16th Annual Montana Early Music Festival

2018

Weihnachtsoratorium

J. S. Bach (1685-1750)

Thursday, January18, 7:30 pm Bozeman

Holy Rosary Parish 220 West Main

Friday, January 19, 7:30 pm Butte

Immaculate Conception Caledonia Street and

Western Avenue

Saturday, January 20, 7:30 pm Missoula

St. Francis Xavier 420 West Pine

presented by Bitterroot Baroque

Sunday, January 21, 4:00 pm Helena Cathedral of St. Helena

530 North Ewing

PERFORMING IN THE FESTIVAL

GUEST ARTISTS

Amanda Balestrieri, soprano

Marjorie Bunday, contralto

Daniel Hutchings, tenor

Robert W. Tudor, bass

MONTANA EARLY MUSIC FESTIVAL CHORUS

Kerry Krebill, Artistic Director Soprano Alto Tenor Bass Amanda Balestrieri Donna Aline Darwyn Banks Art Bumgardner Kathy Bramer Linda Almas Thomas A. Gregg Gerald Schafer PattyMazurek Tanya Anderson Dan Hutchings Gordon Stockstad Karen McLean Marjorie Bunday Paul Pacini Robert W. Tudor Lorna McMurray Jodie Foley Mary Spain Winifred Horne Lynn Tarrant Jane Horton Liz LeLacheur Michelle Maltese Pat Mandeville Jan Novy Becky Piske Marty Thieltges FESTIVAL ORCHESTRA

Carrie Krause, concertmaster Josh Romatowski, traverso I Kris Kwapis, trumpet I Ginna Watson, violin II Alex Shaffer, traverso II Thomas Pfotenhauer, trumpet II Lindsey Strand-Polyak, viola Curtis Foster, oboe, oboe d’amore Jens Jacobsen, trumpet III Sarah Stone, ’cello Sarah Huebsch, oboe, oboe d’amore Warren Murray, timpani Stephen Swanson, contrabass Sung Lee, oboe, oboe d’amore, Keith S. Reas, organ oboe da caccia Lot Demeyer, oboe, oboe da caccia Nate Helgeson, bassoon

WELCOME TO THE 16th ANNUAL MONTANA EARLY MUSIC FESTIVAL

An early music festival? In Montana?!? So began a dream shared by Missoulans Katherine Skinner and Dan Comstock in the late 1990s. That dream was soon embraced by many of their friends who shared their passion for early music. The first emergence into the public light came in 2001 in the form of a single concert by Montana Cappella of Voices and Instruments, with J. S. Bach’s Cantata No. 106 and a complement of Baroque instrumental chamber works.

Gregorian chant seminars led by Dr. Robert Fowells, concerts by Renaissance choral ensemble Cantanti Missoula, period instrument ensemble Mostly Baroque and the Backyard Recorder Consort joined together in subsequent years to offer several days of concerts that could be truly billed as a Festival. In 2004 Maestra Kerry Krebill’s ensemble Musikanten (Bethesda, Maryland) emerged in Helena as Musikanten Montana. Skinner met Krebill under the cloak of Monteverdi in that summer’s Helena Choral Week and the die was cast.

April 2005 saw the first collaboration of Helena and Missoula musicians with guest soloists from coast to coast. Monteverdi’s Vespers of 1610 was performed in both communities, as well as a concert by the Brandhout Ensemble. J.S. Bach’s monumental Mass in b minor was the following year’s centerpiece. MEMF – V (2007), was a celebration of the renewed organs at St. Peter’s Episcopal Cathedral in Helena and St. Paul Lutheran Church in Missoula, with concerts featuring the Queen of Instruments. MEMF 2008 reached new heights with Bach’s dramatic St. John Passion.

In 2009, the annual celebration of early music presented 17th and 18th century oratorio, cantatas, concerti, a suite, a Stabat Mater and a Mass — certainly something for everyone. The 8th Montana Early Music Festival showcased Handel’s action-packed oratorio Israel in Egypt, Schütz’ sublime early German requiem, elegant Baroque flutes and recorders, and 18th century organ masterworks — five evenings of Vintage Music.

In 2011, we returned to our 2005 “roots” and offered a program of music by The Big Monty – Claudio Monteverdi – the most important composer before J. S. Bach. A collaboration with the Carroll College Choirs highlighted the MEMF chamber concerts, and the Festival Showcase concert was presented for the first time in the historic Washoe Theatre in Anaconda.

Starting in 2012, we brought the Early Music Festival to Butte, performing three magnificent Venetian reconstructions – the opulent 1595 Coronation Mass of Doge Marino Grimani, with music by the Gabrielis, the Vesper service of Francesco Cavalli, and the iconic Monteverdi Vespers of 1610. In 2015, we turned for the first time to Spain, featuring music of the Iberian peninsula in all four concerts.

In 2016 we took a giant leap with two major changes – instead of the customary chamber concerts on Thursday and Friday, we performed the showcase work all four nights, in four Montana cities, in the hopes of making this event more truly a Montana Early Music Festival; AND, for the first time ever in Montana, these concerts were HIP!! (Historically Informed Performances) – that is, all the musicians played either original Baroque instruments, or copies of 18th century strings, winds, brass and drums. Presenting Bach’s glorious Mass in B minor to large and enthusiastic audiences, we built on this momentum with last year’s Lenten performances of his dramatic St. John Passion. We moved the festival to January this year, in order to treat Montana audiences to the great Baroque master’s joyous set of cantatas for Christmastide – Die Weihnachtsoratorium. Welcome to the celebration!

16th Annual

Montana Early Music Festival

January 18-21,2018

Festival Chorus, Chamber Orchestra and Soloists

Kerry Krebill, conductor

Weihnachtsoratorium

by Johann Sebastian Bach

(1685-1750)

Amanda Balestrieri, soprano

Marjorie Bunday, contralto

Daniel Hutchings, tenor

Robert W. Tudor, bass

Advent Cantata BWV 61 “Nun komm der Heiden Heiland”

Weihnachtsoratorium BWV 248 Part I – The Birth of Jesus

intermission

Weihnachtsoratorium BWV 248 Part II – The Annunciation to the Shepherds

Weihnachtsoratorium BWV 248 Part III – The Adoration of the Shepherds

PROGRAM NOTES

Since the Christmas season begins with Advent, it is appropriate that our Festival concerts open with an Advent cantata. Nun komm, der Heiden Heiland was composed during Bach’s appointment as concertmaster at the court in Weimar, where part of his job was to provide cantatas for the palace church. The opening movement is based on the first stanza of a hymn by Martin Luther, and the closing chorale on Philipp Nicolai’s “Wie schön leuchtet der Morgenstern”. The libretto for the cantata was written by Erdmann Neumeyer, and includes a quotation from the Book of Revelation. It was first performed in 1714, and when Bach became Cantor of the St. Thomas Church and School in Leipzig, it was again performed there in 1723.

During his tenure in Leipzig, Bach had composed more than 150 sacred cantatas, and by 1734 he was devoting more of his energy to writing instrumental and secular music, especially for royal festive occasions. Late in 1734, he decided to develop the Christmas Oratorio as both an experiment in a new genre and an opportunity to expand the audience for some of his best secular pieces in a religious context. This was a common practice for composers of that period. He wrote three works which he designated as oratorios, one for each of three church seasons: Christmas, Easter, and Ascensiontide. It has been argued that the Passions, with their more extensive casts of characters and intensive dramatic content, might better fit the oratorio description, these were the only ones Bach himself called oratorios.

The Christmas Oratorio consists of six cantatas, intended to be performed on six different Feast days during the Christmas season. Each is twenty to thirty minutes long, and relates one of the major episodes of the Christmas story. The first tells of the birth of Jesus, the second tells of the annunciation to the shepherds, and the third describes the visit of the shepherds to Bethlehem. These are the three included in our Festival concerts. They would have been performed on December 25, 26, and 27. Because the adoration of the Magi occurs in the final cantata, our concert concludes before we reach Epiphany.

Each cantata includes a major chorus and two arias, interspersed with varying numbers of chorales and recitatives. The author of the non-scriptural texts is unknown, but the Evangelist’s recitatives, the Angel’s response, and the shepherds’ chorus are all taken from the gospel narrative.

Although the term has a slightly different implication today, the Christmas Oratorio uses what is termed a “parody” technique. Today we are more likely to use the word parody to describe a humorous set of words used with an existing melody, but in historical terms it refers to the use of existing musical material as the basis for a work intended for a purpose other than the original. A “parody mass” might be composed using a popular tune as the basis for melody and harmony, and it was not considered plagiarism. In fact, many composers wrote parody masses based on their own motets. Bach based the Christmas Oratorio on previous works of his own, including three secular cantatas. Because it was written for performance on the feast days of the Christmas season, the use of secular works written for festive occasions is especially appropriate, and gives the Christmas Oratorio its light-hearted sound.

A unifying device among the cantatas is the recurrence of the chorale melody which first appears with the text, “How may I receive thee?” It reappears, almost hidden in the continuo, in the shepherds’ chorus of the third cantata, and concludes the work (at the end of the sixth cantata) with elaborate trumpet flourishes. The significance of Bach’s choice of this melody is that one is most likely to associate it with Easter, not Christmas, since it is most familiar as the Easter chorale “O Sacred Head, now wounded,” suggesting that Bach has connected the birth of Jesus to the central meaning of the Christian religion.

Mimi Stevens, with special thanks to Marion R. Metcalf

ABOUT THE ARTISTS

Musikanten (German for "musicians") was formed by Artistic Director Kerry Krebill in 1979 in Bethesda MD, as a project for her masters degree in choral conducting at the Catholic University of America. In its 38 seasons, the ensemble has made over a thousand appearances, including DC area concerts at the National Gallery of Art, the Smithsonian Institution, Kennedy Center, and venues in Pennsylvania, Virginia and Maryland, as well as 22 international tours, including Maestra Krebill's 50th birthday celebration singing Monteverdi's Vespers in Venice with the acclaimed ensemble now known as the Venice Baroque Orchestra. The group continues to perform in the Washington area, appearing each year at a local First Night celebration, singing a traditional Latin Mass at St. Mary's in downtown DC, and to tour; in September 2007 Musikanten made its first foray to South America, performing in Buenos Aires, La Plata and Ayacucho, Argentina; in 2010 they set foot in Asia, venturing to Turkey.

In June of 2004, Maestra Krebill instituted Helena Choral Week in her new home in Montana, inviting singers from the Helena Symphony Chorale, Musikanten and other ensembles to come together in Helena for an intensive week of rehearsals, concerts, classes and private lessons. Building on the success of this project, Musikanten Montana was established as a new choral chamber ensemble in Helena in September of 2004. We are delighted to be celebrating our 14th season of performing in Montana.

The new group's first season included liturgies at St. Peter's Episcopal Cathedral, St. John's Lutheran Church and the Cathedral of St. Helena, culminating in two performances, in Helena and Missoula, of Monteverdi's masterpiece, the Vespers of 1610, as part of the Montana Early Music Festival, which the ensemble sponsored. Musikanten Montana has continued to gather world-class early music singers and instrumentalists for concerts of J.S. Bach’s glorious B minor Mass and St. John Passion, Handel’s rousing Israel in Egypt, and other major works by Bach, Handel, Schütz, Buxtehude, Scarlatti, Valls, Cavalli, and other Baroque and Renaissance superstars. Most recently, the MEMF spotlight concerts have been re-creations of spectacular historic Venetian liturgies in San Marco, with music of the Gabrielis and Cavalli, and the return in 2014 of the iconic Monteverdi Vespers of 1610. In 2015, we presented a reconstruction of an early 1700 Easter Mass at Barcelona Cathedral. Musikanten Montana received three consecutive grants from the Montana Cultural Trust toward the production of this festival, unique in our state.

Besides the Helena Choral Week in June and the spring Montana Early Music Festival, Musikanten Montana sings an annual concert for All Souls, and for many years offered a traditional Advent Lessons and Carols, and sang a Christmas Eve Prelude for the Christ Mass at St. Peter’s Cathedral. The ensemble has searched out collaborative appearances in the Helena community – in November 2007, the group participated in “Raise the Roof!” — an event celebrating Harper Lee's classic To Kill a Mockingbird, which featured two local actors, the Helena Middle School Voices of Tomorrow and a gospel choir from Great Falls. In August 2009, the ensemble was honored to perform music for “Catch and Release,” featuring 4 fly-fisherman on the Boulder River choreographed by Ann Carlson under an American Masterpieces Dance grant from the National Endowment for the Arts. Musikanten Montana has also performed with Artisan Dance and Charlene White’s Premiere Dance Company, as well as at local events such as the Original Governor’s Mansion tour, East Helena’s Holiday Stroll, Downtown Helena’s Art Walks, and the Algerian Shrine’s Easter Tableaux. Singers from Musikanten Montana continue to travel to Washington, DC, and further to perform with their Washington, DC, friends. In March of 2010, Musikanten Montana invited Argentina conductor Andrés Bugallo to Montana for the Early Music Festival, continuing on to Washington to conduct the combined Musikanten forces in Schütz' Musikalische Exequien and Scarlatti's Stabat Mater. In September 2016, many Montana singers participated in Musikanten’s tour to Berlin and the Hanseatic city of Gdansk.

Born and raised in Iowa, Musikanten’s Artistic Director, Kerry Krebill, worked in the Washington, DC, area for 25 years before moving to Helena in 2002 to assume the position of Chorale Director of the Helena Symphony Orchestra. In addition to founding Musikanten in Bethesda, MD, in 1979, she conducted the Alexandria (VA) Choral Society for 19 seasons, and was choral director for Musica Antiqua and the Congressional Chorus of the United States, as well as holding several university and church positions in the nation’s capital. Maestra Krebill is known for her innovative programming, seeking out rarely performed masterpieces from all periods. Her DC groups were the Capital area’s foremost proponents of American music – performing, commissioning, recording and touring music of our nation’s composers. In 1992 the Alexandria Choral Society won the first award ever given to a

chorus by ASCAP for Adventuresome Programming. Other national awards include the prestigious grants from the National Endowment for the Arts, and Chorus America’s American Performing Works Program. Musikanten’s recordings were aired on the national choral music radio program "The First Art."

Maestra Krebill guest-conducted 6 SRO concerts of the Santa Fe Desert Chorale’s 1998 season, the combined choirs at the Salzburg Sacred Music Festival in the Mozartjahr (1991) and the combined choirs of St. Paul’s Within the Walls in Rome in April 2007. She also has planned concert tours for her ensembles nearly every year since 1989, taking singers to Poland, Estonia, Scandinavia, Ireland and the UK, St. Petersburg, the Low Countries, Portugal, Spain (twice), Italy many times, Sarajevo, Dubrovnik, Slovenia, the Hapsburg capitals, France, Salzburg, the Baltic capitals, Vienna, Berlin, Argentina and Turkey. In November 2009, Maestra Krebill conducted the Argentine "Coro Polifonico de la Fundacion Catedral de La Plata" in the Buenos Aires premiere of Morten Lauridsen’s Lux Aeterna.

In addition to conducting bi-coastal Musikanten rehearsals, Maestra Krebill was the Choirmaster for St. Peter’s Episcopal Cathedral in Helena from 2004-2017; in the spring of 2006, she prepared the Butte Symphony Chorale for their performance of Mozart’s Requiem. She holds music degrees from Drake University and the Catholic University of America. Amanda Balestrieri, soprano, has a long and illustrious performance background in London, Europe and the U.S., where her singing has been described in the press as “unusually versatile,” “gorgeous,” “resplendent,” “thrilling,” and “absolutely divine.” Performance highlights include her work with the National Symphony under Leonard Slatkin and the Smithsonian Chamber Players under Kenneth Slowik. She sang with the Academy of St. Martin in the Fields under Sir Neville Marriner for the soundtrack of the movie Amadeus and was a regular soloist in contemporary music with James Wood’s New London Chamber Choir. Her interest in Early Music and the repertoire of J.S. Bach came later in her career while working with the Washington Bach Consort under Christopher Hogwood and the American Bach Soloists under Jeffrey Thomas. Amanda has performed with the Folger Consort, Opera Lafayette, Concert Royal, the Santa Fe Pro Musica, the New York St.Thomas Choir, and the New York Collegium. Since moving to the Denver area in 2009 she has been a featured soloist with the Baroque Chamber Orchestra of Colorado, Seicento Baroque Ensemble, the Colorado Symphony Orchestra, the Cheyenne and Fort Collins Symphony

Orchestras, the Colorado Ballet, and the Boulder Bach Festival. She received her M.A. and B.A. in Modern Languages from Oxford University, and studied voice in London and Milan. She attended the Baroque Performance Institute at Oberlin Conservatory and later served briefly as Affiliate Faculty. She was a member of the Voice Faculty for several years at McIntire Department of Music, University of Virginia and was recently appointed to teach Applied Voice at Regis University in Denver. She has recorded with the Dorian, Koch and Virginia Arts labels.

Marjorie Bunday, contralto, currently enjoys life in Seattle, previously residing in Denver and Washington, DC. Her 20+ year career as a singer has included an abundance of the music of J.S. Bach – she has performed Bach as alto soloist with the Colorado Bach Ensemble (the solo cantata Vergnügte Ruh), Pro Musica Colorado Chamber Orchestra, Boulder Bach Festival, Washington Bach Consort, and other ensembles. Her stylistic Baroque singing has led to performances with, among other groups, Bellevue City Opera Ballet, Musikanten Montana, Seicento Baroque Ensemble, and Baroque Chamber Orchestra of Colorado. Denver critic Robin McNeil called her “not just a fine contralto...also a scholar of music,” and Sabine Kortals of the Denver Post praised her “strong, soaring tone” in a performance of Bach's Christmas Oratorio. Marjorie also has extensive experience in pre-Baroque music – she founded and led the Denver Early Music Consort from 2012-2015; has explored Medieval

repertoire with the DC-based ensemble Armonia Nova at the Boston Early Music Fringe Festival; and sung Renaissance polyphony with too many groups to name. She has also enjoyed success as a professional choral artist with Chorosynthesis Singers, Dallas Choral Festival, St. Martin's Chamber Choir, Santa Fe Desert Chorale, Opera Lafayette, and Woodley Ensemble. Her opera credits include the role of Noble Orphan 3 in Strauss's Der Rosenkavalier with National Symphony Orchestra at the Kennedy Center Concert Hall. She has been a section leader of the St. James Cathedral Choir in Seattle since 2016 and recently began work there as a concert manager and administrative assistant for music.

Tenor Daniel Hutchings appears frequently with ensembles such as the Baroque Chamber Orchestra of Colorado, the Denver Early Music Consort, the Boulder Bach Festival, St. Martin’s Chamber Choir, and Seicento Baroque Ensemble, and sang the key role of the Evangelist in the 2017 Montana Early Music Festival performances of Bach’s Johannespassion. Recently, Dan and his wife, composer and pianist Rachael Hutchings, premiered two of her works on Colorado Public Radio.

Before moving to Colorado, Dan was a fixture of the San Francisco Bay Area music scene. He has appeared with American Bach Soloists, Philharmonia Baroque and Magnificat, and has performed as a soloist in Bach’s St. Matthew Passion, St. John Passion, and B minor Mass, Monteverdi’s Vespers of 1610 and various works by Vivaldi, Charpentier and others, as well as many performances of the Bach Cantatas, especially with the San Francisco Bach Choir. He performed for five years at the Carmel Bach Festival, and was one of its Virginia Best Adams Fellows. The San Francisco Classical Voice says, “tenor Dan Hutchings…performed with great sensitivity. Hutchings’ high clarion tenor is perfect for Bach’s music.” The Denver Post says, “Hutchings commanded rapt attention in his beautifully phrased performance… With extraordinary breath control and fine-tuned interpretation, he delivered this piece…with aplomb.”

Dan began studying music in his hometown of Briarcliff, New York. He attended the Interlochen

Arts Academy his senior year of high school and went on to complete a Bachelor of Music degree in voice at the Oberlin Conservatory of Music.

Baritone Robert Tudor enjoys a vibrant career in the genres of opera, early music, musical theater and cabaret, and as a concert soloist throughout the United States. His professional work with early music began with the celebrated Washington Bach Consort under the direction of J. Reilly Lewis, where he was featured soloist in J. S. Bach’s cantatas Schau, lieber Gott, wie meine Freund and Höchsterwünschtes Freudenfest, as well as John Tavener’s “God is with us.” Other national concert engagements have included Utrecht Jubilate and Dettingem Te Deum by G. F. Handel, the Requiems of Fauré and Duruflé, and Bach’s Weihnachts-Oratorium and Hohe Messe. Since 2007, Robert has been featured annually as guest artist in the Montana Early Music Festival. Concert

works as soloist included Franceso Cavalli’s Venetian Vespers, Andrea and Giovanni Gabrieli’s Venetian Coronation – 1595, Canticum Trium Puerorum by Michael Praetorius, Musikalisches Exequien by Heinrich Schütz, Handel’s Israel in Egypt, Scarlatti’s Stabat Mater, and Johannespassion by J.S.Bach.

Robert’s performance as bass soloist in Bach’s Christmas Oratorio in 2011 with Pro Musica Colorado Chamber Orchestra garnered praise as a “solid and resonant” performer by the Boulder Daily Camera in a concert hailed as “Yet another world-class performance!” in OpusColorado. He is an active stage performer with credits in opera and music theater that range from La Boheme to The Titanic. His performance as the Second Elder in a staged version of Handel’s Susannah with the Maryland Handel Festival grabbed the attention of The Washington Post, where he was described as having a “powerful singing voice” and “notable acting skills”. In 2012, he was honored to appear a guest artist at The Art of Argento – a two-week celebration of the music of contemporary American composer Dominick Argento at the University of Maryland. During his residency at the festival, he performed Argento’s powerful solo work for baritone The Andree Expedition and the mono-dramatic opera A WaterBird Talk.

Robert received a Doctorate in Musical Arts in Voice Performance from the University of Maryland. He serves as Director of Vocal Activities and Chair of the Department of Music at Shepherd University. Awards include an Individual Artist Award from the Maryland State Arts Council and Artist of the Year from Opera Theatre of Northern Virginia. Violinist Carrie Krause’s “elegant, sparkling performance brought audience cheers” (Seattle Post-Intelligencer). Raised in Fairbanks, Alaska, Carrie Krause performs as baroque violinist with ensembles across the country and on numerous international series, including Portland Baroque, Spire, and the Oregon Bach Festival. Carrie was recently guest artistic director and concerto soloist with Seattle Baroque in a performance of Vivaldi’s Four Seasons and performed at the BBC Proms with Apollo's Fire. A graduate of the Juilliard School, Carrie serves as concertmaster of the Bozeman Symphony in Montana where she loves to ski and run the trails around her mountain home. Her violin is a 1720 Mattheis Klotz, Mittenwald. Mozart also played on a Klotz, from a long family of violin makers just across the border from Innsbruch, which also had access to the hardwoods available to the great Italian makers. She found it at the Tarisio auction house in New York City three years ago.

Ginna Watson is a Minneapolis-based violinist and early music specialist. She performs with the The Rose Ensemble for Early Music, the Lyra Baroque Orchestra, and the Bach Society, as well as with most of the early music productions in the Twin Cities. She has appeared on many early music series throughout the United States, including Early Music Columbus and the Milwaukee Early Music Now series, as well as the Boston, Indianapolis, and San Antonio early music festivals. Internationally, Ginna has performed in the Tage Alte Musik early music festival in Regensburg, Germany, and the Los Siglos de Oro early music series in Madrid, Spain, as well as festivals in Italy and France. Ginna is the violin instructor at Hamline University in St. Paul. She also frequently gives masterclasses on medieval and baroque performance practice in

the Twin Cities and throughout the country, including Houston Baptist University, Colorado State University, Luther College in Decorah, Iowa, and the Center for Jewish Culture and Creativity in Los Angeles. She is delighted to be back in Helena playing with the Montana Early Music Festival, where she has the bonus of spending 4 days with her Aunt Verna Strand.

Ginna plays a 1749 English violin made by London maker Edward Heesom, known for his Queen Anne-style scrolls. The instrument is unusual in having its original neck and bass bar – unlike most historical violins, which have been “modernized” by increasing the tension and weight of the instrument to produce a louder, although less resonant, tone.

Praised for her “rococo gracefulness,” Lindsey Strand-Polyak is active throughout the West Coast as a baroque violinist and violist, and is very excited to be performing in Montana with MEMF. Nationally, she performs with ensembles such as the American Bach Soloists, Seattle Baroque Orchestra, Pacific MusicWorks and Bach Collegium San Diego, and Austin Baroque Orchestra; and has appeared at the Oregon Bach Festival, Twin Cities Early Music Festival, and the Fringe Series of both Boston and Berkeley Early Music Festivals. In her home base of Southern California, she can be heard with her own group, Ensemble Bizarria, as well as Musica Angelica, Con Gioia Early Music Ensemble, Tesserae, and Concordia Clarimontis. Dr. Strand-Polyak was the Assistant Director for the UCLA Early Music Ensemble from 2011-2015, and is Artistic Director of Los Angeles Baroque—LA's first community Baroque orchestra. Lecture-recitals include McGill University, University of Texas at Austin, Northern State University of Louisiana, and national meetings of the American Musicological Society.

She has served on the faculty of the Colburn School and the Herb Alpert School of Music at UCLA, and was recently appointed adjunct professor of baroque violin and viola at Claremont Graduate University. She earned her PhD/MM in musicology and violin performance from UCLA, studying historical performance with Elisabeth LeGuin and modern violin with Guillaume Sutre and Movses Pogossian.

Her Baroque viola, dating from the mid-18th century, is the product of an anonymous British maker. A curiosity in the cultural background behind the music she plays led Sarah Stone to baroque cello and viola da gamba. She regularly performs with ensembles including Trinity Baroque Orchestra, the Sebastians, Early Music New York, and NYBI. Sarah is passionate about chamber music; she is a founding member of the period string quartet, Quartet Resound. This past fall, Quartet Resound traveled to Montana

to be in a week-long residency with Bitterroot Baroque, performing around Hamilton and Missoula, and then to Helena to perform for Musikanten Montana’s annual fundraiser. Past season highlights include a summer Dans les Jardins de William Christie with Les Arts Florissant and international tours with Juilliard415. This season includes performances of Bach Cantatas with Trinity Wall Street in Montreal, a northeast tour with Apollo’s Fire, and The Portland Bach Experience, a summer festival in Maine. Sarah holds a Masters in Historical Performance from the Juilliard School, a Masters from San Francisco Conservatory of Music, and a Bachelors of Music from Rice University. She plays on a 19th century Italian cello built by an unknown maker. www.sarahabigaelstone.com

Seattle native Stephen Swanson joined the Double Bass section of the

Spokane Symphony Orchestra in 2005. He attended the Purcell School of Music in London, the University of North Texas, and Northwestern University. Prior to his Spokane appointment, Stephen was a member of the Civic Orchestra of Chicago and the Illinois Philharmonic Orchestra. An avid performer of contemporary music, Stephen performed at the Lucerne Festival Academy between 2004 and 2008 at the invitation of the late Pierre Boulez. As comfortable with the ancient as the modern, Stephen has played baroque bass, violone, and viola da gamba with the Seattle Baroque Orchestra, San Francisco Early Music Society, Early Music Vancouver, and the Chicago Early Music Consort. A fixture in Seattle's recording scene, he can be heard on the soundtracks to many films, video games, and television programs. Stephen has served on the faculty of the University of Montana, and maintains an active teaching studio. He is playing an early 20th century Baroque bass by Janek J zek, Prague.

Joshua Romatowski, (flute), has been praised for his ability to “allow each note to sound with its own expressive qualities” (San Francisco Examiner). Joshua’s playing has been described as “elegantly shaped” (San Francisco Examiner) and possessing “graceful intimacy” (San Francisco Classical Voice). Joshua holds a MM in Flute Performance from SFCM and a BM in Flute Performance from UT at Austin, as well as an AD in Early Music from the Cornish College of the Arts. He has appeared with the Detroit Symphony Orchestra, Symphony Tacoma, Olympia Symphony, and others. Joshua was a finalist in the National Flute Association's Orchestral Excerpt Competition and a winner of the Ladies Musical Club of Seattle Frances Walton Competition.

As well as being a prize winner in the National Flute Association's Baroque Artist Competition, Joshua has appeared in concert on Baroque flute in every

major city on the West Coast, with the American Bach Soloists, Portland Baroque Orchestra, the Byron Schenkman and Friends concert series, Pacific Music Works, Early Music Underground, and Agave Baroque.

Joshua currently holds the 3rd Flute/Piccolo chair with the Symphony Tacoma, is Vice President of the Seattle Flute Society, and on faculty at Music Works Northwest. Joshua’s primary teachers have been Timothy Day, Marianne Gedigian, Jeffery Zook, and Janet See.

Joshua is playing a flute after C.Palanca, c. 1760, Turin, Italy; by Martin Wenner, Germany.

Alex Shaffer grew up in New Orleans and played classical clarinet through college. When the early music revolution piqued his interest he turned his attention to recorder and then baroque flute, studying privately with Nancy Haddon, Steve Plank and Nic McGegan.

Throughout his working career as a biologist in St. Louis he continued studying flute at baroque workshops in Vancouver, San Francisco, Boston and Seattle. After retiring to Hamilton, he founded Bitterroot Baroque to present Baroque music concerts and promote early music in Montana. The flute he is playing in the Weihnachtsoratorium is a copy of a JH Rottenburgh original from ~1740 by Rudi Tutz Jr. (Innsbruck, Austria).

Curtis Foster, Baroque oboe and recorder, whose playing has been praised for its "brilliantly introverted charm" (Seattle Times), has appeared with some of North America's most respected early music ensembles, including Pacific MusicWorks, the Seattle and Pacific Baroque Orchestras, American Bach Soloists, Les Boréades de Montréal, Musica Angelica, Mercury Baroque, the Newberry Consort, Victoria Baroque Players, Indy Baroque, and Chicago Opera Theater. Festival performances include the Vancouver, Chicago, and Bloomington Early Music Festivals, Oregon Bach Festival, Ottawa International Chamber Music Festival, and the Phoenix Bach Festival. A ravenous chamber musician, Curtis has performed with small ensembles in concert from San Francisco to Dubai, including regular appearances with his Seattle-based chamber groups, sound|counterpoint and the Così Quartet. Mr. Foster is also an enthusiastic advocate for music of our own time, and regularly commissions and premiers new works by contemporary composers for old instruments. Curtis has also taught Baroque oboe as part of the Baroque Orchestra Mentorship Programme at the University of British Columbia, in addition to workshops and masterclasses around the US and Canada.

A native of Wichita, KS, Curtis now makes his home in Bellingham, WA. He is a graduate of Wichita State University and Indiana University's Early Music Institute. His recordings can be heard on ATMA Classique, Cedille Records, and IU Press.

Sarah Huebsch is in demand as a period oboist and performance practice specialist. Appearances this season include Pacific Baroque Orchestra, Washington Bach Consort, Chatham Baroque, Haymarket Opera Company, and Festival Internacional de Música Sacra. An active scholar in performance practice, Sarah has been published by Mozart Society of America and the International Double Reed Society. Recently, she has been a guest instructor at Interlochen, Grand Valley State University, and The Princeton Festival. Sarah writes for WFIU Public Radio’s Harmonia Early Music and is a founding member of Forgotten Clefs. D.M. Indiana University. sarahhuebsch.com She will be playing Baroque oboe by Randy Cooke, 2013 after J. Bradbury, London, ca. 172, and Baroque oboe d'amore by Sand Dalton, 2011, after J. H. Eichentopf, ca. 1720, both European Boxwood.

A versatile musician, Sung Lee plays period oboes, traverso, and recorders with many ensembles that specialize in baroque and classical music. The principal oboist of Indianapolis Baroque Orchestra, Bach Collegium-Fort Wayne, and North Carolina Baroque Orchestra, Sung also performs with the Haymarket Opera Company, Chatham Baroque, and Bourbon Baroque. Sung holds undergraduate degrees in architecture and music therapy, and a master’s degree in historical oboe performance from Indiana University, where he studied with his mentor and teacher, Washington McClain. He can be heard on the Indianapolis Baroque Orchestra’s recording, “All Hail the Sun King” (2014) directed by Barthold Kuijken, as well as their upcoming release, “The Versailles Revolution." Sung's oboe, oboe d'amore, and oboe da caccia are modeled after Eichentopf instruments (first half of 18th century, Germany), and are made by Sand Dalton.

Lot Demeyer is one of the West Coast’s leading Baroque oboists. Her performances have been hailed as “brilliantly translucent,” “perfection,” “virtuoso” and “with beautiful expression” in the Oregon Artwatch, LA Opus, Gazettes and San Francisco Classical Voice. Lot Demeyer performs on historical and modern oboes, as well as recorder, for world-class organizations like Musica Angelica, Bach Collegium San Diego, Philharmonia Baroque Orchestra, LA Chamber Orchestra, LA Opera, California Bach Society, Bach Society Houston, Mercury Houston, Bach Society of Minnesota, Oregon Bach Festival, Berkeley Early Music Festival, Corona Del Mar Baroque Festival and Musica Antiqua Festival (Belgium). She holds a Master’s Degree in Oboe Performance from the Royal Conservatory of Brussels (Belgium) and a Doctorate of Musical Arts in

Oboe Performance from the University of Southern California (USC). Awards and recognitions include fellowships from the Fulbright Foundation and the Belgian American Educational Foundation. Since 2014 Lot Demeyer has been Lecturer in Baroque Oboe at the USC Thornton School of Music. She plays a Baroque oboe after Stanesby by Marcel Ponseele and an oboe da caccia after Eichentopf by Sand Dalton. Nate Helgeson is one of the West Coast’s leading specialists in historical bassoons. Born into a musical family in Eugene, Oregon (his brother, Aaron Helgeson, and uncle Stephen Gryc are both accomplished composers), Nate studied modern bassoon with Steve Vacchi and Richard Svoboda before taking up the baroque instrument, continuing his studies with Dominic Teresi at Juilliard. Now based in Portland, Nate performs on stages large and small throughout North America. In addition to solo and orchestral appearances with premier period ensembles across the country, he can be heard on recordings by Apollo’s Fire, Tafelmusik Baroque Orchestra, and the Trinity Baroque Orchestra. Nate was a finalist in the 2016 Indianapolis Baroque Concerto Competition, and in 2012 was chosen to perform at the summer music festival, Dans les Jardins de William Christie, an outdoor festival of 18th century music in the west of France hosted and directed by the eminent French music specialist, William Christie. Nate loves the diverse sound world of historical bassoons, performing on replica baroque and classical bassoons by the late Guntram Wolf (Kronach), an anonymous original instrument from the 1830s, and a 1960s modern bassoon by Heckel (Biebrich).

Kris Kwapis, trumpet, appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Oregon Bach Festival, Pacific MusicWorks, Early Music Vancouver, Staunton Music Festival, Tafelmusik, Bach Collegium San Diego, among others. She can be heard on numerous recording labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt. In addition to performing, Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (teaching cornetto and baroque trumpet) as well as teaching at her home in Seattle and online. In her spare time, Kris enjoys creating abstract paintings using encaustic medium.

Kris’s trumpet was made by Frank Tomes, London, England, 2001 after Johann Leonhard Ehe III, Nuremberg, Germany 1746. www.kriskwapis.com

Dr. Thomas Muehlenbeck-Pfotenhauer is Associate Professor of Trumpet at the University of Minnesota Duluth, where he also teaches courses in pedagogy, American music, and coaches small ensembles. He studied trumpet with Armando Ghitalla at the University of Michigan, completing a Master of Music degree in 1993. He holds a Bachelor of Arts degree in music from the University of Wisconsin-Green Bay and a Doctor of Musical Arts degree in trumpet performance from the University of Kansas. He has studied Baroque trumpet with Kris Kwapis and Susan Williams and has performed with professional early music ensembles throughout the United States and Canada. In addition, Thomas’s scholarly interests include the promotion and performance of music for modern trumpet written by women composers. His CD, Stories for Our Time, consists of compositions by

contemporary women composers and was released on the MSR Classics label in 2016. He performs on a Baroque trumpet made by Frank Tomes (2004), with later modifications by David Staff, after J. L. Ehe (1746). Jens Jacobsen is currently a graduate student at Indiana University, focusing on trumpet performance and studying baroque trumpet specifically with Dr. Kris Kwapis. He received his bachelors in human biology and trumpet performance from The University of Montana in the spring of 2014. Mr. Jacobsen has performed professionally with the Helena Montana Symphony, Missoula Montana Community Theater, and Alpine Theater Project in Whitefish, Montana. He also attended the Aspen Music Festival in 2013 where he performed and studied with members of the American Brass Quintet Ray Mase and Kevin Cobb, and members of the St. Louis Symphony Susan Slaughter and Tom Drake. After graduating from IU Mr. Jacobsen plans to pursue aquaponic farming, teaching, and freelancing. He is playing an Egger all historic baroque trumpet with four vent holes used for intonation. Egger is a brass instrument manufacturer in Switzerland specializing in recreations of historic instruments using historically accurate designs, materials, and techniques.

Warren Murray lives a fun and active life as a percussionist, teacher, composer, adjudicator, and mentor. He taught percussion studies at Willamette University in Salem, OR from 2002-2015. He has been the Director of Percussion for Aloha High School marching and concert percussion programs since 2002. In addition, he has taught numerous clinics for middle schools and high schools throughout the Portland and Salem areas, and has maintained a private studio. He received his Masters in Percussion Performance and a secondary emphasis in orchestral conducting from Central Washington University. Warren is in his third year teaching the Central Washington University drumline. He performed with MEMF on the Bach B Minor Mass, and he is thrilled to be performing with them again.

Keith Scott Reas enjoys an active career as organist, collaborative keyboardist, conductor and presenter. Hailed as “an organists’ organist” (Tucson Daily Star), he took first prize in the 1985 International Organ Playing Competition in Ann Arbor, Michigan, and has since performed across the United States and in England, Germany and Italy. He has appeared with the Oregon Bach Festival, the Eugene Symphony, the Eastman Chamber Players, the Phoenix Bach Choir, the Washington Bach Consort, Musikanten Montana, the Chattanooga Symphony Orchestra, Seicento (Boulder, CO) and other ensembles. Recent concerts include the XXXI International Organ Festival at the Church of Santa Rita, Turin, Italy; Brunswick and Waldoboro, ME on historic American instruments; and St. Mary the Virgin in NYC. He has performed often for the Washington Early Music Festival and the Montana Early Music Festival. His recordings include two CDs with the Bethesda, MD-based Musikanten (Kerry Krebill, director), and two CDs with flutist Linda Marianiello on the MSR label: Dialogues, 20th-century American music for flute and organ (2001), and Cantilena (2010).

In 2009 he was appointed Director of Music at St. Paul’s Episcopal Church, Chattanooga, following appointments in Washington, DC, Phoenix, AZ, Rochester, NY, and Richland, WA. Choral conducting positions include the Alexandria Choral Society (VA), the Women’s Chorus at the Catholic University of America, and Choral Arts of Chattanooga. Keith holds degrees in organ performance from Oberlin College, the University of Oregon and the Eastman School of Music. He was the organ instructor at Shepherd College (now University) in West Virginia, and continues to teach privately and at Pipe Organ Encounters for the American Guild of Organists. During a recent sabbatical, he studied North German organ literature with Harald Vogel in Bremen, Germany, and visited and played concerts on historic and modern organs in Germany, Italy, England, Sweden, Lithuania, and the United States. He is pleased to be back in Montana making music with Kerry and great musical friends from all over. The Jensen Continuo Organ, housed in a cherrywood cabinet, is a specialized electronic re-creation of a Baroque instrument which uses high quality sampled sound from the individual pipes of an actual European instrument. It has a keyboard of just over 4 octaves, 5 stops for ranks of pipes from 8 ft. to 1 ft. and plays in any of 12 temperaments at a selectable pitch.

DON'T MISS -- HOUSE CONCERT ON MONDAY, JANUARY 22 Join 7 of our period instrument friends for a convivial "after-concert" on Monday, January 22 at 7:30 pm. Featured will be chamber music for violins, flute, oboe, trumpet, bassoon and cello -- many delightful combinations possible here! One of the favorite parts of the annual Festival in early years was the chamber music concert, which was displaced when we decided to travel to four Montana cities to present the showcase masterwork. Players insisted we should continue to offer this intimate, up-close-and-personal, typical Baroque soiree, so we have added our house concert as an encore to the Helena performance. The musicians are offering this evening as a benefit for the Montana Early Music Festival! We'll be at Ron Lee's elegant upper west side mansion, and wine, cheese and sweets will accompany the lively musical presentation. As seating is limited in these historic homes, please RSVP to Linda at 406-465-4773 to reserve a place. Suggested donation is $25 at the door.

MARK YOUR CALENDARS Spring 2018 Musikanten Montana Fundraisers Because the Festival came so early this year, we are looking forward to lots of FUNdraising through the winter and into spring. We are very grateful to our wonderful supportive Helena businesses for helping us raise the needed dollars to put on these concerts! Bring a friend and come join us at as many of these events as you can! January 30 (Tuesday) 5-10 pm. WINDBAG CARES benefit night for MEMF. Windbag gives 20% of the evening’s purchases to Musikanten Montana. Come in with family/friends for dinner, drinks, and/or dessert. DRAWING for the Persian rug raffle, and selected silent auction items. February 24 (Saturday) 9 am. METROPOLITAN OPERA BRUNCH at an upper west side home. Champagne brunch and live in HD showing of Puccini’s La Boheme at the Cinemark. $40. Email for reservations with patm7@bresnan.net. (space limited) February 26 (Monday) 5-8 pm. COMMUNITY MONDAY at Blackfoot River Brewing Company. BRBC gives $1 to Musikanten MT for each beer sold. March 18 (Sunday) 4-6 pm. ARTIST’S RECEPTION for Kathleen Mollahan’s one-person show at the Myrna. Some of Kathy’s beautiful creations that she has donated to us will be for sale at this retrospective of her tapestries, baskets, bead work and paintings; she will sell other works. Show is up till April 22. Watch for notices about ALES FOR CHARITY NIGHT (on a Tuesday) at Lewis and Clark Taproom, and

BREW A BETTER COMMUNITY (on a Sunday) at 10 Mile Creek Brewery. Helena Choral Week Is Back! June 10-17 (Sunday – Sunday) Helena Choral Week! Parties, classes, private lessons, lunch-time mini-concerts, evening rehearsals, final concert (Russell Woollen’s “Alexandria Suite,” Frank Martin’s “Ode a la Musique”). Rehearsals begin April 3 (first Tuesday after Easter). Early bird registration till April 1. Contact musikantenmt@aol.com

ACKNOWLEDGEMENTS Thanks to our wonderful venues for inviting us to present Bach’s glorious music in their sacred spaces. We are especially grateful to Organist Tim Bell at Holy Rosary, to Father Patrick Beretta and Butte Catholic Community North for welcoming us back to Immaculate Conception, to Colin McCormack and Father Carver at St. Francis Xavier, and to Msgr. Kevin O’Neill and the staff at our beautiful Cathedral of St. Helena. A very special thank you to Jason Phillips, the Cathedral’s new organist, for generously sharing his Music Room with Musikanten for Tuesday evening rehearsals, for facilitating all our music-making at the Cathedral, and for support both physical and spiritual. Welcome to Helena, Jason! We are also appreciative of the role St. Paul’s UMC always plays in our Helena productions, from offering rehearsal space for chamber musicians, to loaning music stands and podiums, to allowing our buses to load in their parking lot for our trips to Bozeman, Butte and Missoula. A big thank you to Hamilton’s Bitterroot Baroque and especially Alex Shaffer, whose cheerleading and sponsorship of our Missoula concerts has made this Bach project happen. Thanks to the generous hosts of our out-of-town guests: Pat Mandeville, Patty Mazurek, Dick Weaver and Cathy Barker, Eileen Brody, Jane Horton and Doug Holly, Kathy Bramer, Mary Jo Olson, Pat Bik, Marge Short, Sandy Shull and Jonda Crosby, Becky Piske and Paul Pacini, Jean and Steve Krause, Beverly Magley, Darien and Roger Scott, Mary Irish Johnson, Suzy Holt, Bill Roberts, and Barbara Creel. Thanks for giving our musicians a warm Montana welcome! A big hip hip hoorah for our in-town drivers, Liz LeLacheur and Linda Almas, who are ready for any weather and transport our guest artists from their hosts to rehearsals and bus departures this week. And a huge thank you to airport transpo help Sandy Shull, Jennifer Thompson and John Almas. Another big thanks to Alex Shaffer for bringing his beautiful brand new organ to Helena (and all the other venues) – a perfect continuo instrument for years to come. We are grateful to violinist Ginna Watson for tracking down the orchestra parts for the Christmas Oratorio and arranging for us to borrow them from Lyra Baroque in Minneapolis. Thanks, Ginna. Thanks in advance to Ron Lee for opening his Helena home for our Monday Chamber Concert. Please join us for more exciting Baroque music, on an intimate scale! We are so grateful to our local businesses for their special benefit projects for local non-profits. Thanks to The Windbag, Ten Mile Creek Brewery, Blackfoot River Brewing, Lewis & Clark Taproom, Cinemark and the Myrna for our upcoming events. And thanks to our ticket outlets, Birds & Beasleys and Piccolo’s Music. Please patronize them and thank them for their support!

Musikanten Montana 8 Park Place, Clancy MT 59634-9759 406.933.5246 www.musikantenmt.org

THANK YOU FOR YOUR SUPPORT Archangels: $1000+ Cherubim: $100 - $249 Putti: $25 - $99 Anonymous Doug and Mary Lou Abbott* Janis Ahlstrom Carol Jobusch* Donna Aline* Amazon Smile* Kerry Krebill* Tanya Anderson and Gerald Schafer Nikki Andersen* Patricia Mandeville* Amy Barrett, Lasso the Moon* Archie Bray Foundation* Patty Mazurek* Fr. Patrick Beretta* Dr. William and Helen Ballinger* Don and Sherry Mitchell* Risa Booze Beckman Music* Kathy Mollohan* Kathy Bramer* The Big Dipper Nan Parsons Steve and Jackie Brehe* Birds & Beasleys* Pfizer Foundation Rena Bumgardner Bonnie Bowler* Alex Shaffer Elena Butterfield Charlie Briggs* Bill and Harlan Shropshire* Bob Caldwell and Dana Hillyer Raymond and Joyce Brown* MG(R) Edwin E. Spain III Donna Davis* Murdo and Marlene Campbell*

and Mary Spain* Kristi Dunks and Richard Nelson M. Carroll Mimi Gonigam Stevens* Charlotte Eskildsen* Margaret Corcoran

Angels: $500 - $999 Gail V. Hewitt* Creperie Hoh Made Music Ann Dobney

Paul Appeldoorn* Winifred Horne Laurie Ekanger* Andrea and Robert Bateen* Jane Horton and Doug Holly* George Everett Bert & Ernie’s* IBM Karrie Fairbrother* Christian Frazza* Sue Jackson* Susan Alpern Fisch* Pat Horton* Liz LeLacheur* Trish Gillespie* Myrna Loy Theatre* Lynn Bradley Leopold Ghost Art Gallery* Sommeliers* Lewis and Clark Brewery Leila Goldes* Gordon and Sharon Stockstad* Barbara Martin* PhyllisGonigam Dennis and Anne Wentz Warren and Beth McCullough* Good Search*

Seraphim: $250-$499 Jan Novy* Greg Hallsten, Y’arnings* Mark Ohnmacht Shirley Hautzinger

AARP* Becky Piske and Paul Pacini* Helena Symphony* Linda and John Almas* Andreus and Jean Piske* Suzie Holt Blackfoot River Brewery Rob Psurny* The Hub Samantha Sanchez and Tim Coulter Bernadine Reckert* Kimberly A. Hurtle* Helena Area Community Foundation Bill Roberts Mary Irish Johnson Anne Kania* in memory of Carol Roberts Arthur Lieb* Lewis and Clark Brewery Brad Robinson Loft Studio Mediterranean Grill* Neal and Mary Ruedisili Beverly Magley Joe Munzenrider* Kathryn Schultz Michelle Maltese* Opportunity Bank* Thea Lou Seese* Nancy Matheson* Nancy Palmerino* Marge Short* Carol McLeod Elizabeth Peters Janet Sperry* Lorna McMurray* Darien and Roger Scott* Peter W. Sullivan* Max Milton Gina Shropshire* Ginnie Talley Linda Minich and Denise King* Staples* Steve and Lynn Tarrant* Gretchen Mundinger Chris and Maggie Stockwell* Ten Mile Creek Brewery Gwynn and John Mundinger* Jack Stults and Daphne Crosbie* Norma Tirrell Myrna Loy Center* David and Patti Sulser* Trost Wealth Management The Pan Handler* Valley Bank* Jane C. Wells Shelley Picotte* MJ Williams and Nancy Owens* JoAnn Prost* Wilbur Rehman Julie and Jack Stetson* Jeff Van Tine*

Putti (con’t) - Karen Cheney Shores* Peg Taylor Gary J. Wiens* Sandy Shull* Martha Jane Thieltges* Mary Williams in memory of Jacquie Gibson in memory of Gordon Bennett Emily Free Wilson* Starz on Stage Jennifer Thompson* * Reliable repeat donations enable us to operate in the present and plan for the future. In appreciation for consistent generous support we have created an Honor Roll of donors who have provided financial support for three or more consecutive years.

Musikanten, a 501(c)(3) non-profit corporation, appreciates the community support which makes our concerts, including the Montana Early Music Festival, possible. Your donations are fully tax-deductible under the law.

Musikanten Montana is one of the non-profit organizations in the State Employees’ Charitable Giving Campaign. Thank you for designating #5294 in your giving.

If you appreciate the opportunity to hear world-class Early Music in your community, please watch for Greater Helena Gives, coming up in May,

part of a nationwide day of celebrating local non-profit

organizations and all they contribute to our communities.

MONTANA EARLY MUSIC FESTIVAL ADMINISTRATION

Rehearsal Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Art Bumgardner, June Lee, Gerald Schafer Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pat Mandeville Housing Guru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Becky Piske Meals . . . . . . . . . . . . . . . Kathy Bramer, Tanya Anderson, Donna Aline, Pat Mandeville, Sharon Stockstad Fundraising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Linda Almas, Jane Horton, Patty Mazurek, Liz LeLacheur Front of House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sharon Stockstad Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mimi Stevens Bus Facilitator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Pacini Organ Transportation and Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alex Shaffer, Keith Reas Online Facilitator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jane Horton Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeff Van Tine, Carol Jobusch Billboard Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lorna McMurray