Shenandoah Valley Bach Festival of Eastern Mennonite University 2016

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24th Season

KENNETH NAFZIGERartistic director/conductor

June 12-19, 2016

Shenandoah ValleyBach

Festival

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WELCOME…... to the 24th Shenandoah Valley Bach Festival! We are pleased to welcome back those of you who’ve been here before, and especially to welcome those for whom this is a first visit. Next year we will be celebrating an important milestone in the Festival’s history as we mark our 25th year with music that revives some performances from our first season and music that explores new territory.

For this season, we are particularly honored to bring back to his home community Nathan Medley, a Harrisonburg High School graduate who has achieved worldwide acclaim as a phenomenal countertenor. On the same concert, we are also pleased to welcome Nancy Buckingham Garlick, a recorder virtuoso whose home is Charlottesville. Between the two of them, we will feast on music of Vivaldi, Purcell, Handel and others. And as an added bonus to the Friday night concert, we are delighted to welcome the Harrisonburg High School Choir and their director Beth Hough.

The opening concert is a display of Johann Sebastian Bach’s imagination in his church cantatas. These represent the com-poser’s regular employment, as the churches where he worked expected to hear a newly composed cantata every week. More than 200 of these survive; the common assumption is that a similar number have been lost.

The Saturday night concert has a rural theme, and features Alberto Ginastera’s work, Estancia. This year marks the 100th an-niversary of the Argentinean composer’s birth. Aaron Copland’s beloved Appalachian Spring will be played.

We have, as always, wonderful noon concerts for you to enjoy. You’re welcome to attend any and all of the events in this truly remarkable feast of music!

Ken NafzigerArtistic Director and Conductor

Those of us associated with the Shenandoah Valley Bach Festival wish to express our deepest appreciation to Dr. Loren Swartzendruber, EMU’s president for the past thirteen years, who has resigned effective at the end of this month. He and his wife, Pat, have been enthusiastic supporters of the Bach Festival and its role in the community and within the life of Eastern Mennonite University. We are most grateful, and we wish them a long and happy life, completely engaged in whatever the next chapter of life might be, including a well-earned time of rest and relaxation first.

With a sense of enormous gratitude the Shenandoah Valley Bach Festival bids farewell this summer to our Executive Di-rector, Mary Kay Adams. She has been an incredible asset to the Festival, a super-organized manager who sees to every detail, one whose planning for the necessary details and carrying them out have made the Festival run like a well-oiled machine. She has functioned as a caring voice for this event widely throughout the community and with relationships with the Bach Festival Board and in her connection to the EMU administration in the person and office of Provost Fred Kniss. Any of us would be hard-pressed to identify a single detail of this Festival that Mary Kay ever overlooked or didn’t see coming. Her extraordinary ways of working have always been couched in her friendly, warm, and optimistic manner. In addition to all the work she has done for each of the past festivals, she plays chamber music at noon concerts and is the principal flutist of the Festival Orchestra as if she had had nothing else to do between festivals except prepare to play. Fortunately for all of us, she will continue to perform but will be exiting the Executive Director’s position. To speak a thank you seems barely adequate.

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

of 3,300+ hours during festival week.• You can attend 7 of our 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.

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

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

EMU Development Office1200 Park Road

Harrisonburg, VA 22802

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

THANK YOU FOR YOUR SUPPORT!

HAVE YOU ENJOYED THE

CONCERTS THIS WEEK?

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

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

[email protected]/bach

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THE FESTIVAL AT A GLANCESUNDAY, 12 JUNE Festival Concert 1 ..............................................................................................................................................................5 Lehman Auditorium, EMU, 3 p.m.

Talking Music, with Ken Nafziger Martin Greeting Hall, EMU Campus Center, 2:15 p.m.

MONDAY, 13 JUNE Baroque Workshop Faculty Recital ..........................................................................................................................25 First Presbyterian Church, 17 Court Square, noon

TUESDAY, 14 JUNE Noon Chamber Music Concert ..................................................................................................................................27 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, 15 JUNE Noon Chamber Music Concert ................................................................................................................................. 29 First Presbyterian Church, 17 Court Square, noon

THURSDAY, 16 JUNE Noon Chamber Music Concert .................................................................................................................................. 31 First Presbyterian Church, 17 Court Square, noon

FRIDAY, 17 JUNE Noon Chamber Music Concert ..................................................................................................................................33 First Presbyterian Church, 17 Court Square, noon

Festival Concert 2 ...........................................................................................................................................................35 Lehman Auditorium, EMU, 7:30 p.m.


SATURDAY, 18 JUNE Noon Chamber Music Concert ..................................................................................................................................41 First Presbyterian Church, 17 Court Square, noon

Festival Concert 3 .......................................................................................................................................................... 43 Lehman Auditorium, EMU, 7:30 p.m.


SUNDAY, 19 JUNE Leipzig Service ...............................................................................................................................................................49 Lehman Auditorium, 10 a.m.

Father’s Day Brunch, Northlawn (main dining room), noon Advance reservations only, by June 14: emu.edu/bach/brunch

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FESTIVAL CONCERT 1Sunday, 12 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.

The Cantata in Bach’s Work Week:One of the many requirements of his position in Leipzig was that there would be a new cantata (about 20 minutes of mu-sic) every Sunday at Leipzig’s main church, St. Thomas. This meant composing, copying, and rehearsing choir, soloists and orchestra every week, with no help from modern technologies! In the three-hour-or-so liturgy, the cantata occupied a cen-tral position in the first hour, and was normally a musical response to the Gospel text for that Sunday, a counterpart to the sermon. The margins of Bach’s copy of Luther’s Bible were filled with his annotations, and many times he worked with poets and theologians to create libretti from scripture and Baroque religious poetry.

The church cantata as it evolved at the hands of J. S. Bach contained several elements, though even the standard elements varied from time to time: There might well be an elaborate opening choral movement. There might well be one or more recitatives, in which a narrative was carried forward, or some serious sermonizing was sung. There might well be one or more arias, which functioned as more personal responses to the text. And there would almost every time be a concluding chorale sung and played in a simpler four-part harmonization. In one stanza, selected from many, the chorale summarized the sense of the cantata in a melody and text that would have been known to the congregation.

Music of all forms in the Baroque was marked by a greater kinetic and rhythmic energy than the preceding era. Bach, as usual, seems to have excelled in creating for his choral and solo movements an energy derived from the dances of his era, making physical the musical and theological landscapes of the texts.

Emmanuel Music, a Boston series dedicated to the performance of all nearly 200 Bach cantatas, was founded in 1970 and has performed the complete cycle twice. Their annotator Pamela Dellal wrote:

While many of Bach’s contemporaries were actively engaged in writing cantatas (Telemann being the most well-known), Bach seized on this form to do some of his most experimental composition. He frequently used his musi-cal ideas to illuminate, deepen, and sometimes contradict the message found in the text. The cantata in Bach’s hands morphed from being a work of devotion to being a work of penetrating psychological exploration; every emotion is laid bare and dissected, and the painful paradoxes of being human, desiring the Good but falling into temptation, fear, and sin, are brought to vivid life by Bach’s music. Every musical device available to an 18th-century composer is put into service, and Bach invents countless new ones in order to startle his listeners into engagement with the subject. The complexity, ambition, and harmonic daring of the greatest Bach cantatas have absolutely no rival among Baroque composers, and were probably puzzling and disturbing to his first listeners.

Bach’s choir was made up of men and boys, small in size, and of a caliber of singers about which Bach often complained. The orchestra, of similar size, was made up of strings and a pair of oboes, occasionally a pair of flutes, and, on the most fes-tive days of the year (e.g., Christmas, New Year’s Day, Easter, Pentecost and Reformation Sunday) included timpani and a pair of trumpets or horns. And when the text called for an unusual sound (e.g., the recorder in Cantata 103, he wrote for that instrument.

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The cantatas included on this afternoon’s concert were chosen to demonstrate the enormous variety to be found in these every-week new creations. One wonders if Leipzig congregations had a clue what they witnessed and heard every Sunday! At the end of each of the original manuscripts, Bach inscribed the Latin phrase Soli Deo gloria: “to God alone the glory.”

Liebster Gott, wann will ich sterben, BWV 8 [1724] Johann Sebastian Bach 1685-1750

On a late September Sunday in 1724, Bach’s congregation heard his Cantata No. 8, Liebster Gott, wenn werd ich sterben for the first time. The Gospel reading for that day came from Luke 7, the story of the widow of Nain, whose only son had died. Jesus met the family and friends on their way to the place of burial. Moved by compassion, Jesus raised the son back to life.

Death was more feared in earlier eras than in our own; there are many Reformation-era hymn texts that look with anticipation toward death, to deliverance from ills and evils, to a transformation of body and soul to an eternal world, all with utter confidence that God’s a constant presence from life through death. Bach himself was no stranger to death: his first wife died, and ten of his children died in infancy. His cantatas on subjects of death are all bittersweet in character; this one is mostly sweet.

What to listen for…The opening Chorus is a large-scale meditative piece on stanza one of Kaspar Neumann’s hymn Liebster Gott, wenn werd ich sterben, (c. 1690). Two oboes carry on a running conversation accompanied by pizzicato strings. The flute appears from time to time, often playing a rapidly repeated single pitch, a musical representation of a small bell that was rung as a person slipped from this world into the next. The words of the text ask, “When will I die,” and the flute/bell says, in effect, “Now.” The sopranos sing the melody of Neumann’s hymn; the other parts accompany. At the beginning and the end, and between phrases there is an orchestral interlude allowing listeners time for con-templation.

The tenor Aria makes the question of one’s end more personal: when will death come for me? There is a hint of fear in the words he sings, but the music dances. This is a duet for oboe and tenor, with a bass line pizzicato accompani-ment.

The alto who sings the Recitative is accompanied by the strings. When Bach writes such an accompaniment for a recitative, the words often seem to be surrounded with a halo of sound that communicates consolation.

The bass Aria in unabashedly joyous. It also dances. The flute, which was the sound of the death bell in the opening movement, becomes like a spirit that dances with the singer.

The Recitative, set for the highest solo voice, communicates a confidence about how this will all turn out.

And the concluding Chorale summarizes, and prays for courage in the face of approaching death. The final three measures introduce some chromatic harmonies that are hints of shadow or doubt that quickly pass, like fast mov-ing clouds across the face of the sun. This stanza is the fifth stanza of Neumann’s hymn.

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1. Chorus Liebster Gott, wenn werd ich sterben? Meine Zeit läuft immer hin, und des alten Adams Erben, unter denen ich auch bin, haben dies zum Vaterteil, daß sie eine kleine Weil arm und elend sein auf Erden und denn selber Erde werden.

Dearest God, when shall I die? My time runs ever on, and the old legacy of Adam, which includes me as well, has this as its inheritance, for a short while are poor and wretched on the earth and then themselves to become earth.

2. Aria – tenor Was willst du dich, mein Geist, entsetzen, wenn meine letzte Stunde schlägt? Mein Leib neigt täglich sich zur Erden, und da muß seine Ruhstatt werden, wohin man so viel tausend trägt.

Why would you recoil, my spirit, when my last hour strikes? My body bends daily to the earth, and there must my resting-place be, to which so many thousand are borne.

3. Recitative – alto Zwar fühlt mein schwaches Herz Furcht, Sorge, Schmerz: wo wird mein Leib die Ruhe finden? Wer wird die Seele doch vom aufgelegten Sündenjoch befreien und entbinden? Das Meine wird zerstreut, und wohin werden meine Lieben in ihrer Traurigkeit zertrennt, vertrieben?

Indeed my weak heart feels fear, worry, and pain: Where will my body find its rest? Who will the soul indeed from its burden of sin bring release and set free? All that is mine will be scattered, and what will become of my loved ones, in their sorrow cut off, and exiled?

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4. Aria – bass Doch weichet, ihr tollen, vergeblichen Sorgen! Mich rufet mein Jesus: wer sollte nicht gehn? Nichts, was mir gefällt, besitzet die Welt. Erscheine mir, seliger, fröhlicher Morgen, verkläret und herrlich vor Jesu zu stehn.

Away, you foolish, useless worries! My Jesus calls me: who would not go? Nothing that pleases me belongs to the world. Shine upon me, blessed, joyful morning, when I shall stand before Jesus, transfigured and glorious.

5. Recitative – soprano Behalte nur, o Welt, das Meine! Du nimmst ja selbst mein Fleisch und mein Gebeine, so nimm auch meine Armut hin; genug, daß mir aus Gottes Überfluß das höchste Gut noch werden muß; genug, daß ich dort reich und selig bin. Was aber ist von mir zu erben, als meines Gottes Vatertreu? Die wird ja alle Morgen neu und kann nicht sterben.

Keep then, o world, my possessions! You take indeed my flesh and my bones, take also these poor belongings; it is enough, that from God’s abundance the greatest good will come to me, enough, that I shall be rich and happy there. What else is there to inherit from me, other than the fatherly love of my God? This is renewed every morning and can never die.

6. Chorale Herrscher über Tod und Leben, mach einmal mein Ende gut, lehre mich den Geist aufgeben mit recht wohlgefaßtem Mut. Hilf, daß ich ein ehrlich Grab neben frommen Christen hab und auch endlich in der Erde nimmermehr zuschanden werde!

Sovereign over death and life, make my end good, teach me to resign my spirit with complete composure. Help, that I might have an honorable grave next to the righteous, and also at last, in the earth, nevermore be put to shame!

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Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 [1713/1714]

Bach’s congregation in Weimar heard Cantata 18, Gleichwie der Regen und Schnee vom Himmel fällt, on a Sun-day prior to Ash Wednesday in 1713 or 1714. The Gospel reading for that day came from Luke 8, the parable of the sower, with its images of seed falling on a variety of different kinds of soil, and how the seeds prospered or didn’t prosper.

What to listen for…The opening Sinfonia has one of the most unusual orchestrations of any Bach cantata: two recorder parts and four viola parts, with the continuo (bass instruments and keyboard). Bach rarely uses a sinfonia as an introduction to a cantata; this one lends an atmosphere connected to the music and text. Perhaps here, the darker instrumental col-ors are representative of the dark soil into which the seeds fall, or the dangers of evil that can harm the seed.

The text of the bass Recitative is taken from Isaiah 55: “For as the rain and the snow come down from heaven, and do not return there until they have watered the earth, making it bring forth and sprout, giving seed to the sower and bread to the eater, so shall my word be that goes out from my mouth; it shall not return to me empty, but it shall accomplish that which I purpose, and succeed in the thing for which I sent it.” It is set simply and without elaboration, a “headline” so to speak for the cantata.

The Recitative and Litany is a rarity among the cantatas: the recitative sections (tenor, then bass, then tenor and bass again) offer a musical sermon on the Luke 8 parable in which the seed is sown, and observations about seed going astray. These recitatives alternate with a litany (the litany is the bold-faced text): it is sung by the soprano; its text is sung on a single pitch, and with a regular pulse. The response is a short phrase sung in four parts. The litany text is from Martin Luther’s litany of confession. The remainder of the text is by Erdmann Neumeister, a German Lutheran pastor who wrote many cycles of libretti for sacred cantatas, several of which Bach set to music.

The soprano Aria, also on a text by Neumeister, is a duet for both recorders and all four violas in unison, with the soprano. The instruments, which in the Sinfonia each played separate parts, here play as one voice.

The concluding Chorale is stanza 8 from Lazarus Spangler’s 1524 hymn, Durch Adams Fall ist ganz verderbt.

1. Sinfonia 2. Recitative – bass Gleichwie der Regen und Schnee vom Himmel fällt und nicht wieder dahin kommet, sondern feuchtet die Erde und macht sie fruchtbar und wachsend, daß sie gibt Samen zu säen und Brot zu essen: Also soll das Wort, so aus meinem Munde gehet, auch sein;es soll nicht wieder zu mir leer kommen, sondern tun, das mir gefället, und soll ihm gelingen, dazu ich’s sende.

Just as the rain and snow fall from heaven and do not return again to it, but rather moisten the earth and make it fruitful and growing, so that it gives seed for sowing and bread for eating: So shall the word, that goes forth from my mouth,be also; it shall not return to me empty, but rather, it does my will, and achieves the purpose for which I send it.

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3. Recitative – tenor and bass, and SATB litany Mein Gott, hier wird mein Herze sein: ich öffne dir’s in meines Jesu Namen; so streue deinen Samen als in ein gutes Land hinein. Mein Gott, hier wird mein Herze sein: Laß solches Frucht, und hundertfältig, bringen. O Herr, Herr, hilf! o Herr, laß wohlgelingen! Du wollest deinen Geist und Kraft zum Worte geben, Erhör uns, lieber Herre Gott! Nur wehre, treuer Vater, wehre, daß mich und keinen Christen nicht des Teufels Trug verkehre. sein Sinn ist ganz dahin gericht’, uns deines Wortes zu berauben mit aller Seligkeit. Den Satan unter unsre Füße treten. Erhör uns, lieber Herre Gott! Ach! viel verleugnen Wort und Glauben und fallen ab wie faules Obst, wenn sie Verfolgung sollen leiden. So stürzen sie in ewig Herzeleid, da sie ein zeitlich Weh vermeiden. Und uns für des Teufels and der Feind grausamen Mord und Lästerungen, Wüten und Toben väterlich behüten. Erhör uns, lieber Herre Gott! Ein andrer sorgt nur für den Bauch; Inzwischen wird der Seele ganz vergessen; der Mammon auch hat vieler Herz besessen. So kann das Wort zu keiner Kraft gelangen. und wieviel Seelen hält die Wollust nicht gefangen? So sehr verführet sie die Welt, die Welt, die ihnen muß anstatt des Himmels stehen, darüber sie vom Himmel irregehen. Alle Irrige und Verführte wiederbringen. Erhör uns, lieber Herre Gott!

My God, here is my heart: I open it to you in Jesus’ name; so scatter your seed within as on fertile soil. My God, here is my heart: May it bear such fruit, and hundred-fold. O Lord, Lord, help! O Lord, may it be so! That you would lend your spirit and power with your Word, Hear us, dear Lord God! Only forbid, true Father, forbid, that neither I nor any others are led astray by the devil’s deceit, who is completely dedicated to robbing us of your word and all its blessedness. That Satan be crushed under our feet. Hear us, dear Lord God! Ah! Many deny word and faith and fall away like rotten fruit, when they suffer persecution. So they plunge into eternal grief, because they avoid a temporary woe. That we, from devils and the enemy’s horrid murder and blasphemy, raging and fury, be fatherly protected. Hear us, dear Lord God! Another cares only for the stomach; in the meantime entirely forgetting the soul; Mammon also has possessed many hearts. The Word has no power here. And how many souls are not held captive by pleasure? So greatly the world tempts them, the world, which takes heaven’s place for them, because from heaven they go astray. That all erring and misled ones be brought back. Hear us, dear Lord God!

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4. Aria – soprano Mein Seelenschatz ist Gottes Wort; außer dem sind alle Schätze solche Netze, welche Welt und Satan stricken, schnöde Seelen zu berücken. Fort mit allen, fort, nur fort! mein Seelenschatz ist Gottes Wort.

My soul’s treasure is God’s word; besides this, all precious things are mere webs woven by the world and Satan, to ensnare miserable souls. Away with all of them, away, away! My soul’s treasure is God’s word.

5. Chorale Ich bitt, o Herr, aus Herzens Grund, du wollst nicht von mir nehmen dein heil’ges Wort aus meinem Mund; so wird mich nicht beschämen mein Sünd und Schuld, denn in dein Huld setz ich all mein Vertrauen: wer sich nur fest darauf verläßt, der wird den Tod nicht schauen.

I pray, O Lord, from the bottom of my heart, that you never take your holy Word from my mouth; so will I never be made ashamed by my sin and guilt, for in your grace I place all my trust: Whoever relies firmly upon this, will never see death.

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Also hat Gott die Welt geliebt, BWV 68 [1725]

The congregation, in late May of 1725 in Bach’s first year in Leipzig, heard Cantata 68, Also hat Gott die Welt geli-ebt, for the first time. It was the second day of Pentecost, one of the major holidays on the Lutheran calendar. The Gospel reading for the day came from John, the third chapter, and the familiar verses that begin “For God so loved the world…”

What to listen for…In a gentle swaying dance rhythm (siciliano) much like the opening chorus of Cantata 8, the Chorus is based on a 1675 chorale melody and text by Salomo Liscow. The tune is found in the soprano voice; each phrase is separated by an or-chestral ritornello.

The soprano Aria is one of Bach’s most famous arias from the cantatas, an expression of unbounded joy. It is a trio so-nata for soprano, violoncello piccolo, and bass and organ. The violoncello piccolo was an instrument used on rare oc-casions during the early decades of the 18th century. It was smaller than a cello, and larger than a viola, and sometimes had five strings instead of four. The instrument was used as a solo voice, not as an orchestral instrument. With modern instruments, the part is usually played on a cello.

This music is borrowed from a 1713 secular cantata, No. 208, Was mir behegt, ist nur die muntre Jagd, known at the Hunting Cantata. Originally, it was for soprano with a continuo line. In the revision, Bach gave the original continuo line to the violoncello piccolo as a solo line, and added a new continuo part. And when the soprano’s part of the aria is finished, he added a twenty-seven-bar ritornello for solo violin, oboe, violoncello piccolo, and bass and organ.

A short Recitative connects the preceding aria to the next

Aria, which is also originally found in Cantata 208. Here, Bach substituted a sacred text for a secular one. The three-oboe accompaniment is most likely more appropriate to the rustic nature of the secular cantata.

The concluding Chorus is unusual. It is in an earlier imitative motet style, in which all the vocal parts are doubled by the orchestral voices. There are two themes presented in imitation, one following the other, and then as the movement ends, both together. It is also unusual for Bach to ask the musicians to perform the last phrase softly. The text here is from the Gospel of John (3.18). The librettist for the cantata is Christiane Mariane von Ziegler, a poet in her own right and a frequent collaborator with Bach in creating librettos for his cantatas. She is credited with nine.

1. Chorus Also hat Gott die Welt geliebt, daß er uns seinen Sohn gegeben. Wer sich im Glauben ihm ergibt, der soll dort ewig bei ihm leben. Wer glaubt, daß Jesus ihm geboren, der bleibet ewig unverloren, und ist kein Leid, das den betrübt, den Gott und auch sein Jesus liebt.

God so loved the world, that he gave us his son. Those who yield themselves in faith shall live eternally. Those who believe that Jesus was born for them will never be lost, and no sorrow will trouble those who love God and also Jesus.

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2. Aria – soprano Mein gläubiges Herze, frohlocke, sing, scherze, dein Jesus ist da! Weg Jammer, weg Klagen, ich will euch nur sagen: mein Jesus ist nah.

My faithful heart, rejoice, sing, play, your Jesus is here! Away misery! Away lamentation! I would simply say to you: my Jesus is near.

3. Recitative – bass Ich bin mit Petro nicht vermessen, was mich getrost und freudig macht, daß mich mein Jesus nicht vergessen. Er kam nicht nur, die Welt zu richten, nein, nein, er wollte Sünd und Schuld als Mittler zwischen Gott und Mensch vor diesmal schlichten.

I am not mistaken like Peter: what comforts me and makes me joyous, is that my Jesus has not forgotten me. He came not only to judge the world, no, no, he wished to be the mediator between God and humanfor sin and guilt.

4. Aria – bass Du bist geboren mir zugute, das glaub ich, mir ist wohl zumute, weil du vor mich genung getan. Das Rund der Erden mag gleich brechen, will mir der Satan widersprechen, so bet ich dich, mein Heiland, an.

You have been born for my benefit, this I believe, and am encouraged by it, because you have done enough for me. The circle of the earth may break open, Satan may oppose me, yet I will pray to you, my Savior.

5. Chorus Wer an ihn gläubet, der wird nicht gerichtet; wer aber nicht gläubet, der ist schon gerichtet; denn er gläubet nicht an den Namen des eingebornen Sohnes Gottes.

They who believe in him will not be judged; but those who do not believe are already judged; for they do not believe in the name of the only-begotten Son of God.

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

Wir eilen mit schwachen doch emsigen Schritten, from BWV 78 [1724]

Wir eilen mit schwachen, doch emsigen Schritten, O Jesu, o Meister, zu helfen zu dir. Du suchest die Kranken und Irrenden treulich. Ach höre, wie wir die Stimmen erheben, um Hülfe zu bitten! Es sei uns dein gnädiges Antlitz erfreulich!

We hasten with weak, yet eager steps, O Jesus, O Master, to you for help. You faithfully seek the sick and erring. Ah, hear, how we lift up our voices to pray for help! Let your gracious countenance smile upon us!

Christine Fairfield Glick & Joel Ross

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Wie will ich mich freuen, from BWV 146 [1726 or 1728]

Wie will ich mich freuen, wie will ich mich laben, wenn alle vergängliche Trübsal vorbei! Da glänz ich wie Sterne und leuchte wie Sonne, da störet die himmlische selige Wonne kein Trauern, Heulen und Geschrei.

How I will rejoice, how I will delight, when all transient affliction is over! Then I will shine like a star and glow like the sun, then the heavenly, blessed joy will not be destroyed by sorrow, wailing or crying.

Brian Thorsett & David Newman

Ihr werdet weinen und heulen, BWV 103 [1725]

On the third Sunday after Easter in April of 1725, Bach’s congregation may well have been astonished and perplexed when they heard Cantata 103, Ihr werdet weinen und heulen for the first time. After a three-day festival of glori-ous Easter music, the Sunday after Easter included a cantata based on the story of Jesus meeting his disciples on the road to Emmaus. On the second Sunday after Easter, the cantata was based on the pastoral account of Jesus as a good shepherd. But on the third Sunday, the opening chorus was something else indeed! The Gospel reading for the day came from the Gospel of John (6.16-20), in which Jesus tells his disciples that he will be leaving, but will see them again. Jesus said, “I tell you, you will weep and mourn, but the world will rejoice; you will have pain, but your sorrow will turn into joy.”

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What to listen for…Several emotions from the gospel text are reflected in the music of the opening Chorus: weeping and mourning, rejoic-ing, pain, and joy. The two oboes begin with a Bachian rhythmic motive for joy; the strings pick up that motive soon. When the choral voices enter, there are odd descending intervals (on the word weinen or weeping), a long tone (on the word heulen or howling), and above it all a very shrill and high recorder part, devilish and sardonic in tone. The voices eventually get to the rejoicing motive, too, but they are rejoicing for what the world is doing, rather than what the soul is doing.. There is a sudden slow bass solo recitative (in italics). The choral and instrumental voices return with the same faster music from before, but here to the text, “Your sorrow shall be turned to joy.” The chorus ends with a bright major chord.

The tenor Recitative ends with an unusual presentation of the word Schmerzen (pain), in which the word is elongated, with difficult chromatic alterations of pitches, and harmonies that are contorted.

The Aria uses the shrill recorder that was heard in the opening movement, but here it hovers over the texture with a more consoling sound matching the text.

The Recitative, short like the recitative before, also ends with a dramatic flourish. For the tenor, the flourish was on the word Schmerzen; for the alto, it occurs on the word Freude (joy).

A trumpet distinguishes the sound of the orchestra in the tenor Aria. It is a sound of confidence and security, of joy over sorrow.

The concluding Chorale is stanza nine from Paul Gerhardt’s text, Barmhezr’ger Vater, höchster Gott (1653) sung to a 1571 melody, Was mein Gott will, das g’scheh allzeit. The librettist was Christiane Mariane von Ziegler.

1. Chorus and Arioso – bass Ihr werdet weinen und heulen, aber die Welt wird sich freuen. Ihr aber werdet traurig sein.doch eure Traurigkeit soll in Freude verkehret werden.

You shall weep and wail, but the world will rejoice. But you will be sorrowful.Yet your sorrow shall be changed into joy.

2. Recitative – tenor Wer sollte nicht in Klagen untergehn, wenn uns der Liebste wird entrissen? Der Seelen Heil, die Zuflucht kranker Herzen acht nicht auf unsre Schmerzen.

Who would not collapse in lamentation, if our beloved were torn from us? The soul’s salvation, the remedy for sick hearts pays no heed to our pains.

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3. Aria – alto Kein Arzt ist außer dir zu finden, ich suche durch ganz Gilead; wer heilt die Wunden meiner Sünden, weil man hier keinen Balsam hat? Verbirgst du dich, so muß ich sterben. Erbarme dich, ach, höre doch! Du suchest ja nicht mein Verderben, wohlan, so hofft mein Herze noch.

Besides you no physician is to be found, though I search throughout Gilead. Who shall heal the wounds of my sins, since there is no balm here? If you hide yourself, I must die. Have mercy, ah, hear me! Indeed you do not seek my destruction, therefore my heart will still hope.

4. Recitative – alto Du wirst mich nach der Angst auch wiederum erquicken; so will ich mich zu deiner Ankunft schicken, Ich traue dem Verheißungswort, daß meine Traurigkeit in Freude soll verkehret werden.

After my anguish you will revive me again;therefore I will prepare myself for your return, I trust in the word of promise, that my sorrow will be changed into joy.

5. Aria – tenor Erholet euch, betrübte Sinnen, ihr tut euch selber allzu weh. Laßt von dem traurigen Beginnen, eh ich in Tränen untergeh, mein Jesus läßt sich wieder sehen, O Freude, der nichts gleichen kann! Wie wohl ist mir dadurch geschehen, nimm, nimm mein Herz zum Opfer an!

Take hold of yourselves, troubled senses. You cause yourselves too much woe. Give up the sorrowful course; before I collapse in tears, my Jesus will appear again, O joy unlike any other! What well-being is mine; receive, receive my heart as an offering!

6. Chorale Ich hab dich einen Augenblick, O liebes Kind, verlassen; sieh aber, sieh, mit großem Glück und Trost ohn alle Maßen will ich dir schon die Freudenkron aufsetzen und verehren; dein kurzes Leid soll sich in Freud und ewig Wohl verkehren.

I have left you for a moment, O beloved child; see however, see, with great fortune and comfort beyond all measure, already with the wreath of joy I shall crown and honor you, your brief sorrow into joy and eternal bliss shall be changed.

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Ich liebe den Höchsten von ganzem Gemüte, BWV 174 [1729]

On the second day of Pentecost in early June 1729, the Cantata 147, Ich liebe den Höchsten von ganzen Gemüte, was performed for the first time. The Gospel reading for that day was John 3.16-21. (The same reading was the basis for Cantata 68.) The librettist, known by his pen name, Picander, was Christian Friedrich Henrici, with whom Bach successfuly collaborated on many occasions. The St. Matthew Passion is their most notable work together.

What to listen for:The Sinfonia is most likely the most widely recognized part of this afternoon’s program. It is an edited version of Bach’s Brandenburg Concerto No. 3. Bach kept the original string parts in tact, and added five new parts: two horns and three oboes. No one has discovered why Bach might have opted to do this, but it isn’t difficult to imagine that with the work load he maintained in Leipzig, he might well have been allowed a short cut now and then!

The graceful simplicity of Aria, Recitative and Aria might also argue to support a view that the workload needed to be eased from time to time. These three sections of the cantata are lovely, each in its own way, but not as complex as found in some of the other cantatas this afternoon. There is reason to believe also that at this point in his life, Bach was wearying of working in the context of the church.

The concluding Chorale is the first stanza of Martin Schalling’s 1571 hymn, Herzlich lieb hab ich dich, o Herr.

1.Sinfonia

2. Aria – alto Ich liebe den Höchsten von ganzem Gemüte, er hat mich auch am höchsten lieb. Gott allein soll der Schatz der Seelen sein, da hab ich die ewige Quelle der Güte.

I love the Most High with all my heart, God also has the greatest love for me. God alone shall be my soul’s treasure, in whom my eternal source of goodness lies.

3. Recitative – tenor O Liebe, welcher keine gleich! O unschätzbares Lösegeld! Der Vater hat des Kindes Leben vor Sünder in den Tod gegeben und alle, die das Himmelreich verscherzet und verloren, zur Seligkeit erkoren. Also hat Gott die Welt geliebt! Mein Herz, das merke dir und stärke dich mit diesen Worten; vor diesem mächtigen Panier erzittern selbst die Höllenpforten.

O love, which none other resembles! O priceless ransom! The Father has given his child’s life over to death on behalf of sinners and all of these, who heaven’s kingdom had taken lightly and lost, are elected to blessedness. God so loved the world! My heart, take note, and strengthen yourself with these words; before this powerful banner the gates of hell themselves tremble.

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4. Aria – bass Greifet zu, faßt das Heil, ihr Glaubenshände! Jesus gibt sein Himmelreich und verlangt nur das von euch: gläubt getreu bis an das Ende!

Take hold, grasp salvation, you hands of faith! Jesus gives you the kingdom of heaven and desires only this from you: that you believe faithfully until the end!

5. Chorale Herzlich lieb hab ich dich, o Herr. Ich bitt, wollst sein von mir nicht fern mit deiner Hülf und Gnaden. Die ganze Welt erfreut mich nicht, nach Himml und Erden frag ich nicht, wenn ich dich nur kann haben. Und wenn mir gleich mein Herz zerbricht, so bist du doch mein Zuversicht, mein Heil und meines Herzens Trost, der mich durch sein Blut hat erlöst. Herr Jesu Christ, mein Gott und Herr, mein Gott und Herr, in Schanden laß mich nimmermehr!

I love you with my whole heart, O Lord. I ask, be not far from me with your help and grace. The entire world does not delight me; I ask not for heaven or earth, if I can only have you. And even though my heart should break, yet you are still my confidence, my salvation and my heart’s comfort, who has redeemed me by his blood. Lord Jesus Christ, my God and Lord, my God and Lord, let me never be put to shame!

Christine Glick Fairfield, sopranoJoel Ross, countertenorBrian Thorset, tenorDavid Newman, bassFestival Chamber ChoirFestival Chamber Orchestra

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Jesu, joy of man’s desiring, from BWV 147 [1723]

Je su,

joy of

man's de

sir ing,

ho ly

- - - -

wis dom,

love most

bright,

drawn by

thee, our

souls as

- -

pir ing

soar to

un cre

at ed

light.

- - - -

Word of

God, our

flesh that

fash ioned,

with the

fire of

-

life im

pas sioned,

striv ing

still to

truth un

- - - -

known,

soar ing,

dy ing

'round thy

throne.

- -

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www.vmrc.org

VMRC Presents the 13th Annual Shenandoah Valley Lyceum

2016-17 Season Schedule

September 16, 2016 – Sabato’s Crystal Ball: The 2016 Election, Geoffrey Skelley October 28, 2016 – Gravestones Have a Story to Tell, Randy Atkins January 6, 2017 – Shenandoah: A Story of Conservation and Betrayal, Sue Eisenfeld April 7, 2017 – Worksongs: Making an Old Tradition New Again, Bennett KonesniAll 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.

These 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 24th Bach Festival season!

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MONDAY NOON CONCERT13 June • First Presbyterian Church

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

Virginia Baroque Workshop FacultyBAROQUE JEWELS FROM NORTHERN EUROPE

Anne Timberlake, recorderMartha McGaughey, viola da gambaMark Rimple, luteArthur Haas, harpsichord

Suite in F Major for Harpsichord [c.1700] Gaspard Le Roux c. 1660-c. 1707 Prélude Allemande grave Courante Chacone

Pièces de Viole Marin Marais 1656-1728

Lachrimae Pavan John Dowland The Earl of Essex, his Galliard 1563-1626

Lachrimae Pavane for Recorder and Basso Continuo Johann Schop c. 1590-1667

Trio 7 for Recorder, Viol, and Basso Continuo Georg Philipp Telemannfrom Essercizzii Musici [1739-40] 1681-1767

Vivace Mesto Allegro

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Art

awards sponsored byL D & B Insurance and Financial Services

Park View Federal Credit UnionValley Family & Elder Care

Shenandoah Valley Bach FestivalVMRC Resident Association, Park Gallery Associates

Park Gables Gallery1491 Virginia Avenue

Harrisonburg, VA 22802(540) 564-3400 vmrc.org

Virginia Mennonite Retirement Community13th Annual

Juried Art ExhibitionA national, multimedia show

May 29 – June 30, 201610 a.m.–7 p.m. weekdays

1–4 p.m. Saturday and Sunday

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TUESDAY NOON CONCERT14 June • First Presbyterian Church

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

Sonata No. 1 in B Minor, BWV 1014 [1720] Johann Sebastian Bach 1685-1750

Adagio Allegro Andante Allegro

Amy Glick, violin Lynne Mackey, harpsichord

from Viola Sonata [1919] Rebecca Clarke 1886-1979 Karen Johnson, viola Lise Keiter, piano

Duo [1945] Alberto Ginastera 1916-1983 Sonata Pastorale Fuga

Mary Kay Adams, flute Sandra Gerster, oboe

Sonata da Camera [1952] Ilja Hurnik 1922-2013

AllegrettoQuasi marcia funebreAllegretto innocentePrestissimo

Mary Kay Adams, flute Sandra Gerster, oboe Paige Riggs, cello Marvin Mills, harpsichord

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Instrumental music instruction: violin, viola, cello, piano, flute, clarinet, guitar; Suzuki method option available

Harrisonburg City Schools Strings Program: grades 3-4 in the elementary schools and grades 5-8 in the middle schools

Musikgarten: ages birth to 7 years Shenandoah Valley Youth Symphony and

Junior Strings: grades 3-12

EMU’s Preparatory Music ProgramMusic excellence for all ages!

Now enrolling singers ages 5-18 for the 2016-2017 season

540-432-4650www.emu.edu/svcc

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ANNIVERSARY SEASON

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WEDNESDAY NOON CONCERT15 June • First Presbyterian Church

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

Serenade, Op. 25 [1795-96] Ludwig van Beethoven 1770-1827

EntrataTempo ordinario d’un menuettoAllegro moltoAndante con variazioniAllegro scherzando e vivaceAdagio – Allegro vivace e disinvolto

Mary Kay Adams, flute Susan Black, violin Thomas Stevens, viola

Divertimento No. 11 in D Major, K. 251 [1776] Wolfgang Amadeus Mozart 1756-1791

Alllegro moltoMenuetto – TrioAndantino – Adagio – AllegrettoMenuetto (Tema con variazioni)Rondo (Allegro assai)Marcia alla francese

Sandra Gerster, oboe David Wick and Jay Chadwick, horns Amy Glick and Susan Black, violins Christy Kauffman, viola Paige Riggs, cello

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THURSDAY NOON CONCERT16 June • First Presbyterian Church

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

Six by Four* [1988] John L. Gardner 1917-2011

Lawn as white as driven snowWhen icicles hangOver hill, over daleCome away deathWhen daisies piedWhat that I was a little tiny boy

Nathan Medley, countertenor Nancy Buckingham Garlick, recorder Nadine Monchecourt, cello Marvin Mills, harpsichord

* a Virginia Shakespeare Initiative performance

Trio in A Minor, Op.114 [1891] Johannes Brahms 1833-1897

AllegroAdagioAndantino grazioso – TrioAllegro

Leslie Nicholas, clarinet Beth Vanderborgh, cello Naoko Takao, piano

When the Spirit Sings [2011] Gwyneth Walker b. 1947

My LordWere you thereThis Train

Musica Harmonia Joan Griffing, violin Diane Phoenix-Neal, viola Beth Vanderborgh, cello

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THE FESTIVAL RECOGNIZES THE MEMBERS OF

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

AnonymousSidney Bland and Linda Heatwole Bland

Ed and Cathy ComerJanet S. Einstein

Alden and Louise HostetterLaDene King and Gretchen Nyce

Dr. Kip Riddle and Corja MulckhuyseC. Robert and Charity S. Showalter

Donald E. and Marlene C. ShowalterNelson L. and Phyllis E. Showater

Welby C. Showalter, Attorney at LawEugene Stoltzfus and Janet Trettner

Judith Strickler *Ron and Shirley Yoder

*lifetime member

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FRIDAY NOON CONCERT17 June • First Presbyterian Church

This concert is underwritten in part by Rosemary G. King.

Seven Duets for Double Bass [1996] David Anderson b. 1962

Kibbles & KibitzParade of the Politically Prudent PigsRush HourSchgweik FahrtLamentGustav’s 11 O’Clock DanceBlue Cheeze

Fred Dole and Pete Spaar, double basses

Simple Gifts Traditional, arr. Jari A. Villanueva Prelude and Fugue in C Major Johann Sebastian Bach,

arr. Michael Allen Susan Messersmith and Christine Carrillo, trumpets David Wick, horn Jay Crone, trombone Harold Van Schaik, bass trombone

Romanza for Horn and Strings [1951] Arthur Butterworth 1923-2014

Tara Islas, horn Mark Hartman, Amy Glick, Susan Bedell, and Susan Black, violins Nadine Monchecourt, cello Fred Dole, bass

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Habanera from La Bella Cubana José White 1836-1918Spanish Dance from La vida breve Manuel de Falla

1876-1946 Eleonel Molina, violin Lise Keiter, piano

A Vision of Hills [2002] Gwyneth Walker b. 1947 Musica Harmonia Joan Griffing, violin Beth Vanderborgh, cello Naoko Takao, piano

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FESTIVAL CONCERT 2Friday, 17 June • Lehman Auditorium, 7:30 p.m.

This concert is underwritten in part by Donald E. and Marlene C. Showalter, C. Robert and Charity S. Showalter, and Nel-son L. and Phyllis E. Showalter.

from Nisi Dominus, RV 608 Antonio Vivaldi 1678-1741

Nisi Dominus aedificaverit domum, Unless the Lord builds a house, in vanum laboraverunt qui aedificant eam. in vain do those who labor build it. Nisi Dominus custodierit civitatem, Unless the Lord guards a city, frustra vigilat qui custodit eam. futilely do they who watch guard it.

Vanum est vobis ante lucem surgere. It is pointless for you to get up early, (you who eat the bread of misery.)

Sicut sagittae in manu potentis: Like arrows in the hand of a powerful one: ita filii excussorum. such are the offspring born in your youth.

Beautus vir qui implevit desiderium Blessed are they who are filled their desiresuum ex ipsis: with these; non confundetur cum loquetur they will not be confounded when they speak inimicis suis in porta. with the enemies at the gate.

Amen. Amen. [text from Psalm 127]

Nathan Medley, countertenor

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Concerto for Recorder, Strings and Continuo in C Major, RV 433 (Allegro) Largo Allegro molto

Nancy Buckingham Garlick, recorder

The Pale and the Purple Rose, from Yorkshire Feast, Z. 333 [1690] Henry Purcell 1659-1695


from Come, Ye Sons of Art, Z. 323 [1694] Symphony Come, ye sons of art Sound the trumpet

from Hail Bright Cecilia, Z. 328 [1692]

‘Tis nature’s voice Soul of the world

Nathan Medley, countertenorTommy Tutwiler, countertenorHarrisonburg High School Choir, Beth Houff, director


Eternal Source of Light Divine, Georg Frideric Handelfrom Birthday Ode for Queen Anne, HWV 74 [1713] 1685-1759

Nathan Medley, countertenorJudith Saxton, trumpet

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Chiudetevi miei lumi, from Admeto, HWV 22 [1726]

Chiudetevi miei lumi Shutter yourselves, lights of my eyes, In un perpetuo oblio, into a perpetual oblivion, Così col morir mio thus with my dying Toglietemi alle pene eterni Numi. you remove me to the eternal punishments of the gods.

Sento la gioia, from Amadigi di Gaula, HWV 11 [1715]

Sento la gioia, I feel the joyCh’in sen mi brilla, that shines in my breastE già scintilla and now sparkles Nel ciel la stella in the sky as the starDel Dio d’amor; of the god of love;Sarò beato I shall be blessedCon te, mia bella, with you, my dear,E amico il fato and fate as a friendGià mi promette promises meContento al cor. contentment in my heart.Sento la gioia, etc. I feel the joy, etc.


Concerto in A Minor for Recorder, Strings, and Continuo Leonardo Vinci 1690-1730 Andante Adagio Allegro

Nancy Buckingham Garlick, recorder

Combattuta da tante vicende, from Cantone in Utica [1728]

Combattuta da tante vicende: Tortured by such great troubles; si confonde quest’alma nel sen. confusing this soul deep inside.Il mio bene mi sprezza e m’accende, My love scorns me and inflames me,tu m’involi e mi rendi il mio ben. you, my love, draw me in and restore me.

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Che sia la gelosia, from Cantone in Utica Che sia gelosia un gelo in mezzo al foco, So much jealousy, a frost in the midst of flame,è ver, ma questo é poco. it’s true, but this is nothing.È il più crudel tormento; It’s the cruelest tormentd’un che s’innamora, of one who is in love, e questo è poco ancora. It’s this and a little more.Io nel mio cor lo sento, I feel it in my heart,ma non lo so spiegar. but I don’t know how to explain it. Se no portasse amore If love did not bringaffanno sì tiranno pain, such a tyrant, qual è quel rozzo core which is that rude heart,

che non vorrebbe amar. who would deny love.


Vo solcando un mar crudele, from Artaserse, W.G1 [1760] Johann Christian Bach 1735-1782

Vo solcando un mar crudel I go, coursing a cruel sea senza vele, without sails e senza sarte: and without patchingfreme l’onda, il ciel s’imbruna the waves shudder, the sky turns dark, cresce il vento, e manca l’arte; the wind rises, and skill is lacking; e il voler della fortuna and wishing for fortune son costretto a seguitar. I am forced to continue. Infelice! in questo stato Unfortunate! in this situation son da tutti abbandonato: I am abandoned by all, meco sola e l’innocenza, by myself all alone and in innocence chi mi porta a naufragar. that carries me to shipwreck.


Tempeste grande , amigo José Melchor Baltasar Gaspra Nebra Blascofrom Vendado es amor, no es ciego 1702-1768

[A summary of what’s going on: Venus has issued a decree that all who do not surrender to love shall be sacrificed. The boy Anquises has not felt loves' inclination yet and devotes himself to Diana, goddess of chastity. As Diana and Venus brawl over superiority, the secondary characters Brujula and Titiro arduously muse on this dispute and, in an attempt to escape the wrath, they dance the fan-dango.]

Nathan Medley & Tommy Tutwiler, countertenors

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For 24 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 reflect 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 reflect changes in your circumstances or interests.

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

• You can 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 beneficiary of a life insurance policy or an IRA or other retirement account. The EMU Development office 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 [email protected].

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 specific 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: Office of Development Eastern Mennonite University 1200 Park Road Harrisonburg, VA 22802Or contact Jasmine Hardesty: (540) 432-4971 or (800) 368-3383 (toll free), [email protected].

Thank you for helping toKEEP BACH ALIVE!

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SATURDAY NOON CONCERT18 June • First Presbyterian Church

This concert is underwritten in part by Carol A. Yetzer.

Agnus Dei from B Minor Mass Johann Sebastian Bach Erbarme dich from St. Matthew Passion 1685-1750

Jay Crone, trombone Lise Keiter, piano

Fugue in A Minor Johann Sebastian Bach, trans. Ralph Lockwood Bohemian Rhapsody [1975] Freddie Mercury, arr. Steven Verhaert David Wick, Jay Chadwick, Tara Islas and Roger Novak, horns

Dash [2001] Jennifer Higdon b. 1962 Maria Lorcas, violin Lynda Dembowski, clarinet Lise Keiter, piano

Quartetto for Four Winds and Piano, Op. 110 [1873] Amilcare Ponchieli 1834-1886 Mary Kay Adams, flute Sandra Gerster, oboe Lynda Dembowski, E-flat clarinet Leslie Nicholas, B-flat clarinet Lise Keiter, piano

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Letters to the World [2001] Gwyneth Walker Five movements based on the poems of Emily Dickinson b. 1947

InvocationSpringNobody!PassionIndian Summer

Musica Harmonia Joan Griffing, violin Diane Phoenix-Neal, viola Beth Vanderborgh, cello Naoko Takao, piano

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$35 per course/$20 annual membershipFree and convenient park at various

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FESTIVAL CONCERT 3Saturday, 18 June • Lehman Auditorium, 7:30 p.m.

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

The Plow That Broke the Plains [1936] Virgil Thomson 1896-1989

Prelude Pastorale [Grass] Cattle Blues [Speculation] Drought Devastation

Virgil Thomson was, in critic Tim Page’s words, “A key figure in American cultural history – a great composer, critic and bon vivant, an elegant and improbable synthesis of boulevardier sophistication, churchy consonance, and mid-western plain-speaking.” He was born in Kansas City, studied at Harvard and with Nadia Boulanger in Paris. After 1940, he more or less divided his time between New York and Paris. “At 17,” Thomson wrote, “I knew I was a ‘modern.’ At 28 I was ceasing to be a neo-classical, neo-medieval, neo-baroque modern and beginning in my own way to be what I still think of as a highly independent composer. I follow no leader, I lead no followers. As for being ‘American’ I learned fifty years ago that all you had to do for that is to write music. National qualities follow.”

His film score, The Plow That Broke the Plains, was written in 1936 for a highly acclaimed documentary film di-rected by Pare Lorentz. It was commissioned by the U.S. Department of Agriculture and depicts the state of the land during the twin disasters of the Great Depression and the Dust Bowl years. Cowboy songs, hymns, spirituals and old popular tunes are important elements woven into the fabric of this music.

Pare Lorenz’s persuasive voice convinced President Franklin D. Roosevelt and his New Deal government to engage film makes, cinematographers, writers, actors and musicians to make films for the U.S. Government. Lorenz’s way of working involved all participants, engaging them in all aspects of making those films. Musical scores and visual images were created in tandem, hence their remarkable coherence, even today. Their still powerful messages are communicated with strong music, with memorable images, and a very small number of well-chosen words. So suc-cessful were these early films (The Plow That Broke the Plains and The River), that Hollywood, unable to achieve the success that government-supported film artists attained, applied its political weight to get the government out of film making. Hollywood could not (or would not) compete with the quality of their competitors.

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Appalachian Spring [1944] Aaron Copland 1900-1990

There are at least two streams of thinking that converged in Aaron Copland’s mind and resulted in his beloved Appalachian Spring. The first was the growing awareness in the minds of Copland and other Depression Era com-posers of an awareness of an expanding gap between music that composers were writing and music that people were listening to. Many composers paid wider attention to the music disseminated on the radio; many took to writ-ing for the radio, for movies, and for the theatre. Copland wrote,

During these years I began to feel an increasing dissatisfaction with the relations of the music-loving pub-lic and the living composer. The old “special” public of the modern music concerts had fallen away, and the conventional concert public continued to be apathetic or indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.

On another occasion, he had written, The conviction grew inside me that the two things that seemed always to have been so separate in Amer-ica—music and the life about me—must be made to touch. This desire to make the music I wanted to write come out of the life I had lived in America became a preoccupation.

Those “simplest possible terms” and the “touching of separate elements” for Copland came to mean influence by and borrowing from the melodies and rhythms and harmonies of American music of various styles. From these influences, Copland’s three great ballet scores were born: Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944).

The other stream was a collaboration with the eminent choreographer, Martha Graham. Harold Spivacke, head of the music division of the Library of Congress, was critical in arranging for the commission fee from Elizabeth Sprague Coolidge, a pianist and heiress. After some persuasion, she send Copland a letter, “allowing myself the pleasure of asking you if you would accept a commission of $500, to be applied to the writing of a music score for a new dance program for Martha Graham.” Since Copland and Graham were already interested in collaborating, the commission was accepted. Work on the ballet, as yet untitled, progressed with composer and choreographer work-ing in tandem, as program and score and storyline evolved. Copland recalled that, as he received it from Graham, the plot was to be “a legend of American living. It is like the bone structure, the inner frame that holds together a people.” Copland’s title for the work was, tactfully, Ballet for Martha. The setting eventually became western rural Pennsylvania, not unlike where Graham had grown up. The title, Appalachian Spring, came later, from a few lines from a Hart Crane poem that Graham found referring to a source of a stream rather than a season:

O Appalachian Spring! I gained the ledge; Steep, inaccessible smile that eastward bends And northward reaches in that violet wedge Of Adirondacks!

Originally scored for thirteen instruments and performed for the first time in 1944 at the Library of Congress, Cop-land re-arranged the ballet music as a suite for full orchestra one year later, the version you will hear on tonight’s concert. Copland offered an outline to assist listeners in imagining the story line of the ballet:

1. Very slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. A sentiment both elated and

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religious gives the keynote to this scene. . . . 3. Moderate. Duo for the Bride and her Intended—scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feelings—suggestions of square dances and country fid-dlers. 5. Still faster. Solo dance of the Bride—presentiment of motherhood. Extremes of joy and fear and wonder. 6. Very slow (as at first). Transition scenes reminiscent of the introduction. 7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title The Gift to Be Simple. The melody I bor-rowed and used almost literally is called “Simple Gifts.” 8. Moderato. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin. The close is reminiscent of the opening music.


Quiet City [1941] Aaron Copland Michael Lisicky, English horn Judith Saxton, trumpet

Quiet City was composed as a concert piece based on incidental music Copland had written a year earlier as inci-dental music for the play by Irwin Shaw, Quiet City, “a realistic fantasy concerning the night thoughts of many dif-ferent kinds of people in a great city.” The intimate work begins and ends with musical descriptions of the stillness of the night and the loneliness of an individual, in this case, the voice of the trumpet. One of the actors in the play said his role was like that of the trumpet in the orchestral setting: “a kid wandering around New York, wanting to be trumpet player like Bix Biederbecke.”

Estancia, Op. 8 [1941] Alberto Ginastera 1916-1983

Los trabajadores agricolasDanza del trigoLes peones de haciendaDanza final: Malambo

The centennial anniversary of the birth of Alberto Ginastera, an unsung musical genius of the Americas, is being celebrated this year. Born in Argentina to Italian immigrant and Argentinean parents, he began his study of music at a very young age. He was always fascinated by the folk music of his country, with rhythms often of Spanish ori-gin. Estancia (cattle ranch) is representative of his early compositional style, labeled “objective nationalism.” For two years (1945-47) he studied in the U.S. under a Guggenheim Foundation grant. His return visits to this country

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were numerous. By the time he returned to Argentina in 1948, his fame had begun to spread throughout the world, and he traveled often. He was the first South American composer to have received the favorable attention of Euro-pean audiences and critics.

The landscape of Argentina was often a presence in his music. He said on one occasion Whenever I have crossed the pampa or have lived in it for some time, my spirit felt itself inundated by changing impressions, now joyful, now melancholy, some full of euphoria and other replete with pro-found tranquility, produced by its limitless immensity and by the transformation that the countryside un-dergoes in the course of the day… Already in some moments of my ballet Estancia the landscape appears as a veritable protagonist, imposing its influence upon the feelings of the characters.

Ginastera wrote distinctively in nearly every genre. A perfectionist, he destroyed many of his works because they didn’t meet his own criteria. His craft is highly polished, and there is a consistent development of styles throughout his lifetime. One critic wrote of him, “Not unlike a car that has managed to go the wrong way the entire length of a one-way street, Ginastera transcended the novelty of his Latin American heritage, emerging not so much as a token but as a spokesman for a distinctly South American approach to composed music, in which he combined rigors of the western musical traditions with the indigenous rhythms and strains of his native land.”

Estancia was commissioned by the American Ballet Caravan, Lincoln Kirsten, director, though before they could perform it, the company had gone bust. The composer salvaged these four movements as a suite; the premier of the ballet was presented later and by another company. The ballet is a love story: a young man is attracted to a girl who at first rejects him until, finally, he demonstrates his ability “to tame a wild horse and take it right to the moon.” Los trabajadores agricolas (The agricultural workers), Danzas de trigo (Dance of the wheat) and Las peones de la ha-cienda (The people of the farm) are at times boisterous, at times pastoral, and always full of Argentinean folk melo-dies and rhythms. The dance finale, Malambo, is a macho dance requiring great energy, and one in which there is a competition: whoever remains standing at the end of the dance is pronounced the winner!

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THE LEIPZIG SERVICESunday, 19 June • Lehman Auditorium, 10 a.m.

PRELUDE Prelude and Fugue in G Major, BWV 541 Johann Sebastian Bach 1685-1750HYMNS Finale and Hymn from Variations on Nicea Piet Post HWB 120 Holy, holy, holy 1919-1979 HWB 78 Father God, you are holy

MISSA Kyrie Prelude on O Lamm Gottes, unschuldig, BWV 618 Johann Sebastian Bach HWB 146 O Lamb of God, most holy Gloria Prelude on Lauda anima Marvin Mills STJ 16 Praise with joy the world’s creator

STJ 44 The love of God (stanza 3 only) SALUTATION AND COLLECT

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

Oremus: Let us pray:Hilf uns, Gott unsers Heils,um deines Namens Willen. Alleluia. Alleluia.Errete uns und vergieb uns unsere Sünde,um dienes Namens Willen.Alleluia. Alleluia.

Deus virtutum, cujus est totum O God of power, to whom belongsquod est optimum, all that is perfect,insere pectoribus nostris amorem graft into our heartstui nominis, the love of your name,et praesta nobis religionis augmentum. and grant us an increase in religion;

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ut quae bona sunt nutrias, that what is us is good you may nourish and inac pietatis studio quae sunt nutrita custodias. your loving kindness preserve what you have nourished.Per Dominum We pray throughnostrum 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 Godper omnia secula seculorum. now and forever.Amen. Amen.

HYMN Prelude on Regent Square Robin Dinda HWB 367 For the healing of the nations b. 1959 A READING FROM THE EPISTLE OF I JOHN 4.7-8, 20-21

The word of the Lord. Thanks be to God.

HYMN STS 117 How can I say that I love the Lord

ALLELUIA (STJ 41)

A READING FROM THE GOSPEL OF ST. MATTHEW: 5.20-26

ALLELUIA (STJ 41)

CANTATA Vergnügte Ruh, beliebte Seelenlust, BWV 170 [1726] Johann Sebastian Bach Aria – alto Vergnügte Ruh, beliebte Seelenlust, dich kann man nicht bei Höllensünden, wohl aber Himmelseintracht finden; du stärkst allein die schwache Brust. Drum sollen lauter Tugendgaben in meinem Herzen Wohnung haben.

O happy rest, beloved pleasure of the soul, you cannot be found among the sins of hell, but rather in the concord of heaven; you alone strengthen the weak breast. Therefore nothing but the pure gifts of virtue shall find dwelling in my heart.

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Recitative – alto Die Welt, das Sündenhaus, bricht nur in Höllenlieder aus und sucht durch Haß und Neid des Satans Bild an sich zu tragen. Ihr Mund ist voller Ottergift, der oft die Unschuld tödlich trifft, und will allein von Racha! sagen. Gerechter Gott, wie weit ist doch der Mensch von dir entfernet; du liebst, jedoch sein Mund macht Fluch und Feindschaft kund und will den Nächsten nur mit Füßen treten. Ach! diese Schuld ist schwerlich zu verbeten.

The world, that house of sin, breaks forth in hellish songs, and attempts, through hatred and envy, to carry Satan’s image. Its mouth is full of adder’s venom, that often mortally attacks the innocent, and will only speak, Vengeance! Righteous God, how far has humanity distanced itself from you; You love, yet the world’s mouth proclaims curses and enmity and wishes only to trample a neighbor under its feet. Ah! this crime is not easily forgiven.

Aria – alto Wie jammern mich doch die verkehrten Herzen, die dir, mein Gott, so sehr zuwider sein; ich zittre recht und fühle tausend Schmerzen, wenn sie sich nur an Rach und Haß erfreun. Gerechter Gott, was magst du doch gedenken, wenn sie allein mit rechten Satansränken dein scharfes Strafgebot so frech verlacht. Ach! ohne Zweifel hast du so gedacht: Wie jammern mich doch die verkehrten Herzen!

How the perverted hearts afflict me, which are so offensive, my God, against you; I tremble and feel a thousand torments, when they rejoice only in vengeance and hate. Righteous God, what might you think, when they, with the very intrigues of Satan, only deride your sharp warnings so boldly. Ah! without a doubt you have thought: how the perverted hearts afflict me!

Recitative – alto Wer sollte sich demnach wohl hier zu leben wünschen, wenn man nur Haß und Ungemach vor seine Liebe sieht? Doch, weil ich auch den Feind wie meinen besten Freund nach Gottes Vorschrift lieben soll, so flieht mein Herze Zorn und Groll und wünscht allein bei Gott zu leben, der selbst die Liebe heißt. Ach, eintrachtvoller Geist, wenn wird er dir doch nur sein Himmelszion geben?

Who should accordingly wish, indeed, to live here, when one receives only hatred and hardship in return for one’s love? Yet, since even my enemy, like my best friend, I should love according to God’s commandment, thus my heart flees from anger and bitterness, and desires only to live with God, who is Love. Ah, peaceable spirit, when will you be granted God’s heavenly Zion?

Aria – alto Mir ekelt mehr zu leben, drum nimm mich, Jesu, hin! Mir graut vor allen Sünden, laß mich dies Wohnhaus finden, woselbst ich ruhig bin.

I loathe the thought of living longer, therefore take me away, Jesus! I shudder before all sins, let me find this dwelling-place where I myself shall be at rest.

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PULPIT HYMN Trio on Herr Jesu Christ, dich uns zu wend, BWV 655 Johann Sebastian Bach HWB 22 LORD, JESUS CHRIST, BE PRESENT NOW

HOMILY Beloved

PRAYER, ENDING WITH THE LORD’S PRAYER

HYMN STJ 38 BELOVED, GOD’S CHOSEN

BLESSING STJ 76 THE LORD BLESS YOU AND KEEP YOU

POSTLUDE Meditation from Three Improvisations Louis Vierne (reconstructed by Maurice Duruflé) 1870-1937

Nathan Medley, countertenor Festival Orchestra Marvin Mills, organ Brett Davis, homily Les Helmuth, cantor

Church bells began ringing at 6 a.m., calling the faithful to worship. The first, and most elaborate, service began at 7 a.m. and lasted about three hours. The first hour included most of the music for the day, the reading of scriptures, and a number of prayers. The performance of the cantata occurred during this first hour and, especially in Bach’s hands, came to function as a musical illumination of the gospel for the day, a sermon in music. The second hour was taken up by the sermon, and the third was for the celebration of the Eucharist. The Leipzig service was bilin-gual, retaining many parts of the Latin liturgy along with Luther’s German service. There were enormous expectations of the St. Thomas cantor. For each Sunday, Bach was expected to compose a new cantata, copy (by hand) the orchestral and choral parts, rehearse and conduct soloists, chorus and orchestra, and serve as the organist. Sunday responsibilities were only a small part of Bach’s total job description for the city of Leipzig. The town fathers, who reluctantly accepted Bach as their third choice because no one of better qualifica-tions 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.

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Cantata No. 170 was heard for the first time in July of 1726. This is one of several cantatas for solo alto voice with organ obbligato that Bach wrote at about the same time. The libretto is the work of Georg Christian Lehms, and is based on the gospel reading for the day. There are about fifteen cantatas for solo voice and orchestra. This is one of the few that has no concluding chorale.

One critic wrote, “The theme of this libretto would be very acceptable to Bach, because he derides the selfishness and hatred, which he deplored in Leipzig society at this time.” Lehms’ libretto and the chosen gospel reading for the day are appropriate to our time as well, in this raucous election season.

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BACH FESTIVAL BOARD OF ADVISORY AND STAFF

Front row (l to r): Donna Heatwole, Jane Burner, LaDene King, Judy Cohen, Susan Black, Michael AllainSecond row: Cindy Mathews, David Wick, Ken Nafziger, Joyce Grove, Mary Kay Adams, Braydon Hoover, Ed Comer

Not pictured: Jim Benedict, Benjamin Bergey, Joan Griffing, Louise Hostetter, Kip Riddle

Honorary Members

Nelson Showalter Linda Heatwole Bland Helen Nafziger

Festival Support TeamLoren Swartzendruber, EMU President • Fred Kniss, EMU Provost • Ken Nafziger, SVBF Artistic Director & Conductor

Mary Kay Adams, SVBF Executive Director • Joan Griffing, SVBF Orchestra Personnel Manager Cindy Mathews, EMU Music Department Office Manager • Braydon Hoover, EMU Associate Director of Development

Andrea Wenger, EMU Director of Marketing & Communications

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Shenandoah Valley Music FestivalOrkney Springs, Virginia, just 40 minutes from Harrisonburg

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ARTIST BIOSMary Kay Adams, executive director

and principal flutist of the Shenandoah Valley Bach Festival, is also principal flut-ist of the Shenandoah Symphony Orches-tra. She has played flute in the Roanoke Symphony and was principal cellist of both the Shenandoah Symphony Orches-tra and the Fort Smith Symphony. Active as a soloist and as an orchestral and chamber musician on both flute and cello, she has performed at conventions of the National Flute Association and Music Educators National Conference. Her bachelor’s and master’s degrees in flute and cello per-formance are from the University of North Texas, where she did additional doctoral work in flute performance.

Previously, she was assistant director of the honors pro-gram at James Madison University; a music faculty member at James Madison University, Eastern Mennonite University, Bridgewater College, Mary Baldwin College, Washington and Lee University, Liberty University, and Arkansas Tech University; a flute and cello instructor in the preparatory music program at EMU; and a freelance performer and teacher in the Dallas metropolitan area.

Adams has played in the Bach Festival Orchestra for all 24 seasons.

Brett Davis (homilist) loves being a pastor in this community. She serves Muhlenberg Lutheran Church, an ELCA congregation in downtown Harrison-burg. Originally from the Richmond area, she earned her undergraduate degree from the College of William and Mary with a focus on classical studies and K-12 education. Be-fore attending seminary, she taught Latin for a few years in Chesterfield County, Virginia, and has taught Latin and Greek to all ages, from elementary school to master’s level. Discerning a call to ordained ministry took her to receive her master’s of divinity degree with honors from the Lu-theran Theological Seminary in Philadelphia. There Davis met her husband, Evan Davis, now also a Lutheran pastor serving two neighboring congregations.

In her role as a congregational pastor and preacher, her

current passions include the future of the church and equipping people for sharing faith and ecumenical conver-sation. She has served in a variety of capacities, including work with the Virginia Council of Churches, as chaplain to those discerning ministry, leading youth events, and as a writer for Sundays and Seasons, a lectionary worship re-source.

Pastor Brett enjoys traveling, gardening, reading, learn-ing languages, and cooking. She and her husband live in downtown Harrisonburg with their cat Theo. A former (failed) pianist herself, she deeply appreciates the role of music in worship, reflection, and community. In fact, for years her sermon-writing music of choice has been her Bach harpsichord concertos Pandora station, and she is ex-cited to join the festival as homilist this year.

Christine Glick Fairfield holds a bach-elor of arts degree in music with a con-centration in voice from Eastern Menno-nite University. She earned her master of music degree in vocal performance and pedagogy from Ohio University’s School of Music, where she studied under the late Dr. Ira Zook. She has also studied with Sunny Joy Lang-ton of Northwestern University, Dawn Spaetti and Timothy Noble of Indiana University’s Jacobs School of Music, and Christine Schadeberg, and has participated in master class-es with Benton Hess and Daniel Lichti. She has performed extensively as a chorus member and soloist with a variety of groups, including the Shenandoah Valley Bach Festival, the Operafestival di Roma, the Rockefeller Chapel Choir of Chicago University, Canticum Novum of New York City, the Louisville Bach Society, Schola Cantorum of Waynesboro, the Staunton Choral Society, the Bloomington Chamber Singers, and the Shenandoah Valley Choral Society. She appears regularly as a soloist with the Rockbridge Choral Society in Lexington, Virginia. Christine is originally from Harrisonburg and now resides in Staunton with her hus-band and four daughters.

Nancy Buckingham Garlick was soloing as a clarinet-ist with orchestras in Westchester County, New York, while still in high school. She earned music degrees at the Crane School of Music, NYSU at Potsdam, the Manhattan School of Music (during which time she played with the Opera

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Bach’s music has blessed and enriched our lives for nearly three centuries. The Shenandoah Valley Bach Festival, now in its 24th 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 magnificent 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 office what rate would apply for you.

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

Perpetual Bach! Gift Annuity Payment RatesSelected rates for one person

Age Rate

90 9.0%

85 7.8%

80 6.8%

75 5.8%

70 5.1%

65 4.7%

Selected rates for two people

Ages Rate

90/90 8.2%

85/85 6.7%

80/80 5.7%

75/75 5.0%

70/70 4.6%

65/65 4.2%

For more information contact: Contact Jasmine Hardesty: (540) 432-4971 or (800) 368-3383 (toll free), [email protected]

Thank you for considering the opportunity to share PERPETUAL BACH.

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Orchestra of New York), and a DMA from Catholic University. Further studies in-clude work at Écoles Américaines des Beaux Arts, in Fontainebleau, France, with Mlle. Nadia Boulanger, and the Tanglewood Music Festival, where she played under Leonard Bernstein.

In 1971 she was appointed principal clarinet of the New Haven Symphony and in 1973 appeared as soloist with the Boston Pops Orchestra. Later she began teaching at The College of Wooster (Ohio) and soon was appointed music director of The Wooster Symphony Orchestra. In 1983 she performed at Carnegie Recital Hall with the Wooster Trio.

In 1985 Garlick joined the faculty of the University of Vir-ginia and served as director of the McIntire Chamber Music Series. During this time she also served as principal clarinet-ist of the Charlottesville University Symphony, the Pennsyl-vania Sinfonia, and the Ash Lawn Opera.

As a result of teaching a graduate course on music in Shakespeare, Garlick began an intense study of early mu-sic and recorder performance. She has participated in the Amherst Early Music Festival for several seasons and per-formed in many masterclasses for internationally renowned recorderists. She currently studies with Gwen Roberts. Garlick has played with an American group in Cornwall, England; Gilleleje, Denmark; and most recently, Dundee, Scotland. Currently she teaches clarinet and recorder and is a member of The Wild Geese, a Baroque ensemble, and The Crozet Recorder Quartet.

Violinist Joan Griffing is the concert-master of the Shenandoah Valley Bach Festival Orchestra, first violinist with the Virginia Symphony Orchestra, and first violinist and faculty member at the East-ern Music Festival. Griffing earned her bachelor’s and master’s of music degrees in violin performance from Indiana University and her DMA from The Ohio State University. In the past 15 years she has performed and given master classes in Taiwan, Brazil, New Zealand, and Australia. She is a founding member and tours regularly with the chamber music group Musica Harmo-nia, 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,

to be released in 2016. The CD will include two works com-posed specifically for Musica Harmonia. Griffing and cellist Beth Vanderborgh gave the North American premiere of Double Concerto for Violin and Cello by New Zealand composer Anthony Ritchie in June 2012. The duo served as artists in residence at the Brush Creek Arts Foundation in Wyoming in May 2012. In the fall of 2012, Griffing spent five months in New Zealand, collaborating with artists at the University of Otago in Dunedin and studying the role of music in peace and conflict issues. Recent solo performanc-es include violinist in Vaughan Williams’ The Lark Ascending with The Dance Theater of Harlem in May 2014. Joan and Musica Harmonia colleagues recently recorded works for piano and strings by Vincent Persichetti for a CD to be released in 2017. Griffing holds the position of professor of music at Eastern Mennonite University.

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 Competi-tion in 1975 and then stayed in France for a number of years as an active member of the growing European early music scene. While in Paris, he joined the Five Centuries Ensemble, a group acclaimed for its performances and recordings of Baroque and con-temporary music. He is a member of the Aulos Ensemble, one of America’s premier period instrument ensembles, whose recordings of Bach, Vivaldi, Telemann, and Rameau have won critical acclaim in the press, as well as Empire Viols, and the exciting new group, Gold and Glitter. He has recorded harpsichord music of Jean-Henry D’Anglebert, Forqueray, Purcell and his contemporaries, Elisabeth Jac-quet de La Guerre, François Couperin, and most recently the three books of 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 a founding faculty member of Juilliard’s historical performance program. In fall 2012, he joined the distinguished faculty of the Yale School of Music.

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Lynne Mackey is founder and direc-tor of the Virginia Baroque Performance Academy, with this year’s Baroque work-shop marking its eighth year as part of the Shenandoah Valley Bach Festival. She is a pianist and harpsichordist and has performed solo recitals and chamber music in the United States, South America, Europe, and Africa. In Virginia, she also tours with the Commission for the Arts. Mackey 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, at the Banff Centre in Alberta, Canada, and at the International Gaude-amus Interpreters Competition in Rotterdam. Mackey was awarded an Appalachian College Association Fellowship for a residency at the University of Virginia in the field of contemporary music. She spent the winter and spring of 2014 in Paris as the recipient of an artist residency at the Cité Internationale des Arts. More recently, in April of 2016, she performed as harpsichord concerto soloist with the Chamber Symphony of Presbyterian College in South Caro-lina. She currently teaches at Mary Baldwin College and has been Associate Professor at Eastern Mennonite University and Bluefield College.

Carol G. Marsh, Baroque dance spe-cialist, received her Ph.D. from the City University of New York, with a disserta-tion on early 18th-century English dance sources. A professor emerita at the Uni-versity 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 Meredith Little), and the facsimile edition of L’Abbé’s New Collection of Dances. She has lectured and giv-en 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 nota-

tion, and historical dance. In April 2016 she was named an honorary member of the Society for Seventeenth-Century Music.

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

She has toured with the Waverly Consort, performed with Concert Royal, the Aulos Ensemble, and the New York Collegium, and appears regularly with the Long Island Ba-roque Ensemble as well as the Capella Oratoriana of Brook-lyn. McGaughey has also collaborated with the British viol consort, Phantasm, in several concerts and a CD of the con-sort 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 Mu-sique 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 Albuquerque 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.

Nathan Medley is lauded as a “...soar-ing stratospheric countertenor that resound[s] with heart-wrenching clarity.” (Seattle Times) With success on both the concert and opera stages, he has sung at Avery Fisher Hall, New York; the Barbican, London; La Salle Pleyel, Paris; The Lu-cerne Festival; Disney Hall, Los Angeles; Palais de Musique, Strasbourg; and The Concertgebouw, Amsterdam. In the 2016-17 season he makes debuts with the San Francisco Symphony, London Symphony, New York Philharmonic, and Utrecht Early Music Festival and returns to the Los

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Angeles Philharmonic and the Netherlands Radio Orchestra. Recent highlights include collaborations with the Boston Early Music Festival, Radio Filharmonish Orkest, Opera Omaha, Pacific MusicWorks, Mercury Baroque, Seraphic Fire, Indianapolis Baroque Orchestra, Los Angeles Philharmonic, Cincinnati Collegium, Miami Bach Society, and Dayton Bach Society. He is a core member of Echoing Air, an active cham-ber ensemble focused on music of the Baroque and modern eras written for the countertenor voice.

In May 2012 he premiered John Adams’ new oratorio, The Gospel According to the Other Mary, under Gustavo Dudamel, and the subsequent recording is available on the Deutsche Grammophon label. He returned to the Los Angeles Philhar-monic in 2015 under the baton of John Adams to perform Olga Neuwirth’s song play, Hommage à Klaus Nomi.

Other opera credits include Ottone in Handel’s Agrippina, Speranza in Monteverdi’s Orfeo, Athamus in Semele, Oberon in A Midsummer Night’s Dream, Dema in Cavalli’s L’Egisto, Le Peinture in Charpentier’s Les Arts Florissants, Acteon in Char-pentier’s Acteon, and Ottone in Monteverdi’s L’Incoronazione di Poppea – for which he won praise from Cleveland critics for an interpretation “sung with baroque perfection.”

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, Florida) and MasterSingers of Wilming-ton (Delaware), he has been keyboard artist/choral director for the Shenandoah Valley Bach Festival since 2001.

PipeDreams (Minnesota Public Radio) featured Mills, a prize-winning composer, in the broadcast Music of Color; his Kennedy Center Millennium Stage Recital was webcast; and he was a recitalist for the inaugural weekend of the Dobson pipe organ in Philadelphia’s Kimmel Center Verizon Hall. Aspiring singers have performed his Four Spirituals for Denyce Graves at colleges and universities throughout the

country. The Cathedral of St. John the Divine commissioned a setting of a Phyllis Wheatley poem, On Virtue, for its Poets Corner. Mills appears online at TheVillageOrganist.net and on YouTube.

Ken Nafziger, artistic director and conductor, is professor of music at East-ern Mennonite University. A graduate of Goshen College, he received a doctor of musical arts in music history and litera-ture from the University of Oregon and was a post-doctoral conducting student with Helmuth Rilling in Frankfurt/Main and Stuttgart, Ger-many. At EMU his teaching responsibilities include the EMU Chamber Singers and courses in conducting, interdisciplin-ary 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, Vir-ginia. The ensemble completed its 36th season, highlighted by a well-received performance of Handel’s Messiah.

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

Nafziger has worked with many of Cuba’s premier or-chestral and choral ensembles over the past number of years, including guest conducting appearances with Cuba’s leading orchestras 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 significant work in church music. He edited or assisted in editing three hymnals (the ones in the hymnal racks), producing teaching materials and record-ings, and co-wrote a book on the significance of singing among Mennonites. His work is widely known in many denominations. A January workshop, which he founded for church music leaders, has run successfully for over twenty

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MEET OUR YOUTH PROGRAM PARTICIPANTS

Young Artists’ Recital – May 7(pictured above, l to r): Clara Stelow (piano, Charlottesville), Katrina Kirilyuk (violin, Harrisonburg), Gabriel Cho (piano, Staunton), Laura Ruple (oboe, Harrisonburg), Morgan Short (harp, Roanoke),

Lauren Derflinger (oboe, Mt. Jackson), Madeline Williamson (violin, Harrisonburg)

Festival Fellows – playing in the Festival Orchestra June 15-18Isaac Dahl (violin, Archbold, Ohio), Josh Miller (percussion, Baltimore, Md.), Leah Patek (violin, Charlottesville, Va.),

Jacinda Stahly (violin, Atmore, Ala.), Randy Wiedemann (viola, Luray, Va.)

Festival Interns – providing valuable management assistance June 10-19Caitlin Holsapple (Harrisonburg, Va.), Josh Miller (Baltimore, Md.), Jacinda Stahly (Atmore, Ala.), Sarah Sutter (Urbana, Ill.)

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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.

American baritone David Newman enjoys an active and varied concert career throughout North America. Hailed as

“electrifying” by the Washington Post and noted by The Philadelphia Inquirer for his

“eloquent, emotional singing,” he is in par-ticular demand as a Baroque specialist. He has performed Messiah with Tafelmusik, Portland Baroque Orchestra, Jacksonville Symphony, and with Masterwork Chorus in Carnegie Hall; St. John Passion with the American Bach Soloists, Carmel Bach Festival, Chorale Delaware, and the Bach Chamber Orchestra of Honolulu; and St. Matthew Passion with the Bach Society of St. Louis, Baroque Choral Guild, San Francisco Bach Choir, and a national tour with the combined forces of Santa Fe Pro Musica and the Smithson-ian Chamber Players.

In his debut with the Washington Bach Consort, Newman was noted by the Baltimore Sun for his “exquisitely phrased, velvet-toned ‘Mache dich, mein Herze.’ ” Other notable ap-pearances include Bach’s B Minor Mass and Christmas Ora-torio with The Bethlehem Bach Choir, Coffee Cantata, Easter Oratorio, and Christmas Oratorio with the Santa Fe Bach Fes-tival, and Haydn’s Creation with the Honolulu Symphony. He was also a featured soloist in the Sorbonne’s 2003 Festival Berlioz in Paris with the UC Davis Symphony Orchestra.

He has appeared regularly as a guest artist with the Four Nations Ensemble, including performances in Lincoln Cen-ter and Merkin Hall, and has also performed with the Spo-leto Festival, Opera Company of Philadelphia, Metropolitan Opera Guild, Opera Birmingham, Philadelphia Orchestra, and the Russian National Orchestra. His recording of Alexan-der’s Feast with The Bach Sinfonia was recently released on the Dorian label. Newman teaches voice at James Madison University.

Mark Rimple has appeared as countertenor and lute-nist with some of the top ensembles performing Medieval through Baroque music today, including Trefoil, The New-berry Consort, The Folger Consort, Ex Umbris, Piffaro, the Re-naissance Band, Tempesta di Mare, and Mélomanie. A Chica-

go Tribune reporter praised his “effortless upper notes capable of pinpoint accuracy.” Critics lauded his vocal performances of the music of Ciconia with Ellen Hargis and Drew Minter on Puzzles and Perfect Beauty (Noyse Productions). A Philadelphia In-quirer critic wrote that his lute playing has

“the specificity of a great vocal performance.” Rimple has ac-companied solo recitals by Drew Minter, Julianne Baird, and Laura Heimes. He has also recorded new music by Matthew Greenbaum on archlute and 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, Parnassus, Choral Arts Philadelphia, the Philadelphia Bach Collegium, Piffaro, and Mélomanie have performed his compositions. His debut solo composition CD, January, featuring new works for archlute, countertenor, viola da gamba, and harp-sichord, is now available from New Focus Recordings. 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 Madi-son Early Music Festival, The Virginia Baroque Performance Academy, Pinewoods Early Music Week, and the Interlochen Summer Arts Camp. Rimple holds a doctorate of musical arts in composition from Temple University and is professor of music theory and composition at West Chester University, where he also directs the Collegium Musicum.

Joel Ross, tenor and countertenor, graduated from Messiah College in Grantham, Pennsylvania, with a bachelor of science in music education with a con-centration in voice. In 2011 he completed a master of music degree in conducting at Shenandoah Conservatory. While at Shenandoah, he studied conducting 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 Washington 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 cur-

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rently sings in Good Company, a semi-professional a cappel-la sextet based in Harrisonburg. He also serves as the music director and writes and arranges music for Good Company.

Ross teaches in Shenandoah County, where he directs the string orchestra programs at Signal Knob Middle School and Strasburg High School and teaches AP music theory. He reg-ularly composes and arranges music for the Strasburg High School String Ensemble and has submitted several of his works for publication. He also is the founder and administra-tor of “Shenandoah Summer Strings,” a week-long summer orchestra camp in Shenandoah County.

In addition to all of his musical activities, Ross enjoys coaching and playing soccer, cooking, reading, and spend-ing time at home with his wife, Julianne, and their two sons.

Hailed as “a strikingly gifted tenor, with a deeply moving, unblemished voice” (sf-musicjournal.com), Brian Thorsett excels in opera, oratorio, and recital across the world. Since taking to the stage, Thorsett has been seen and heard in more than 100 diverse operatic roles, ranging from Monteverdi to Britten, back to Rameau, and ahead again to works composed specifically for his talents. Upcoming roles include Alfredo in La Traviata and the title character in the premiere of Josheff’s The Dream Mechanic. As a concert singer Thorsett fosters a stylistically diversified repertoire of over 250 works, which has taken him to concert halls across the U.S. and Europe. Future highlights include Evangelist and soloist in both Bach’s St. Matthew Passion and St. John Passion, Handel’s Messiah, Britten’s War Requiem, as well as the Requiems of Mozart and Verdi.

An avid recitalist, Thorsett will be featured in several recit-als: Winterreise with piano trio and various collaborations with viola, oboe, horn, and piano. Closely associated with expanding the vocal-chamber genre, he has been involved in premieres and commissions of Ian Venables, Scott Gen-del, Michael Scherperel, Peter Josheff, David Conte, Shinji Eshima, Gordon Getty, Michel Bosc, Noah Luna, Laurence Lowe, Brian Holmes, Eric Davis, Robert Conrad, Eric Choate, and Nicholas Carlozzi.

Thorsett has also performed in recordings, commercials, and movies as the voice for Soundiron’s Library Voice of Rapture: The Tenor. He is a graduate of San Francisco Opera’s Merola Program, Glimmerglass Opera’s Young American Art-

ist program, American Bach Soloists’ Academy, the Britten-Pears Young Artist Programme at Aldeburgh, England, and spent two summers at the Music Academy of the West. Thorsett is currently assistant professor of voice and opera at Virginia Tech’s School of Performing Arts and served on the faculties of the University of California at Berkeley and Santa Clara University.

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 studied with Alison Melville, and Indiana University, where she studied with Eva Legene and won the 2007 Early Music Institute Concerto Competition. Critics have praised her "fine tech-nique and stylishness," "unexpectedly 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.

Timberlake is a founding member of the ensemble Way-ward Sisters, specializing in music of the early Baroque. In 2011, Wayward Sisters won Early Music America's Naxos Re-cording Competition. Wayward Sisters released their debut CD on the Naxos label in 2014.

Timberlake enjoys teaching as well as playing. In addition to maintaining private and online studios, she has coached through Indiana University's Pre-College Recorder Program, the Amherst Early Music Festival, the San Francisco Early Music Society, the Virginia Baroque Performance Institute, Mountain Collegium, and for numerous American Recorder Society chapters. Teaching is a passion for Timberlake, whose students have ranged in age from 6 to 83 and in level from beginning to pre-professional. Find her at www.annet-imberlake.com.

Tommy Tutwiler holds a master’s degree in choral con-ducting from the University of Cincinnati College-Conser-vatory of Music and a bachelor’s degree in music education and psychology from James Madison University. He is in his thirteenth year as choral director at C. D. Hylton High

80

ConductorEugene Stoltzfus and Janet Trettner

Festival Concert 1Ed and Cathy Comer

Alden and Louise HostetterRon and Shirley Yoder

Festival Concert 2Donald E. and Marlene C. ShowalterC. Robert and Charity S. ShowalterNelson L. and Phyllis E. Showalter

Festival Concert 3Sidney Bland and Linda Heatwole Bland

Janet S. Einstein

Noon ConcertsChris and Betsy Little • MondayMichael and Violet Allain and

Jim and Joyce Benedict • TuesdayRoy and Donna Heatwole • Wednesday

Dr. Kip Riddle and Corja Mulckhuyse • ThursdayRosemary G. King • FridayCarol A. Yetzer • Saturday

Principal Oboe ChairBeryl and Mark Brubaker

Principal Trumpet ChairAnonymous, in memory of Roddy Amenta

ACKNOWLEDGEMENTSGenerous support is provided by …

81

School and has taught public school for twenty years. In addition, Tutwiler is in his seventeenth year of singing professionally with the Choir of Men, Boys, and Girls at Washington National Cathedral. He has served as guest conductor for district- and county-level honor choirs, as well as adju-dicating at numerous choral festivals. Tutwiler has been an adjunct instructor for graduate-level choral literature cours-es at James Madison University and Virginia Commonwealth University. He is also a frequent guest speaker and clinician at colleges and universities, addressing future choral educa-tors and conductors. Tutwiler has done post-graduate study in conducting at the University of Cincinnati, the University of Hartford, and the University of Missouri at Kansas City.

22 chamber music concerts August 12-21, 2016 StauntonMusicFestival.org

Experience Bach on period instruments Six Brandenburg Concertos - Aug. 19 at noon and 7:30Complete Mass in B Minor - Aug. 21 at 3:30

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SopranoAnn Hershberger

Linville, Va.Caitlin Holsapple

Harrisonburg, Va.Pamela Keim

Winchester, Va.Heidi King

Harrisonburg, Va.Gussie Nafziger

Weyers Cave, Va.Barbara Reisner

Harrisonburg, Va.Kris Shank Zehr

Harrisonburg, Va.Sarah Sutter

Urbana, Ill.

AltoKatie Derstine

Harrisonburg, Va.Peyton Erb

Harrisonburg, Va.Margaret Figgins

Woodstock, Va.Cindy Mathews

Harrisonburg, Va.Jane Moll

New Market, Va.Ginny Newman

Luray, Va.Abigail Shank Zehr

Harrisonburg, Va.

TenorJim Benedict

Mount Crawford, Va.Benjamin Bergey

Harrisonburg, Va.Les Helmuth

Harrisonburg, Va.Jim Hershberger

Linville, Va.Jeremy Nafziger

Weyers Cave, Va.

BassMatthew Hunsberger

Harrisonburg, Va.Hadley Jenner

Harrisonburg, Va.Samuel Kauffman

Harrisonburg, Va.Jim Newman

Luray, Va.Steven Rittenhouse

Harrisonburg, Va.Clayton Showalter

Harrisonburg, Va.

2016 CHAMBER CHOIR

Valerio Aleman Harrisonburg, Va.

Aries Ametsreiter Harrisonburg, Va.

Bo Boisen Harrisonburg, Va.

Marjorie Bonga Harrisonburg, Va.

Seth Bontrager Harrisonburg, Va.

Ana Hart Harrisonburg, Va.

Julie Hedrick Harrisonburg, Va.

Noah Heie Harrisonburg, Va.

Ben Hollenbeck Harrisonburg, Va.

Jaymie Inouye Harrisonburg, Va.

Andy King Harrisonburg, Va.

Katya Kirilyuk Harrisonburg, Va.

Christy Lovos Harrisonburg, Va.

Keiran McClay Harrisonburg, Va.

Allison McGranahan Harrisonburg, Va.

Joel McNett Harrisonburg, Va.

Emma Nouri Harrisonburg, Va.

Vanessa Perez-Trotsyuk Harrisonburg, Va.

Ellie Plass Harrisonburg, Va.

Douglas Ritcher Harrisonburg, Va.

Rachel Rohrer Harrisonburg, Va.

Laura Ruple Harrisonburg, Va.

Ethan Scribano Harrisonburg, Va.

Hollyn Slykhuis Harrisonburg, Va.

Kendall Thompson Harrisonburg, Va.

Emily Werner Harrisonburg, Va.

Kennedy Wolter Harrisonburg, Va.

THE VALLEY 7Annie Barnes

Harrisonburg, Va.W. Bryce Hayes

Harrisonburg, Va.Marcus Hamilton

Staunton, Va.Michael Hickman

Harrisonburg, Va.Bethany Houff

Harrisonburg, Va.Marianne Houff

Bridgewater, Va.Sarah Orem

Harrisonburg, Va.

MEMBERS OF THE HARRISONBURG HIGH SCHOOL HONORS CHOIR Bethany Houff, director

83

Violin 1Joan Griffing, concertmaster

Harrisonburg, Va. Amy Glick

North Canton, OhioMark Hartman

Shippensburg, Pa.Jason Labrador

Winchester, Va.Eleonel Molina

Ellicott City, Md.Jennifer Rickard

Fairfax, Va. Phil Stoltzfus

Northfield, Minn.Mark Taylor

Buena Vista, Va. Jacinda Stahly *

Atmore, Ala.

Violin 2Susan Black, principal

Charlottesville, Va. Susan Bedell

Richmond, Va. Kaye Crowther

Harrisonburg, Va. Rebecca Hunter

Harrisonburg, Va. Maria Lorcas

Grottoes, Va. Sharon Miller

Harrisonburg, Va. Leah Patek *

Charlottesville, Va.Isaac Dahl *

Archbold, Ohio

ViolaDiane Phoenix-Neal, principal

Pella, IowaKaren Johnson

Dayton, Ohio Christy Kauffman

Lancaster, Pa.Thomas Stevens

Richmond, Va. Randy Wiedemann *

Luray, Va.

CelloPaige Riggs, principal

Pittsburgh, Pa.Nadine Monchecourt

Cincinnati, OnioEric Stoltzfus

Mt. Rainier, Md.Beth Vanderborgh

Laramie, Wyo.Lisa Wright

Harrisonburg, Va.

BassPete Spaar, principal

Charlottesville, Va. Fred Dole

Rochester, N.Y.

FluteMary Kay Adams, principal

Bridgewater, Va. Carol Warner

Bridgewater, Va.

RecorderNancy Buckingham Garlick, principal

Charlottesville, Va. David McGown

Silver Spring, Md.

OboeSandra Gerster, principal

Baltimore, Md.Julia Perry

Baltimore, Md. Kevin Piccini

Hampton, Va. Michael Lisicky

Baltimore, Md.

ClarinetLeslie Nicholas, principal

Harrisonburg, Va. Lynda Dembowski

Annapolis, Md.

BassoonRyan Romine, principal

Winchester, Va. Jessica Kunttu

Efland, N.C

HornDavid Wick, principal

Va. Beach, Va. Jay Chadwick

Reston, Va. Tara Islas

Alexandria, Va. Roger Novak

Richmond, Va.

TrumpetJudith Saxton, principal

Winston-Salem, N.C.Susan Messersmith

Charleston, S.C.Christine Carrillo

Harrisonburg, Va.

TromboneJay Crone, principal

Blacksburg, Va. Harold van Schaik

St. Petersburg, Fla.

TimpaniRaymond Breakall

Chester, Va.

PercussionMichael Overman, principal

Bridgewater, Va. Eric Guinivan

Harrisonburg, Va. Matthew Rapiejko

Harrisonburg, Va. Paige Durr

Harrisonburg, Va.Josh Miller *

Baltimore, Md.

HarpAnastasia Jellison

Midlothian, Va.

Organ/Harpsichord/PianoMarvin Mills

Baltimore, Md.

* orchestra fellows

Emeriti MusiciansDouglas Kehlenbrink, bassoon (21 years)

Alexandria, Va.Paul McEnderfer, violin (21 years) Harrisonburg, Va.

2016 FESTIVAL ORCHESTRA

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SPECIAL THANKS… to Eastern Mennonite University,

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

… to 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, Josh Dove, owner, for loaning the grand piano for noon concerts and for hosting a concert at Whitesel; and to performers for “Bach & Beyond 3”: Alexander Chang, Nicole Chang, Isaac Robin-son, and Friends-in-a-Chord: Patty Bird, Tara Davis, Teresa Crawford, Joyce Grove, Sharon Bloomquist, and Bill Vance.

… to performers for spring concerts: Good Company: Paige Driver, Mel-odie May, Katie Derstine, Joel Ross, Kevin Eby, and Nathan May; The Wild Geese: Nancy Buckingham Garlick, Susan Black, Lynanne Wil-son, and Content Sablinsky; Lou-ise Temple-Rosebrook, Linell Moss, Carol Warner, Mary Kay Adams, Jay Crone, Brian Thorsett, Sandra Gerster, and Thomas Stevens; to Emmanuel Episcopal Church, Asbury United Methodist Church, Church of Our Saviour, and Fritz and Louise Temple-Rosebrook, for providing performance venues; and to Polly Haynes and Babs Fickes, for promotional support.

… to Michael Allain, for Italian text translations.

… to The Washington Bach Consort, for loaning instrumental parts for Cantata 174.

… to WMRA 90.7-WEMC 91.7 Public Radio, WHSV TV3, and Harrison-burg Radio Group, for promotional support.

… to Hannah Johnson, for creating this season’s concept design and for donating the framed artwork.

… to Helen Nafziger and Judy Bomb-erger, usher coordinators; and to all ushers.

… to Janet Trettner, for chairing the Bach Guild.

… to facilitators of the Road Scholar Program: Phyllis Coulter and Elisabeth Eggleston, coordinators; to drivers Don Foth (coordinator), Paul Yoder, Daniel Hoopert, Tom Sawin, John Spicher, and Tom Barner; to speakers Ken Nafziger, Michael Allain, Amy Glick, David Wick, Nancy Buckingham Garlick, James Crable, and Mary Kay Ad-ams.

… to Cathy and Ed Comer, for hosting a garden party.

… to Lynne Mackey, director, for man-aging the Baroque Workshop.

… to Sarah Sutter, Jacinda Stahly, Caitlin Holsapple, and Josh Miller, interns, for providing management 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 efforts.

… to Evergreen & Victoria Floral, for donating floral arrangements for the foyer.

… to The Musical Source, for donating music.

… to Blue Sprocket Sound, for produc-ing archival recordings.

… to Joan Griffing and Les Nicholas, for selecting recordings for grants and radio use.

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

… to Hampton Inn – University, for offering a special rate to our guests.

… to EMU personnel for significant support:

Cindy Mathews, ad management, mailings, choir management assis-tance, and music engraving of materi-als for Festival Concert 2

Matt Hunsberger, stage and facilities management

Jessica Hostetler, marketing assis-tance

Lindsey Kolb, ad preparation

Mia Kivlighan and Lauren Jefferson, media promotion

Joaquin Sosa, photography

Jon Styer, design oversight

Mary Jo Veurink, program book de-sign

Lynn Veurink, box office manager

Cindy Smoker, development coordina-tion, mailings

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Phil Helmuth, Braydon Hoover, and Kirk Shisler, development, advance-ment, advertising

Ty Ferrel, gift receipting

B.J. Gerber, development analysis

Bruce Emmerson, food services

Lori Gant, Loretta Helmuth, and Physical Plant staff, 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 Margaret and Don Foth Joan Griffing and Les Nicholas

Phil and Loretta Helmuth Glenn and Sandy Hodge Alden and Louise Hostetter Rosemary G. King Fred and Rosalyn Kniss Jack and Lynn Martin Wes and Nancy Ross Jack and Gloria Rutt Harley and Sadie Showalter Stuart and Shirley Showalter John and Virginia Spicher Ted and Sue Swartz Ron and Shirley Yoder

Performance rights and materials for: Aaron Copland’s Appalachian Spring and Alberto Ginastera’s Estancia, by arrangement with Boosey & Hawkes, Inc., Rental Library, 601 West 26th Street, Suite 312, New York, New York

10001; and Virgil Thomson’s The Plow that Broke the Plains, by arrange-ment with Luck's Music Library, Rental Department, P.O. Box 71397, 32300 Ed-ward, Madison Heights, MI 48071.

The organ used on June 12, 17, and 19: Bennett & Giuttari, Op. 40 (David M. Storey, Baltimore, Md.)

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

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

Food and drink are not permitted in the auditorium.

Additional restrooms are available in the Campus Center.

Full-Service Landscape Design/Build Company

Quality Plant Materials

Professional Installation

Patios, Walls and Walkways

Mulching and Maintenance

ISA Certified Arborist

432.0788 www.mastlandscapes.com

Your accounting firm partner in Virginia.

office Harrisonburg office

size quarter page ad : 3.25 x 3.25

pub the Shenandoah Valley Bach Festival booklet

due March 31 or sooner

version PBM-2014 Bach Festival Ad - version 1a

PBMares is proud to support the Shenandoah Valley Bach Festival.

Contact us at: 558 South Main Street, Harrisonburg, Virginia 22801540.434.5975 (phone) 540.434.1832 (fax) www.pbmares.com

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

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

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

Benefactor, $1,000-$2,499AnonymousRobert and Sharon BloomquistBeryl and Mark BrubakerEd and Cathy ComerJanet S. EinsteinJoseph and Barbara GaschoRoy and Donna HeatwoleAlden and Louise HostetterLaDene King and Gretchen NyceRosemary G. KingAnne S. McFarlandC. Robert & Charity S. ShowalterDonald E. and Marlene C. ShowalterNelson L. and Phyllis E. ShowaterWelby C. Showalter, Attorney at LawCarol A. YetzerRon and Shirley Yoder

Patron, $500-$999Michael and Violet AllainJim and Joyce BenedictSusan BlackEarl and Donna BurkholderJudy and Ralph Cohen

Jerry and Phyllis CoulterJohn and Kathryn FairfieldBabs and Don FickesFred and Gail FoxStevens and Nancy Buckingham GarlickMary and Bill GibbBob GilletteLeo and Ruthanne HeatwoleThe Hershey FoundationRobert F. Jochen and Christopher T. SmithFred and Rosalyn KnissMyron and Joyce Peachey LindKen and Helen NafzigerPaula J. PutmanBarkley and Marina RosserJack and Gloria RuttJon and Sheryl ShenkHarley and Sadie ShowalterDel and Lee SnyderLoren and Pat SwartzendruberWinston and Bonnie Weaver

Partner, $250-$499Mary Kay and Gary AdamsMarcia and Larry BrownHoward and Miley Tucker FrostHiram and Mary Jane Lederach HersheyRon and Lila KingDavid and Margaret Ann MessnerAnne MillerGreg and Karen MontgomeryEllen Nash and Jonathan JayElizabeth and William OscanyanDon SmithLynn SmithJim and Carol WarnerHugh and Connie WestfallWhich Wich Superior SandwichesDavid Wick

Ingeborg and Vernon Yeich

Sustainer, $100-$249Erv and Ann Noffsinger AndersonAnonymousMyron and Esther AugsburgerRichard and Elaine BachmanJohn G. BarrBenjamin and Kate BergeyEvon and Philip BergeyDaniel W. BlyDon and Judy BombergerArt and Alice BordenKenton and Shirley BrubakerElizabeth BrunkVictor BuckwalterJay and Leslie ChadwickRobert Chipman and Elizabeth EgglestonLee and Carol CongdonPatricia S. CostieGary and Kaye CrowtherJoe and Alice DavisLinda A. DoveRobert EgglestonDiana and Joe EnedyEtta and Earl EschJonathan FriedmanRay and Wilma GingerichLynn GrandleJoan Griffing and Les NicholasSidney and Joyce GroveDwight and Pearl HartmanCollier and Betty HarveyJ.T. HearnNancy Heisey & Paul LongacrePhil and Loretta HelmuthDoug Hendren and Nancy BeallJudith HennebergerGlenn and Sandra HodgeBraydon and Heidi Hoover

We are grateful to our donors. Thank you! This list reflects gifts received May 21, 2015 – May 24, 2016.

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William and Rebecca HunterDavid and Deborah JacksonJean JanzenJohnson & Johnson Family of CompaniesBradley KingHeidi KingMarijke KylerRoland and Darlene LandesJay B. and Peggy LandisNancy LeeLarry and Jane LehmanRuby S. LehmanKnute and Betty LeidalCarroll LisleJohn and Lynn MartinAdair McConnellMary Sue McDonaldEdward McLaughlinDavid and Charlette McQuilkinMamie and Clair MellingerSam MillerSylvia MooreJohn and Bernice MrotekJeremy Nafziger & Michael Ann CourtneyElmo and Ella PascaleZack and Judy PerdueMary E. ReitzCathy RittenhouseWesley and Nancy RossBeth and David RothBrenda SealRalph and Ann SebrellKen Seitz and Audrey MetzRowland and Thelma ShankBen and Anne ShealyDan and Naomi ShenkCharlotte ShnaiderSam and Jan ShowalterSherwyn and Deirdre SmeltzerLara and Daniel SteinelFrank and Nancy StellerBarbara StickleyRobert and Lorraine Strickler

Ted and Sue SwartzDorothy Jean WeaverRichard and Martha WestonKathy WhittenPaige and Ann Will

Friend, up to $99Paul Ackerman, Jr.AnonymousBarnes Technologies International, LLCJames and Susan BarnesAnn BeardenRobert Bersson and Dolores ShoupJudith BillEmmert and Esther BittingerJane Grant BurnerJoseph and Akiko CarnigliaAllen and Naoma ClagueEdward and Darla DaggitAbraham Davis, Jr.Pat and Jon DellettLou Dolive and Ruth ArnoldGayle and Dennis DupierLennis Echterling and Mary Lou WylieMrs. David ElpheeConrad ErbDavid and Jody EvansEmily EverlingMargaret FigginsMr. and Mrs. James FinneyHelen and Allen FleishmanBrenda FoxKathleen GardnerJim and Phyllis GaskinsVincent and Constance GilmerLes and Joni GradyYi Hao and Shengcheng HanFrank and Sherrel HissongJim and Judith HollowoodBob and Betty HoskinsAlan HostetlerDonald and Sarah HunsbergerElizabeth IhleDorothy KastenJames and Caroline Ketler

Patricia KuszykElizabeth La GruaLouise LeachRussell and Salome LeinbachAnne LeonardJoan LosenRobert and Merle MastCindy and Dave MathewsMarge MaustWendell and Lois MaustJim McFaddenLois W. MillerNate and Vi MillerAndrea and Bill MiraclePatricia and Phil Markert MurphyAnne W. NielsenRhoda NoltBruce PennerOliver and Lois PhilonKevin PicciniJames and Lucy PowellRandall and Jean ReichenbachJames Robertson, Jr.Rockingham Dermatology, PCBob and Deb RyderAda Mae SaxtonPhilip SchonerTeresa SchwartzKent and Jennifer Davis SensenigFrances ShawJ.C. and Jewel ShenkSteve and Karen Moshier ShenkBeverly SilverIlene SmithJudy SpahrJames and Ruth StaufferLee Sternberger and Craig ShealyBetty SullivanMalcom and Judy SullivanThomas TeisbergDoris TrumboJames and Betty WagnerAnne WaltnerTimothy and Janet WaltonenRick and Joyce Wampler

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Harvey WilcoxAlice and Gordon WilliamsRobert and Davene Wolfe

In memory of:Roddy Amenta

AnonymousAnn Lootsma Barr

John G. BarrPhyllis Hearn

J.T. HearnCarol Heatwole

Leo and Ruthanne HeatwoleRinehart E. Kyler

Marijke KylerKatherine S. Leonard

Anne LeonardJo Anne Mallory

Paula J. PutmanPeter T. Nielsen

Anne W. NielsenCarl G. and Louise Mensch Showalter

Hiram and Mary Jane Lederach Hershey

Herbert Sprunger and Carolyn Sprunger Merillat

Roy and Donna HeatwoleMiriam L. Weaver

Dorothy Jean WeaverBen Wright

Alice and Gordon Williams

In honor of:Mary Kay and Gary Adams

David and Charlette McQuilkin Jim and Carol Warner

Michael L. Allain Elizabeth Ihle

Bach Festival Board past and present Beth and David Roth

Sharon Bloomquist Jim McFadden

Judy Cohen Dwight and Pearl Hartman

F. Edward Comer Joan Griffing and Les Nicholas

Hanna Heishman Erv and Ann Noffsinger Anderson

Lawrence E. Ernst Cathy Rittenhouse

Paul McEnderfer William and Rebecca Hunter

Marvin Mills Mary and Bill Gibb

Rev. Elmo and Ella Pascale Richard and Martha Weston

SVBF Board, Staff, Guild, Musicians, Volunteers - past and present

Mary Kay and Gary Adams

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

Heritage Circle (SVBF Endowment Fund)Gary and Mary Kay AdamsMichael and Violet AllainBenjamin and Kate BergeySusan BlackSidney Bland and Linda Heatwole BlandJanet S. EinsteinLes and Joni GradyLaDene King and Gretchen NyceMarge A. MaustSusan and Charles MessersmithAnn W. NielsenZack and Judith PerdueDorothy Jean WeaverDean and Janet WeltyDavid WickIngeborg and Vernon Yeich

Deal-Thomas Families EndowmentUlla and Victor Bogdan

Mark Cudek and Lisa Green-CudekDavid and Susan HowardShahab KhanahmadiMelinda O’NealJeffrey and Rebecca PrzyluckiJanice RaffelMr. and Mrs. Charles RiesSteven SilvermanRobert C. ThomasRobert and Debra ThomasRoy and Carol ThomasSusan and Jay Treadway

Virginia Baroque Performance AcademyRoxana Atwood John and Janet Boody Mixon Derracott Robert and Tommie Duke Harriet Hanger Elizabeth Hartman Karen Hembree Chris and Betsy Little Preston and Jane Manning James and Marney Morrison Louise Rexrode James Robertson Benjamin and Jennifer Roe Rodney Ronneburg Louise Scott Peter Sellar and Laurie Gundersen Terry Southerington George and Carol Taylor Louise Temple-Rosebrook and Fritz Rosebrook Martha Walker Nolan Walters Emily Weed Bill WellingtonPatricia Wellington

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American Shakespeare Center ...................................................... 30Ameriprise Financial ...........................................................................18Artisan's Hope .......................................................................................72Arts Council of the Valley ..................................................................52Ashby Animal Clinic, Inc. ...................................................................72Barren Ridge Vineyards .....................................................................57Blue Ridge Architects .........................................................................72Blue Sprocket Sound ......................................................................... 56Bluestone Vineyard .............................................. inside back coverBob Wade AutoWorld ....................................................................... 54Bridgewater Retirement Community ......................................... 36Caitlin Batchelor, DDS, PC ................................................................ 34Cross Keys Vineyards ......................................................................... 59Dan's Body Service .............................................................................72Echard Insurance Agency, Inc. ....................................................... 56EMU Graduate Programs ..................................................................10EMU Music Department ..................................................................48EMU Preparatory Music Program ................................................. 28Eugene Stoltzfus Architects ................................................center 4Evergreen/Victoria Floral ..................................................................16Everence .................................................................................................. 6Forbes Center for the Performing Arts ....................................... 50Funkhouser Real Estate Group ........................................................ 4Garth Newel ......................................................................................... 62Graves Light Wealth Management ..............................................84Green Valley Book Fair .......................................................................13Harrisonburg OB/GYN .......................................................................52James McHone Jewelry ....................................................................60JMU Lifelong Learning Institute ......................................... center 1Keep Bach Alive! .................................................................................40Landes Heating and Air Conditioning, Inc. ...............................60LD&B Insurance and Financial Services ..................... back cover

Lincoln Travel, Inc. ..............................................................................60Martin Beachy & Arehart .................................................................60Massanutten Resort .......................................................................... 58Mast Landscapes ................................................................................ 79Park View Federal Credit Union ..................................................... 54PB Mares, LLP ....................................................................................... 79Perpetual Bach ....................................................................................64Rockingham Cooperative ............................................................... 22Sentara RMH Medical Center ......................................................... 50Shenandoah Valley Children’s Choir ............................................ 28Shenandoah Valley Choral Society ..............................................66Shenandoah Valley Music Festival ............................................... 62Silver Lake Mill ...................................................................center 2 & 3Staunton Music Festival .............................................................62, 75Sunnyside Retirement Community ............... inside front coverTaste of Thai ..........................................................................................66Ten Thousand Villages ......................................................................66The Dayton Market ..........................................................center 2 & 3The Heritage Museum ....................................................center 2 & 3The Village Inn .....................................................................................66The Virginia Consort ...........................................................................52Town of Dayton .................................................................center 2 & 3Virginia Mennonite Retirement Community ............................ 24VMRC Juried Art Exhibition ............................................................ 26Wampler & Associates Rehabilitation .........................................68Warfels Sweet Shoppe ......................................................................68Waynesboro Symphony Orchestra ..............................................68Weavers Flooring America ..............................................................68White Oak Lavender Farm ............................................................... 42Whitesel Music .................................................................................... 20Wintergreen Performing Arts ........................................................ 62WMRA 90.7-WEMC 91.7 Public Radio ...........................................44

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

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Documents

Shenandoah Valley Bach Festival of Eastern Mennonite University 2016