Harrisonburg | Luray | McGaheysville | Shenandoah

Member FDIC

Delight inthe details.

126 W. Bruce Street

Harrisonburg, Virginia

www.blueridgearchitects.com

70

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

Conductor’s Circle, $10,000 & upE. Rhodes and Leona B. Carpenter Foundation

Virtuoso’s Circle, $5,000-$9,999Eugene Stoltzfus and Janet Trettner

Musician’s Circle, $2,500-$4,999Sidney Bland and Linda Heatwole Bland

Benefactor, $1,000-$2,499AnonymousJacob E. BaerBeryl and Mark BrubakerEd and Cathy ComerDynamic AviationElisabeth T. EgglestonJanet S. EinsteinJoseph and Barbara GaschoRoy and Donna HeatwoleAlden and Louise HostetterDr. LaDene King and Gretchen NyceRosemary KingAnne S. McFarlandKen and Helen NafzigerDr. Kip Riddle and Corja MulckhuyseJack and Gloria RuttC. Robert & Charity S. ShowalterDonald E. and Marlene C. ShowalterNelson L. and Phyllis E. ShowalterWelby C. Showalter, Attorney at LawCarol YetzerRon and Shirley Yoder

Patron, $500-$999

Mary Kay and Gary AdamsViolet and Michael AllainDonna S. AmentaMyron and Esther AugsburgerJim and Joyce BenedictSharon S. BowersEarl and Donna BurkholderJudy and Ralph CohenPhyllis and Jerry CoulterBabs and Don FickesFred and Gail FoxBill and Mary GibbRobert E. GilletteDiane and Bob GuzziLeo and Ruthanne HeatwoleLes and Sylvia HelmuthRobert F. Jochen and Christopher T.

SmithRichard and Mona JohnsonRuth and Timothy JostFred and Rosalyn KnissDavid and Margaret MessnerMary E. ReitzBarkley and Marina RosserJon and Sheryl ShenkLoren and Pat Swartzendruber

Partner, $250-$499

Benjamin and Kate BergeyLarry and Marcia BrownGeorge and Margie ChadwickTed and Renate ChapmanJohn and Kathryn FairieldRay and Wilma GingerichHiram and Mary Jane Lederach

HersheyDavid and Deborah JacksonDavid KaeuperRon and Lila KingRobert and Nancy Lee

Robert Lock and John DobrickyPaul McEnderferLois W. MillerEllen Nash and Jonathan JayMia NollertElizabeth and William OscanyanS. Grayson Sless and David LaneSherwyn and Deirdre SmeltzerDon R. SmithDel and Lee SnyderFrank and Nancy StellerAnne WaltnerJim and Carol WarnerDavid WickIngeborg and Vernon Yeich

Sustainer, $100-$249

Ervin and Ann Nofsinger AndersonAnonymousBeth Aracena and David RothRichard and Elaine BachmanJohn G. BarrEvon and Philip BergeyBob and Dolores BerssonDaniel W. BlyDon and Judy BombergerElizabeth BrunkRuel and Diane BurkholderSteve and Denise CallEllen CampbellEric and Jerry Lee ChainLee and Carol CongdonPatricia S. CostieJames Ford and Donna CourtneyGary and Kaye CrowtherJoe and Alice DavisLinda DoveNell DoveTom DuVal and Lorie MerrowRobert EgglestonJoe and Diana Enedy

We are grateful to our donors. Thank you! This list relects gifts received May 21, 2014 – May 20, 2015.

71

Jody and David EvansSeymour FreedGreg GessertErvie and Mary GlickJoan Griing and Leslie NicholasJoyce and Sidney GroveBernard and Susan HaltermanDwight and Pearl HartmanCollier and Betty HarveyDr. J.T. HearnNancy Heisey and Paul LongacrePhil and Loretta HelmuthJudy HennebergerGlenn and Sandra HodgeBill and Becky HunterJean JanzenJohnson & Johnson Family of

CompaniesNorman and Rhoda KrausMarijke KylerRoland and Darlene LandesJay and Peggy LandisLarry and Jane LehmanKnute and Betty LeidalRichard and Jan LoretteJoan LosenRobert and Merle MastMarge MaustDavid and Sarah McCrackenMary Sue McDonaldEdward and Elaine McLaughlinDavid and Charlette McQuilkinClair and Mamie MellingerAnne MillerSylvia S. MooreJohn and Bernice MrotekJeremy Nafziger and Michael Ann

CourtneyRhoda E. NoltC.K. and Mary NorvilleAlice ParkerElmo and Ella PascaleZack and Judith PerduePaula PutmanCathy Rittenhouse and Daniel Hostetter

Ada Mae SaxtonBrenda SealAnn and Ralph SebrellKenneth Seitz, Jr., and Audrey MetzRowland and Thelma ShankFrances C. ShawSam and Jan ShowalterStuart and Shirley ShowalterLara and Daniel SteinelBarbara StickleyRobert H. and Lorraine W. Strickler

FoundationBetty SullivanRoy and Carol ThomasDoris TrumboVistaShareDorothy Jean WeaverPeggy and Dick Wurst

Friend, up to $99

AnonymousRuth Arnold and Lou DoliveDon and Martha AugsburgerEmmert and Esther BittingerJames R. and Doris A. BombergerDoug Brunk and Lloyd BowmanJoseph and Akiko CarnigliaSteve and Chris CarpenterAllen ClagueRose CoxAbraham Davis, Jr.Dennis and Gayle DupierMary Lou Wylie and Lennis EchterlingMarie EngleConrad ErbEmily EverlingHelen and Allen FleishmanKathleen L. GardnerJim and Phyllis GaskinsJohn GoodloeRalph GroveHarry and Florence HallLiam and Svetlana HannaherFrank and Sherrel HissongJim and Judith Hollowood

Eliza HooverLarry and Pat HooverBob and Betty HoskinsJessica HostetlerDon and Sarah HunsbergerJames and Mary JohnLeo and Carrie KanagyDorothy KastenJ.D. and Joyce KeiperHarold and Betty KitzmannDiane and Larry KorteWilliam and Carole KreowskiElizabeth La GruaMrs. Becci S. LeathermanAnne LeonardVictor LuftigMiriam MartinJudy MaupinSharon and Jim MillerKevin and Sara PicciniSandra Price-StrobleDr. Jayne and Eric RynarSteve and Karen Moshier ShenkCharlotte ShnaiderIlene N. SmithJudy SpahrJames and Ruth StauferJames and Deborah StephensonLee Sternberger and Craig ShealyThomas TeisbergDiana UmbelRick and Joyce WamplerJean WhitemanGordon and Alice WilliamsLt. Col. Charles and Stephanie

WollertonLawrence and Shirlee YoderPhilip and Lois Zeigler

72

In memory of:

Roddy V. Amenta Donna S. Amenta

Ann Lootsma Barr John G. Barr

Betty and Walter Gessert Greg Gessert

Heather Nicholas Hartley Jim and Carol Warner

Phyllis Weaver Hearn Dr. J.T. Hearn

Carol Heatwole Leo and Ruthanne Heatwole

Leon and Vivian Jackson David and Deborah Jackson Katherine S. Leonard Anne Leonard

August Nollert Mia Nollert

Jack Savage Anonymous

Carl G. and Louise Mensch Showalter Hiram and Mary Jane Lederach

Hershey

Stuart and Shirley Showalter

Beth Velimirović Babs and Don Fickes

Miriam L. Weaver Dorothy Jean Weaver

Nicole M. Yoder Gary and Mary Kay Adams

In honor of:

Mary Kay Adams Charlette and David McQuilkin

Dr. Ed Comer Zack and Judith Perdue

Lawrence Ernst Cathy Rittenhouse and Daniel Hostetter

Marvin Mills Bill and Mary Gibb

Ken Nafziger Robert H. and Lorraine W. Strickler

Foundation

Alice Parker Babs Fickes

Judith A. Saxton Ada Mae Saxton

Jubilee Friends

(SVBF in estate plans)

James GibbonsRoy and Carol ThomasCarol Yetzer

Heritage Circle

(SVBF Endowment Fund)

Sidney Bland and Linda Heatwole BlandJames GibbonsRoy and Carol ThomasCarol Yetzer

Deal-Thomas Families Endowment

Ulla and Victor BogdanMark Cudek and Lisa Green-CudekDavid and Susan HowardShahab KhanahmadiMelinda O’NealJefrey and Rebecca PrzyluckiJanice RafelMr. and Mrs. Charles Ries

Steven SilvermanRobert C. ThomasRobert and Debra ThomasRoy and Carol ThomasSusan and Jay Treadway

Virginia Baroque Performance

Academy

Roxanna AtwoodScott and Margaret BallinJohn and Janet BoodyTheodore and Kathleen CatheyDymphna DeWild and Jacobus Jonkman

Evelyn GrauHarriet HangerChris and Betsy LittleMaria LopezJames David Lott Lynne MackeyPreston ManningMarion and James MorrisonDwayne PitsenbargerJames RobertsonBenjamin and Jennifer RoeSusan and Paul RosenLouise ScottPeter Sellar and Laurie GundersenTerry SoutheringtonJason StellLouise Temple-Rosebrook and

Frederick RosebrookAl and Emily WeedHugh and Connie WestfallRandell and Helen Willard

73

Harrisonburg, Virginia

A CHRISTIAN UNIVERSITY

like no other

Major in music at EMU and enjoy big campus quality with small campus benefits

Excellent 1:1 faculty/student relationships

Performance opportunities on and off campus

Valuable cross-cultural exposure

Integration of faith and values

emu.edu/music

74

Bach’s music has blessed and enriched our lives for nearly three centuries. The Shenandoah

Valley Bach Festival, now in its 23rd year, brings that music to life right here in the beautiful Shenandoah Valley.

Several things are required in order for Bach’s music to continue blessing and enriching our lives.

Performers, instrumentalists, and vocalists to play and sing these magniicent compositions.

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

Funds to make PERPETUAL BACH possible.

Just as Bach has been around for years, did you know that you can give today and receive income from your gift for a lifetime - even for two people? You can create a charitable gift annuity.

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

You may receive an income tax deduction this year.

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

Much of the income you receive may be tax-free.

You will 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 oice what rate would apply for you.

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

Perpetual Bach! Gift Annuity

Payment Rates

Selected 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:

Phil Helmuth: (540) 432-4597 or (800) 368-3383 (toll free), phil.helmuth@emu.edu.

Thank you for considering the

opportunity to share

PERPETUAL BACH.

75

American Shakespeare Center .......................................................15

Ameriprise Financial ............................................................................ 8

Artisans' Hope.......................................................................................52

Ashby Animal Clinic ........................................................................... 56

Babs–Professional Seamstress ........................................................52

Blue Ridge Architects ........................................................................69

Blue Ridge Bank ..................................................................................69

Blue Sprocket Sound ..........................................................................33

Bluestone Vineyard .............................................................................12

Bridgewater Retirement Community ..........................................10

Broadway Drug Center ..................................................................... 36

Capital Ale House ................................................................................27

Collicello North ..................................................... inside front cover

Dan's Body Service .............................................................................53

EMU Graduate Programs ................................................................. 38

EMU Music Department ...................................................................73

EMU Preparatory Music and

Shenandoah Valley Children’s Choir ...........................................55

Eugene Stoltzfus Architects ................................................center 4

Everence .................................................................................................16

Evergreen/Victoria Floral ..................................................................18

Forbes Center for the Performing Arts ....................................... 20

Frazier Quarry ........................................................................................ 9

Garth Newel .........................................................................................44

Graves Light Wealth Management .............................................. 76

Green Valley Book Fair ......................................................................66

Harrisonburg Foot & Ankle Clinic ..................................................53

Harrisonburg OB/GYN ......................................................................46

JMU Lifelong Learning ......................................................................46

James McHone Jewelry .................................................................... 54

Keep Bach Alive! ..................................................................................14

Landes Heating and Air Conditioning .........................................53

LD&B Insurance and Financial Services ..................... back cover

Lincoln Travel ....................................................................................... 54

Martin Beachy & Arehart ................................................................. 56

Park View Federal Credit Union ..................................................... 34

PB Mares ................................................................................................ 56

Perpetual Bach .................................................................................... 74

Rockingham Cooperative ............................................................... 34

Sentara RMH Medical Center ..........................................................19

Shenandoah Valley Bach Festival ....................................................2

Shenandoah Valley Choral Society .............................................. 56

Shenandoah Valley Music Festival ...............................................44

Staunton Music Festival ...................................................................44

Taste. A Food Company .................................................................... 20

Taste of Thai ...........................................................................................53

Ten Thousand Villages ......................................................................46

VMRC ...................................................................................................... 22

VMRC Art Exhibition ...........................................................................35

Wampler & Associates Rehabilitation ......................................... 54

Weavers Flooring America .............................................................. 54

White Oak Lavender Farm ............................................................... 36

Whitesel Music .................................................................................... 45

Wintergreen Performing Arts ........................................................44

WMRA 90.7-WEMC 91.7 Public Radio ............................................21

ZN Stained Glass .................................................................................46

OUR ADVERTISERS We appreciate the support of our advertisers

and encourage you to patronize their businesses.

76

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For these years of the festival made visual, many thanks to Kirsten Moore.

THE 24TH SHENANDOAH VALLEY BACH FESTIVALJUNE 12-19, 2016

BACH’S WORK WEEK – THE SUNDAY CANTATATHE COUNTERTENOR VOICE – NATHAN MEDLEY (HHS GRAD, 2005)

RURAL ROOTS – COPLAND, GINASTERA, THOMSON

Next Year

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