Shenandoah Valley Bach Festival of Eastern Mennonite University by Eastern Mennonite University

KENNETH NAFZIGER, artistic director/conductor

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WELCOME… The magnolia is one of the earth’s oldest lowers, according to fossil records. It is native to the Americas and to eastern Asia, and has taken on many roles in those cultures: a stately and noble presence, medicinal uses, and as a symbol of that which is long lasting and held dear to the heart. In this year’s festival design, a magnolia blossom overlays a Bach manuscript. With it, artist Kirsten Moore illustrates the meeting, this week in Harrisonburg, of the music of Bach and the music from the Saturday night concert, which originated in Charleston, South Carolina. Through the miracle of music, Leipzig, Charleston, and Eisenstadt (Haydn’s work place) will be in the Shenandoah Valley this week—and so will many other cities and towns. In addition, Harrisonburg this week is a gathering place for musicians who come from many corners of the country and of the world to work together, to play and sing lots of notes, and to develop the friendships that have evolved over the past 22 years of festivals. And, when you consider the many places from which you, the audience come, this is an amazing time! The music passes from the inspiration of a composer, through the breath and ingers of players and singers, to the ears of listeners who ind pleasure, nourishment, and more. The art of music inspires more ideas and more sounds and new ways of hearing, and the sound never ceases, and never stops evolving. We, in times past, present and future, ind resonance in John Dryden’s view of music that encompasses both the beginning and the ending of the universe: As from the power of sacred lays The spheres began to move, And sung the great Creator’s praise To all the blest above; So when the last and dreadful hour This crumbling pageant shall devour, The trumpet shall be heard on high, The dead shall live, the living die, And music shall untune the sky. 1

Ken Nafziger Artistic Director and Conductor 1

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

HAVE YOU ENJOYED THE CONCERTS THIS WEEK? Let us know by making a tax-deductible contribution and inviting your friends to attend. Donations may be placed in the violin cases in the foyer, made online at emu.edu/bach/support/form, or mailed to:

Did you know? • Musicians rehearse/perform a combined total of 3,000+ hours during festival week.

EMU Development Oice 1200 Park Road Harrisonburg, VA 22802 Make checks payable to EMU with Bach Festival in the memo line. THANK YOU FOR YOUR SUPPORT!

• You can attend 7 of our 10 concerts without purchasing a ticket. • Ticket sales account for only 13% of our budget. • We pay the musicians for both ticketed and non-ticketed concerts. • Musicians’ fees total approximately $70,000.

bach@emu.edu 540-432-4367 emu.edu/bach

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

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

THE FESTIVAL AT A GLANCE SUNDAY, JUNE 

Festival Concert 1..............................................................................................................................................................5 Lehman Auditorium, 3 p.m. The Score Is Not the Music, artwork by Melinda Stefy Margaret Martin Gehman Gallery (University Commons) and lobby of Lehman Auditorium On display June 14-21; artist talk June 14, 2 p.m., Margaret Martin Gehman Gallery Choir rehearsals (open to listeners) Martin Chapel, 7-9:30 p.m., Sunday-Thursday

MONDAY, JUNE 

Baroque Workshop Faculty Recital .......................................................................................................................... 11 First Presbyterian Church, 17 Court Square, noon

TUESDAY, JUNE 

Noon Chamber Music Concert ................................................................................................................................. 13 First Presbyterian Church, 17 Court Square, noon Orchestra rehearsals (open to listeners) Lehman Auditorium, 9-11:30 a.m. and 2:30-5 p.m., Tuesday-Thursday

WEDNESDAY, JUNE 

THURSDAY, JUNE 

FRIDAY, JUNE 

Noon Chamber Music Concert .................................................................................................................................25 First Presbyterian Church, 17 Court Square, noon Festival Concert 2 .......................................................................................................................................................... 29 Lehman Auditorium, 7:30 p.m.

SATURDAY, JUNE 

Noon Chamber Music Concert .................................................................................................................................37 First Presbyterian Church, 17 Court Square, noon Festival Concert 3 .......................................................................................................................................................... 39 Lehman Auditorium, 7:30 p.m.

SUNDAY, JUNE 

Leipzig Service ............................................................................................................................................................... 47 Lehman Auditorium, 10 a.m. Father’s Day Brunch, Northlawn (main dining room), noon Advance registration only (emu.edu/bach/brunch/, by June 15) 3

The Score is Not the Music Melinda Stefy [Artwork is on display in Margaret Martin Gehman Gallery (EMU, University Commons) and the lobby of Lehman Auditorium from June 14-21, with an artist talk at 2 p.m. on June 14 in the Margaret Martin Gehman Gallery.]

“The score is not the music.” This maxim, referenced by composer Pat Muchmore in his 2011 New York Times essay about non-traditional music, reminds us that the heart of music lies in its performance, not just the notes on a page. But if looking at a score lacks some important quality of music, how else might music be visually conveyed that would capture its essence? As both a visual artist and musician, I have long been fascinated by ways that visual and musical languages connect. In my current artwork, I have matched the 12 tones of the chromatic scale with 12 colors on a color wheel (primary, secondary and tertiary) to translate J.S. Bach’s Well-Tempered Clavier, Cello Suite No. 1 and the Chaconne, along with Bartók’s Mikrokosmos, into watercolors on paper. The music, usually time-based and heard in sequence, becomes spatial, able to be seen all at once. Unexpected patterns emerge, revealing the tonal and rhythmic complexity inherent in the music. In relecting on how the artwork developed, I ofer three points of inspiration. Three movements, if you will. I. A number of years ago, I saw a series of stunning hand-drawn “Haiku” scores by John Cage at the Philadelphia Museum of Art. Although obviously music notation, with the usual symbols to provide a blueprint for producing sounds, the scores themselves were masterfully created—elegant composition, gorgeous markmaking, slight exaggeration of line and contour. I could barely take my eyes of of them, and I was struck by the sense that the scores “look” like what music sounds like. II. In 2012, I was invited to sing here at the Shenandoah Valley Bach Festival in a performance of Bach’s Mass in B Minor. As I worked my way through the score in the months leading up to the Festival, I was astonished (and sometimes overwhelmed!) by the complexity of the music. In the alto part, there were almost no measures that repeated elsewhere. Even one note to the next felt new and unpredictable. And yet, over time the bigger picture started to emerge. I understood how my seemingly random assortment of notes created a line and how that line interwove with other lines to create a powerful whole. Around the same time, I was beginning to develop my visual language for music, and I igured if I could make my system work with music as complex as Bach’s, I could make it work with anything. III. With so many quilters in my family, it’s only natural that I would inherit a love of colorful geometric patterns. I remember learning how traditional Mennonite quilters would deliberately make an “error” in a quilt— such as inserting the wrong color or disrupting the stitching—as a way to resist pride or vanity. Perfection was reserved for God, not human beings. I love the idea that imperfection or variation is what makes human creativity so exciting. A live music performance has richness that recorded or computer-generated sound does not, precisely because of variations of tone, dynamics, energy. In my artwork, I have chosen to work with deliberate, often tedious hand processes because the inevitable imperfections contribute to the beauty of the work.

FESTIVAL CONCERT 1 Sunday, 14 June • Lehman Auditorium, 3 p.m. This concert is underwritten in part by Ed and Cathy Comer, Alden and Louise Hostetter, and Ron and Shirley Yoder.

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

Johann Sebastian Bach 1685-1750

[Allegro] Andante Allegro assai Phillip Chase Hawkins, trumpet Mary Kay Adams, lute Sandra Gerster, oboe Ralph Allen, violin Marvin Mills, harpsichord Bach composed six Brandenburg Concertos over a decade in the early 18th century, and sent them to margrave Christian Ludwig of Brandenburg in Berlin. Bach had reason to believe the margrave might hire him, but the margrave never so much as acknowledged the receipt of this music. Bach wrote the six while he was employed at Cöthen and had an array of ine instrumentalists at his disposal. No concerto is like any other in its instrumentation. One program annotator calls the set “a crazy diverse group of instrumental pieces…, Bach’s great chamber music colorfest.” They are the most beloved of Bach compositions by both players and audiences. A recording of opening movement of this concerto travels aboard the spacecraft Voyager, launched in 1977. This wanderer in space carries with it materials, along with devices for deciphering and hearing them, intended to give any civilizations in those far reaches an introduction to the civilization here on earth. The choice of this music came from a discussion between the late Carl Sagan and Lewis Thomas, chancellor of the Memorial Sloan-Kettering Cancer Center. Thomas said, “I would vote for Bach, all of Bach, streamed out into space over and over again. We would be bragging of course, but it is surely excusable to put on the best possible face at the beginning of such an acquaintance. Any species capable of producing the music of Johann Sebastian Bach cannot be all bad.” Between the brilliance of the opening and closing movements of this concerto, Bach placed a most exquisite gem, a sonata for all the solo instruments except the trumpet.

Concerto in G Major for Violin, Viola and Strings

Allegro amabile Andante cantabile Allegro moderato

Johann Sebastian Bach restoration and editing by Robert Bridges, 2002

Joan Griing, violin Diane Phoenix-Neal, viola Marvin Mills, harpsichord

Because so much music by Johann Sebastian Bach has been lost through carelessness, wars, and disasters both natural and unnatural, the hope always exists that someone might ind yet one more lost manuscript, or that one more clue will be uncovered that there may have been a composition that had been fashioned from an existing composition. The Concerto for Violin, Oboe and Strings included after intermission in today’s concert is an example of a reconstruction. A few years ago, Robert S. Bridges, a violist in the Houston Ballet Orchestra and the company’s music librarian, found some shards of references to a Concerto for Violin, Viola and Strings, and through ardent work as a musical sleuth, reconstructed this concerto from three movements of the St. Matthew Passion. The few historical details he found and the narrative he wove around them is thoughtful. In Bridges’ words, the work was like “knitting a sweater out of cobwebs.” Acknowledging that musicologists might not ind his work convincing, he concluded his essay on his work with these words: The resulting concerto is, I think, an attractive addition to the repertoire. Whether it will be considered a work of musical scholarship or a light of artistic license remains for the listener to decide. No doubt some musicologists will a cast a doubtful eye on my eforts, but I am satisied to have another vehicle by which to enjoy the splendor of Bach’s gifts! The irst performance occurred in Houston on September 6, 2002, with Jonathan Godfrey, violinist, and Robert Bridges, violist, with the Mercury Baroque Ensemble. Bridges’ reconstruction has not been published. It took some sleuthing of our own to ind the parts. Mary Kay Adams tracked down the Ars Lyrica Houston and learned from them that, indeed, such a work existed. Mr. Bridges died in 2009, and the assumption was that a member of his family had taken his possessions to some un-named location. The orchestra had no materials for the concerto except a conductor’s score. We got hold of that, and Cindy Mathews very patiently reentered the entire score into Finale and printed a new score and a new set of parts. Thanks to Cindy and to Mary Kay, you’re hearing a reconstructed concerto that has rarely been heard.

Brandenburg Concerto No. 6 in B-lat Major, BWV 1051 [by 1721] (without tempo designation) Adagio ma non troppo Allegro Diane Phoenix-Neal, viola Karen Johnson, viola Christy Kaufman, viola Thomas Stevens, viola Paige Riggs, cello Pete Spaar, bass Marvin Mills, harpsichord

Johann Sebastian Bach

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

INTERMISSION

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

Johann Sebastian Bach

Allegro Adagio Allegro Joan Griing, violin Sandra Gerster, oboe Marvin Mills, harpsichord The Concerto in C Minor for Violin, Oboe and Strings is a reconstructed version of a concerto for two harpsichords. When Bach took the position in Leipzig, he reworked concertos he had written earlier as keyboard concertos. By various means of musical detective work, modern editors have made educated guesses about the original instruments used as solo voices for these concertos. No manuscripts remain that would tell us Bach’s original choices. This one works very well for two melody instruments whose ranges for the solo lines match the ranges of the violin and the oboe. Bach wrote the concerto during his tenure in Cöthen.

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

Johann Sebastian Bach

[Allegro] Adagio Allegro Joan Griing, Amy Glick and Ralph Allen, violins Diane Phoenix-Neal, Karen Johnson and Christy Kaufman, violas Paige Riggs, Nadine Monchecourt and Beth Vanderborgh, cellos Pete Spaar, bass Marvin Mills, harpsichord The third of the Brandenburg Concertos is scored for strings only, with three violins, violas and cellos. Each player functions as a soloist in this high-energy work. It may well be the best known and most loved of the six concertos.

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MONDAY NOON CONCERT 15 June • First Presbyterian Church This concert is underwritten in part by Chris and Betsy Little.

Virginia Baroque Workship Faculty Concert Anne Timberlake, recorder Linda Quan, baroque violin Martha McGaughey, viola da gamba Mark Rimple, countertenor and lute Arthur Haas, harpsichord

Trio Sonata for Violin, Gamba, and Harpsichord

Dietrich Buxtehude 1637-1707

Partite diverse di Follia for Harpsichord

Bernardo Pasquini 1637-1710

Music for Countertenor and Viol Sleep faire virgin Love’s farewell O fayre sweet face

Pièce de Clavecin en Concert No. 5

John Wilson 1595-1674 Tobias Hume 1569 (?)-1645 John Wilson

Jean-Philippe Rameau 1683-1764

La Forqueray La Cupis La Marais

Quadro in G Minor for Recorder, Violin, Gamba, and Continuo

Georg Philipp Telemann 1681-1767

Allegro Adagio Allegro 11

TUESDAY NOON CONCERT 16 June â&#x20AC;˘ First Presbyterian Church This concert is underwritten in part by Dr. Kip Riddle and Corja Mulckhuyse. from Partita No. 3 for Violin in E Major, BWV 1006 [1720]

Johann Sebastian Bach 1685-1750

Preludium * LourĂŠ Ralph Allen, violin [* Another version of the Praeludium will be heard as the Sinfonia of the cantata for the Sunday morning service, this time for organ and orchestra.]

from Piano Trio No. 1 in D Minor, Op. 32 [1894]

Anton Arensky 1861-1906

Elegia Scherzo Susan Black, violin Lisa Wright, cello Anne Waltner, piano from Trio, Op. 119 [1833]

Friedrich Kuhlau 1786-1832

Allegro moderato Mary Kay Adams, lute Kevin Piccini, oboe Anne Waltner, piano Le Grand Tango [1982]

Astor Piazzolla 1921-1992

Karen Johnson, viola Anne Waltner, piano Divertimento in C Major, MH 27 [1758-1760?]

Michael Haydn 1737-1806

Allegro moderato Adagio Menuet Finale: Presto Amy Glick, violin Paige Riggs, cello Pete Spaar, bass

Keep Bach Alive! For 23 years, the Shenandoah Valley Bach Festival has enriched our lives by bringing incredible music and amazing artists to our community. You can help make sure the music never has to stop!

[ ] I have included the Shenandoah Valley Bach Festival in my Will or other estate planning.

Estate Gifts relect your deep commitment to the Festival, to Bach’s beautiful music, and to the performers, instrumentalists and vocalists who bring it to life. Advantages of an estate gift include:

[ ] Please tell me how I can direct my gift for a speciic purpose.

• You keep control of the funds during your lifetime. • Easy to make and can be amended to relect changes in your circumstances or interests. • Creates a legacy that relects your values and commitment to music, live performance and the community. • You can choose to support the Festival in general or focus on a special project or purpose. • Builds up the Bach endowment and helps KEEP BACH ALIVE in the beautiful Shenandoah Valley. An Estate Gift may be made in your will or trust or by designating the Shenandoah Valley Bach Festival as a beneiciary of a life insurance policy or an IRA or other retirement account. The EMU Development oice can help you choose the best option to create your legacy. If you have made arrangements for this type of gift or would like to talk with us about how to do so, please let us know by mailing the attached coupon in a stamped envelope. Or email the information to phil.helmuth@emu.edu.

Make an enduring gift that represents the things you treasure about the Shenandoah Valley Bach Festival! * Jubilee Friends, with over 500 members, honors those who have made planned gifts. (We list names, but not amounts, in the annual report.)

Yes! I want to KEEP BACH ALIVE!

[ ] You may include me in Jubilee Friends* [ ] Please do so anonymously [ ] I have not yet included the Shenandoah Valley Bach Festival in my estate plans but would like information about how to do so. Name _____________________________ Address ___________________________ ___________________________________ Phone _____________________________ Email ______________________________ Mail to: Oice of Development Eastern Mennonite University 1200 Park Road Harrisonburg, VA 22802 Or contact Phil Helmuth: (540) 432-4597 or (800) 368-3383 (toll free), phil.helmuth@emu.edu.

Thank you for helping to KEEP BACH ALIVE!

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WEDNESDAY NOON CONCERT 17 June â&#x20AC;˘ First Presbyterian Church This concert is underwritten in part by Roy and Donna Heatwole.

Sonata in D Major for Trumpet and Strings

Henry Purcell 1659-1695

Allegro Adagio Allegro Susan Sievert Messersmith, trumpet Amy Glick and Susan Black, violins Karen Johnson, viola Paige Riggs, cello Pete Spaar, bass Lynne Mackey, harpsichord

Gavotte with Six Doubles [1729]

Jean-Philippe Rameau 1683-1764 trans. Ryohei Nakagawa

Mary Kay Adams, lute Sandra Gerster, oboe Leslie Nicholas, clarinet David Wick, horn Jonathan Friedman, bassoon

Overture on Hebrew Themes, Op. 34 [1919]

Serge Prokoiev 1891-1953

Leslie Nicholas, clarinet Ralph Allen and Jennifer Rickard, violins Diane Phoenix-Neal, viola Beth Vanderborgh, cello Anne Waltner, piano

premiere performance: The Human One [2015]

Ryan Keebaugh b. 1980

Joan Griing, violin Diane Phoenix-Neal, viola Beth Vanderborgh, cello

premiere performance: Suite Habana [2014]

Elionel Molina b. 1967

Afro Roots Spirits Riots Elionel Molina and Maria Lorcas, violins Christy Kaufman, viola Beth Vanderborgh, cello Rafael Monteagodo, percussion

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Cultural events help you age well, live fully! Congratulations on your 23rd Bach Festival season! VMRC Presents The 12th Annual Shenandoah Valley Lyceum 2015-16 Season Schedule July 10, 2015, American Folk Music Comes Alive, Jef Davis October 16, 2015, Scary Movies and Appalachian Stereotypes, Dr. Emily Satterwhite January 15, 2016, Desegregation of Virginia Public Schools, A Personal Experience, Ron Deskins February 26, 2016, Innovations in Biomedical Engineering, Dr. Martin Tanaka All series events take place at 7 p.m. in Detwiler Auditorium on VMRCâ&#x20AC;&#x2122;s campus. Individual Event Ticket - $8 in advance, $10 at the door Season pass- $25 Lifetime Pass- $100 Contact the VMRC Wellness Center, 540-574-3850 or stop by at 1481 Virginia Avenue, Harrisonburg.

hese events are funded in part by the VMRC Shenandoah Lyceum Endowment established to honor Karl and Millicent Stutzman.

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THURSDAY NOON CONCERT 18 June â&#x20AC;˘ First Presbyterian Church This concert is underwritten in part by Michael and Violet Allain and Jim and Joyce Benedict.

Capriccio on the Departure of a Beloved Brother, BWV 992 [1704?]

Johann Sebastian Bach 1685-1750

Arioso: Adagio (Andante) Adagiosissimo (Andante) Aria di Postiglione - Allegro poco Fuga all'imitazione di Posta Joseph Gascho, harpsichord

Blessing and Honor from Messiah [1741]

Apache Wedding Blessing [1988]

George Frideric Handel 1685-1759 arr. Lowell Shaw Darmon Meador b. 1961

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

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

Franz Joseph Haydn 1732-1809

Allegro molto Menuet Adagio cantabile Menuet Finale: Presto Joan Griing and Susan Black, violins Diane Phoenix-Neal and Christy Kaufman, violas Paige Riggs, cello Sandra Gerster and Kevin Piccini, oboes David Wick and Jay Chadwick, horns Kenneth Nafziger, conductor 23

Nulla in mundo pax sincera, RV 630 [1732]

Antonio Vivaldi 1678-1741

Veronica Chapman Smith, soprano Joan Griing and Jennifer Rickard, violins Diane Phoenix-Neal, viola Beth Vanderborgh, cello Marvin Mills, harpsichord Aria Nulla in mundo pax sincera sine felle; pura et vera, dulcis Jesu, est in te. Inter poenas et tormenta vivit anima contenta casti amoris sola spe.

In this world there is no honest peace free from bitterness; peace sweet Jesus, lies in you. Amidst punishment and torment lives the contented soul, chaste love its only hope.

Recitative Blando colore oculos mundus decepit at occulto vulnere corda conicit; fugiamus ridentem, vitemus sequentem, nam delicias ostentando arte secura vellet ludendo superare

This world deceives the eye by surface charms, but is corroded within by hidden wounds. Let us lee the one who smiles, who follows us, for by skillfully displaying its pleasures, this world overwhelms us by deceit.

Aria Spirat anguis inter lores et colores explicando tegit fel. Sed occulto factus ore homo demens in amore saepe lambit quasi mel.

The serpentâ&#x20AC;&#x2122;s hiss conceals its venom, as it uncoils itself among blossoms and beauty. But with a furtive touch of the lips, one maddened by love will often kiss as if licking honey.

Alleluia

FRIDAY NOON CONCERT 19 June â&#x20AC;˘ First Presbyterian Church This concert is underwritten in part by Welby C. Showalter, Attorney at Law.

Dover Beach, Op. 3 [1931]

Samuel Osmond Barber, II 1910-1981

John Fulton, baritone Joan Griing and Jennifer Rickard, violins Diane Phoenix-Neal, viola Beth Vanderborgh, cello

The sea is calm to-night. The tide is full, the moon lies fair Upon the straits; on the French coast the light Gleams and is gone; the clifs of England stand; Glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night-air! Only, from the long line of spray Where the sea meets the moon-blanched land, Listen! you hear the grating roar Of pebbles which the waves draw back, and ling, At their return, up the high strand, Begin, and cease, and then again begin, With tremulous cadence slow, and bring The eternal note of sadness in. Sophocles long ago Heard it on the Aegean, and it brought Into his mind the turbid ebb and low Of human misery; we Find also in the sound a thought, Hearing it by this distant northern sea. The Sea of Faith Was once, too, at the full, and round earthâ&#x20AC;&#x2122;s shore Lay like the folds of a bright girdle furled. But now I only hear Its melancholy, long, withdrawing roar, Retreating, to the breath Of the night-wind, down the vast edges drear And naked shingles of the world.

Ah, love, let us be true To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain; And we are here as on a darkling plain Swept with confused alarms of struggle and light, Where ignorant armies clash by night. [Matthew Arnold, 1822-1888]

Chanson dans la nuit [1927] Andante from Violin Sonata No. 2

Carlos Salzedo 1885-1961 Johann Sebastian Bach 1685-1750 trans. Marcel Grandjany 1891-1975

Anastasia Jellison, harp

Quintetto Concertante [after 1980]

Osvaldo Lacerda 1927-2011

Ch贸te Scherzo Seresta Rond贸 Judith Saxton and Susan Sievert Messersmith, trumpets David Wick, horn Jay Crone, trombone Harold van Schaik, bass trombone

Saloon Music: Music from the Turn-of-the-Century American Dance Halls, Saloons, and Brothels [2013] Red Rooster Strut (Cakewalk)

Enfare of Old (Juba Dance) The Cascades (Rag)

Ludwig Minkus 1826-1917 arr. James Sochinski James Sochinski b. 1947 Scott Joplin 1868-1917 arr. James Sochinski

Mary Kay Adams, lute Kevin Piccini, oboe Jay Crone, trombone

Gypsy Medley

traditional, arr. Karen Johnson Ralph Allen, violin Karen Johnson, viola Mark Hartman, guitar Pete Spaar, bass

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THE FESTIVAL RECOGNIZES THE MEMBERS OF

The Bach Guild FOR THEIR GENEROUS GIFTS OF $1,500 OR MORE Anonymous Sidney Bland and Linda Heatwole Bland Ed and Cathy Comer Elisabeth T. Eggleston Janet S. Einstein Alden and Louise Hostetter Dr. LaDene King and Gretchen Nyce Chris and Betsy Little Dr. Kip Riddle and Corja Mulckhuyse C. Robert and Charity S. Showalter Donald E. and Marlene C. Showalter Nelson L. and Phyllis E. Showalter Welby C. Showalter, Attorney at Law Eugene Stoltzfus and Janet Trettner Judith Strickler * Ron and Shirley Yoder *lifetime member

FESTIVAL CONCERT 2 Friday, 19 June • Lehman Auditorium, 7:30 p.m. This concert is underwritten in part by Nelson L. and Phyllis E. Showalter, C. Robert and Charity S. Showalter, and Donald E. and Marlene C. Showalter.

Franz Joseph Haydn [1732-1809] is justly famous for an enormous amount of music. He was a joyous and optimistic man who lived a long, inluential and productive life, marked by a consistent creative imagination from his early years through to his last ones. He was one of the last composers who had a basically good relationship with his patrons. The system was going out of fashion, and composers were more and more thrown to their own marketing eforts to make their music heard. Born in a small eastern Austrian village just inside the Hungarian border, Haydn came into a family that enjoyed singing both within the family and among neighbors. His gift as a singer was recognized early on, and at age six he was sent away to live away with a musician and choir director. Soon, he auditioned and was accepted for membership in the choir of St. Stephen’s Cathedral in Vienna. After a period of work as a freelance musician, he was hired as the court composer by the wealthiest Hungarian noble family, the Esterházys, and eventually took up residence in their palace in Eisenstadt, 35 miles southeast of Vienna. In 1779, Haydn’s patrons altered his contract to allow him to work for others in Europe and to have his music published by others besides the Esterházy family. His fame spread quickly, and soon he was considered Europe’s leading composer. Eventually he tired of the remoteness of Eisenstadt, and in 1790 was invited to travel to London for the irst of two very successful visits there. His fame preceded him, and increased there. He composed his last 12 (of 104) symphonies there along with other music, including his two oratorios, Creation and The Seasons. He was yet to compose six magniicent choral-orchestral masses when he returned to Austria. He died weakened, but with a spirit that fought with his body to write yet more before leaving this life. As he lay dying, Napoleon conquered Vienna, and Haydn’s last days were honored by a soldier from the French occupying forces who stopped by his home to sing for him an aria from Creation.

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

Franz Joseph Haydn 1732-1809

Allegro Adagio Menuet Finale 29

Franz Joseph Haydn’s Symphony No. 31 was composed in 1765 for Haydn’s patron Nikolaus Esterházy. It was published in Paris 20 years later. Haydn’s relationship to the prince made him responsible to compose “such music as His Serene Highness may command.” Haydn had oversight of the musical standards of the court musicians, but more importantly, he was expected to meet with the prince every day to discuss matters covering all musical details pertaining to court life. This association resulted in thirty symphonies during Haydn’s years of employment with Prince Nikolaus; No. 31 was written during the irst decade of Haydn’s service there. The subtitle, Hornsignal, has been attached (not by the composer) because of the unusual inclusion of four horns in this symphony. Given the size of the Esterházy orchestra (about twelve players), the horns would have left an overwhelming impression of an imbalance in the ensemble! The initial horn fanfare that opens the symphony is brought back at the end as well. The last movement is a theme and variations, a structure Haydn used on other occasions in his symphonies from this era, in which solo instruments are each given a solo variation. Here, oboe, solo cello, lute, horns, solo violin, the entire orchestra, and string bass each take their turns with the theme. The opportunities for solo variations suggest that the caliber of players in the Eisenstadt forces was indeed high.

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

Franz Joseph Haydn

Allegro vivace Un poco adagio Rondo all’Ungherse Joseph Gascho, harpsichord

Concertos do not comprise a major part of Haydn’s catalog of works and are not widely known except for the Cello Concerto in C, the Trumpet Concerto in E-lat, and the Sinfonia Concertante. Exactly how many concertos Haydn composed is not clear, because a good number of the twenty credited to him are of doubtful origin. And some are simply designated “keyboard” concertos, and work well for organ, or harpsichord, or fortepiano, or for the piano. The Concerto for Harpsichord and Orchestra in D Major was published in 1784. Circumstances of its irst performance are not clear, but what is known is that it was immediately a very popular work, as no fewer than eight diferent editions were published in the next ten years. Haydn himself was not a piano virtuoso. He said to his biographer, “I was never a wizard on any one instrument, but I knew the power and efectiveness of all of them.” One annotator described the work as demanding “more luency, warmth, and taste than technical brilliance.” The opening movement is a cheerful, straightforward allegro; the second a gently lyrical adagio. The inale is a rondo, Haydn’s frequent choice of a structure for a concluding movement, and brings an exotic element to the concerto. It is based on a Croatian dance tune, Siri Kolo, and most likely surprised and delighted listeners during Haydn’s time. This movement continues to bring delight to the ears of modern listeners as well.

INTERMISSION

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

Franz Joseph Haydn

Festival Chorus and Orchestra

Te Deum laudamus: te Dominum conitemur. Te aeternum Patrem omnis terra veneratur.

We praise you, O God, we acknowledge you to be the Lord. You are the eternal Father, all the earth venerates you.

Tibi omnes Angeli; tibi caeli et universae Potestates; tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra majestatis gloriae tuae. Te gloriosus Apostolorum chorus, Te Prophetarum laudabilis numerus, Te Martyrum candidatus laudat exercitus. Te per orbem terrarium sancta conitetur Ecclesia, Patrem immensae majestatis: venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum.

To you all angels, the heavens and all powers; to you the cherubim and seraphim unceasingly cry: Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are illed with the majesty of your glory. The glorious chorus of apostles praise you, you are praised by the prophets, the white-robed martyrs praise you, throughout all the world you are acknowledged by the holy church, Father of immense majesty: who is to be worshiped, your true and only Son; also the Holy Spirit, the comforter.

Tu Rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum. Tu ad dexteram Dei sedes, in gloria Patris. Judex crederis esse venturus.

You are the King of Glory, O Christ. You are the everlasting Son of the Father. When you took upon yourself to deliver humankind, you did not abhor the Virginâ&#x20AC;&#x2122;s womb. You, by overcoming the sting of death, opened the kingdom of heaven to all. You sit at the right hand of God, in the Fatherâ&#x20AC;&#x2122;s glory. We believe you will come to be our judge.

Te ergo quaesumus, tuis famulis subveni: quos pretioso sanguine redemisti.

We therefore ask you, help your servants: whom you have redeemed with your precious blood.

Aeterna fac cum sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine, et benedic hereditati tuae. Et rege eos, et extolle illos usque in aeternum.

Count us among your saints in glory. Save your people, Lord, and bless your heritage. Rule them, and lift them up forever. 31

Per singulos dies benedicimus te; et laudamus Nomen tuum in saeculum, et in saeculum saeculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri Domine, miserere nostri. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te.

Every day we bless you; and we worship your name forever, and forever, for all ages. Vouchsafe, O Lord, this day to keep us sinless. Have mercy on us, Lord, have mercy. Let your mercy be on us, Lord, since we have trusted in you.

In te, Domine, speravi: non confundar in aeternum.

In you, O Lord, I have trusted: let me not be put to shame.

Te Deum laudamus is an early Christian hymn of praise, dating from the 4th century. It is sometimes attributed to St. Ambrose on the occasion of St. Augustine’s baptism in 387. It very quickly became an important hymn in the tradition, both for church and state; it was sung for high church events (ordinations, consecrations, and the like) as well as for major state events (coronations, battle victories, peace treaties, and the like). The text appears in most modern Christian hymnals as Holy God, we praise thy name. The Empress Maria Theresa, wife of Franz I of Austria, was a ine singer and for some time badgered Haydn to write some church music for her to be sung on some special occasion. As he was a frequent visitor to the palace in Vienna, he eventually acquiesced to her request, and, around 1798 to 1800 he composed for her the magniicent setting of Te Deum laudamus for chorus and orchestra in C major. The irst performance was on the occasion of Lord Nelson’s and Lady Hamilton’s arrival at Eisenstadt. Haydn composed the piece with the same luency with which he wrote his last six masses, using principles of 18th century classical composition and form, and with great economy of materials. In a simple fast-slow-fast structure, this work of under ten minutes includes a prominent quotation of the Gregorian tone for Te Deum laudamus at the opening, and, at the end, a double fugue with both rhythmic and harmonic surprises. It is, like other sacred music of Haydn, joy-illed. “Since God has given me a cheerful heart,” Haydn said on one occasion, “he will forgive me for serving him cheerfully.”

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

Franz Joseph Haydn

Adagio. Allegro Andante Menuet and Trio Finale: Spirituoso

By the time Haydn composed his last 12 symphonies, often referred to as his “London” symphonies, the musical world in which he operated had been signiicantly altered. His early employment by the Esterházy family that asked of him music for private and royal entertainment gave way to later employment by the clamoring public audiences who admired him, 32

respected his work, and would pay to see him and to hear his music. Public events had become much more lucrative than private patronage. Music had become more readily available, and had become an international art. Haydn was successful in both worlds, but the trends had clearly shifted. Symphony No. 104, the last symphony that Haydn composed, was written in 1795 during his second sojourn in London. The composer conducted the irst performance. An anonymous critic in the Morning Chronicle wrote for the following morning’s edition, “This wonderful man [Haydn] never fails, and the various powers of his inventive and impassioned mind have seldom been conceived with more accuracy by the Band, or listened to with greater rapture by the hearers, than they were this evening.” One might think that already having composed 103 symphonies, the composer might have found that his imagination had run dry. But Symphony No. 104 gives no sign that Haydn’s creative powers were anywhere close to being exhausted. Each of the movements is characterized by an economy of materials, by constant unexpected turns in the music, by inventive variations (the second movement), by a simplicity of themes (all movements), by the appearance of a Croatian folk tune (Oj, Jelena, Jelena, jabuka zelena in the inal movement), and by that certain Haydn-esque cheerfulness. The reviewer at the irst performance had it right: “This wonderful man never fails…” Here, at age 63, Haydn composed his last symphony, and still had six orchestral mass settings, two major oratorios, and more lurking within his eternally young imagination.

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SATURDAY NOON CONCERT 20 June • First Presbyterian Church This concert is underwritten in part by Carol Yetzer.

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

Johann Sebaastian Bach 1685-1750

Adagio Allegro Andante Allegro Fred Dole, bass Anne Waltner, piano

Septet in E-lat Major, Op. 20 [1799-1800] (dedicated to the Empress Maria Theresa)

Ludwig van Beethoven 1770-1827

Adagio – Allegro Adagio cantabile Tempo di menuetto Tema con variazioni: Andante Scherzo: Allegro molto e vivace Andante con molto alla Marcia – Presto Ralph Allen, violin Diane Phoenix-Neal, viola Paige Riggs, cello Pete Spaar, bass Lynda Dembowski, clarinet David Wick, horn Jonathan Friedman, bassoon

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SVBF SILENT AUCTION

JUNE 14-20

The Shenandoah Valley Bach Festival is pleased to ofer a valuable selection of items in a silent auction. The auction will occur in the foyer of the auditorium at each festival concert and noon concert, with bids being placed on clipboards. Winners will be notiied as soon as possible after June 20, and arrangements will be made for payment and pick-up or delivery of items. Winners will be announced on the festival’s website: emu.edu/bach.

We thank our generous auction donors for the following items … Watercolor by Melinda Stefy Prelude from Cello Suite No. 1 in G Major (blue-green), watercolor on paper, based on music by J.S. Bach, 2014. 11” x 14”. In this watercolor painting based on the well-known Prelude from J.S. Bach’s irst Cello Suite in G Major, the usually linear, time-based format of music (in this case, about 2 and 1/2-minutes’ worth of quickly played notes) may be seen simultaneously as spatial color patterns. Minimum bid $350. Additional Stefy watercolors are on display in the Gehman Gallery (University Commons) and Lehman Auditorium June 14-21.

Chamber music performance with Anne Waltner Anne Waltner, professional pianist and EMU piano professor, and another professional musician will perform at a date and time to be agreed upon between the buyer and performers. Anne will determine the second musician based on the interests of the buyer. A 1-hour house concert or 2.5 hours of background music for a social gathering may be selected. Minimum bid $500.

Chamber music performance by Musica Harmonia Violinist Joan Griing, violist Diane Phoenix-Neal, and cellist Beth Vanderborgh, of Musica Harmonia, will perform a house concert on a date to be determined between the buyer and musicians, close to the 2016 Bach Festival, which is June 12-19. Minimum bid $500.

Stained glass window by Barbara Camph

Prelude from Cello

This gorgeous stained glass window, made by a local artist, has been donated anony- Suite No. 1 in G Major mously. Minimum bid $200. (blue-green)

Vacation packages donated by Babs and Don Fickes

watercolor by Melinda Stefy

Package 1: One week of a time share at Historic Powhatan Resort, Williamsburg, Virginia, Oct. 31-Nov. 7, 2015. Unit is one bedroom, sleeps four, has full kitchen. 4 miles from historic Williamsburg; 12 miles from Jamestown. Minimum bid $700. Package 2: One week of a time share in Woodstone Meadows at Massanutten Resort, McGaheysville, Virginia, June 12-19, 2016 (the week of Bach Festival). Unit is one bedroom, sleeps four, has full kitchen. 30 minutes from Harrisonburg and concert venues. Minimum bid $700.

Quilt, made and donated by Babs Fickes of Babs – Professional Seamstress

Stained glass window by Barbara Camph

The quilt’s design, inspired by the festival’s 2015 graphic design, has an of-white background with faded musical notes and a large gardenia quilted on dark green. Quilted wall hanging, 36” x 48”. Minimum bid $125. In addition, Babs – Professional Seamstress will create wall hangings on commission for $200, with $125 going to SVBF. To commission a quilt, contact Babs at 434-981-0699.

Center 1

THE SCORE IS NOT THE MUSIC artwork by Melinda Stefy June 14–21 Margaret Martin Gehman Gallery (EMU, University Commons) Gallery opening: June 14, 1:30 p.m. Artist presentation: 2 p.m.

Melinda Stefy with her Bach-inspired watercolors

What does music look like? Artist Melinda Stefy translates the music of J.S. Bach into visual artworks that reveal unexpected color patterns and spatial conigurations. The exhibit features a series of watercolors based on the Well-Tempered Clavier and Cello Suite No. 1. Before Festival Concert 1, stop by the gallery for an artist presentation, “The Score Is Not the Music,” discussing alternate music notation and intersections between format/functionality and creative expression. For more information on Stefy’s work, visit melindastefy.com.

Prelude in C Major (red), No. 1

Center 2

Bach Learns to Love the Masses (in b-minor) You’ve hitched a ride to the form, to the form you know will take you, take you where you know the next hard hitch in the dance, and the score, evened and smoothed, turns out, not a rondeau or gavotte, gavottes being another slow way to move. No, this, love, is the fugue, like high mass where the man in his miter holds the body aloft, then again. Fugue where all manner of noise comes to matter– the low voices even get their measure of love. We are falling here, a clatter of loves–men into women–b-minor tonic drawing us deep, bearing us down, weary voices and full, home to the ground. – David Wright, from The Small Books of Bach (Wipf & Stock, 2014)

David Wright’s poems have appeared in Image, Ecotone, Hobart, Books & Culture and many other places. His most recent poetry collection is The Small Books of Bach (Wipf & Stock, 2014). He is also the author of A Liturgy for Stones. He teaches creative writing and American literature at Monmouth College in Illinois.

Center 3

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FESTIVAL CONCERT 3 Saturday, 20 June • Lehman Auditorium, 7:30 p.m. This concert is underwritten in part by Sidney Bland and Linda Heatwole Bland and Janet S. Einstein.

Charlestonia: A Folk Rhapsody [1917]

Edmund Thornton Jenkins 1894-1926

Abridged from the blog Charleston Past (http://charlestonpast.blogspot.com/2012/08/rev-daniel-jenkins-and-jenkins.html) comes this incredible story that recounts the context from which Charlestonia was composed: On a cold December day in 1891, Rev. Daniel Jenkins happened to come across four young black boys, all under the age of 12, huddled together in an abandoned warehouse. He discovered that they were all orphans and were left to fend for themselves on the streets. Rev. Jenkins immediately took them home with him and gave them a place to live and a sense of family. Unfortunately, these four boys were simply the tip of a huge iceberg that represented the hundreds of young black orphans in Charleston who had no place to live and no parents to care for them. While there were nine orphanages in South Carolina for white orphans, none existed for black orphans. Rev. Jenkins set about to change the lives of the boys he encountered and the many others they represented, and the Jenkins orphanage was born. In January of 1892, Rev. Jenkins petitioned the city for the use of the abandoned Marine Hospital on Franklin Street and received permission for its use and a small stipend. Robert Mills, who designed the Washington Monument, as well as other famous national, state and local buildings, was the architect. The building was built in 1834 and had once served as a hospital, but was badly damaged during the war. Rev. Jenkins’ primary goal was to teach each of his young charges to become self-suicient so that as adults they would no longer need to rely on the charity of others. To achieve this goal, he felt that farmland needed to be purchased to teach the boys the skills they would need to become self-suicient. He petitioned the City of Charleston for funds, but was denied. He could barely aford to make the orphanage livable and provide for the basic needs of the children. Funds were not readily available for South Carolina’s only black orphanage even though over 360 orphans lived at the orphanage now, instead of on the streets of Charleston. In desperation he searched around for ideas that could help raise the necessary funds, and the Jenkins Orphanage Band was born. His plan was based on the military bands of the day. His requests for funds were not very successful; however, a request for instruments yielded more fruitful results. Old instruments were donated, with a large donation of new and used instruments from Siegling Music House on King Street. Graduating Citadel cadets donated their old uniforms which became the irst uniforms of the Jenkins Orphanage Band. Rev. Jenkins was not a musician himself and so he hired two local musicians to teach the boys: “Hatsie” Logan and Francis Eugene Mikell. They learned not only to play instruments, but music theory and music history as well. Soon the band was playing on street corners all over Charleston to try to raise as much money as possible to keep the orphanage open. Unfortunately, funds were much too meager but, instead of giving up, Rev. Jen39

kins used his last remaining funds to take the 13-member band on a tour of some northern cities. Their success was less than they had hoped, but, once again, Rev. Jenkins was not ready to give up. With the last bit of money they had, he took the group to London. There they performed on the streets of London, and were promptly arrested for disturbing the peace. The group, which had become a favorite on the streets of London, suddenly received the support of the churches in the area and a favorable support in the newspapers. By 1896, the band had established regular tour routes up and down the Eastern coast and in Europe. They played in Paris, Berlin, Rome, Vienna and London. In 1905, the band played in President Roosevelt’s inaugural parade and President Taft’s inaugural parade in 1909. In the 1910s and 20s, the band included the styles and rhythms of the jazz beats sweeping the nation and the Gullah songs and dances of their low country heritage. DuBose Heyward insisted that the band play for the two-year run of his play Porgy on Broadway and they performed at each performance. By now, there were ive separate bands and two vocal ensembles. Charlestonia, the work of the Rev. Jenkins’ son, Edmund Thornton, was one of the earliest symphonic works by an AfricanAmerican composer to attract the attention of European audiences. Edmund Thornton, most frequently called simply “Jenks,” learned piano early in his life and quickly mastered clarinet and violin as well. His father enlisted his gifts as a music instructor for the band of orphans. Not comfortable functioning in that role, he persuaded his father to let him enter Morehouse College to study music. He was forced to leave college to lead the orphans’ band on a tour to London, and when the tour came to an abrupt end because of the outbreak of the war, he convinced his father to let him stay on in London to study music at the Royal Academy. There he composed Charlestonia: A Folk Rhapsody. He was named an Associate of the Royal Academy of Music in 1921. The work is relective of Charleston’s rhythms and life and spirit in the early 20th century. Jenkins moved to Paris, where he continued to compose and perform, and became very heavily involved in the jazz clubs popular at the time. During his time in Paris that he revised and orchestrated Charlestonia. Jenkins conducted a 1925 performance in Belgium. He died in Paris in 1926 after complications resulting from appendicitis.

Three Spirituals [2005]

Adolphus Hailstork b. 1941

Everytime I feel the Spirit Kum ba yah Oh Freedom

A native of Rochester, New York, Adolphus Hailstork is currently a professor of music and Eminent Scholar at Old Dominion University in Norfolk, Virginia. He studied at Howard University, the Manhattan School of Music, Michigan State University, and with Nadia Boulanger, and participated in a number of contemporary music composer summer workshops. He is a proliic composer of works for chorus, orchestra, band, chamber ensembles, two operas, piano and voice. His works have been performed by leading conductors and orchestras around the world. Hailstork wrote, “The Three Spirituals are orchestral settings of three spirituals I set for pipe organ…I made the arrangements in 2005 to help celebrate the reopening of the Crispus Attucks Theater in Norfolk, Virginia.” 40

Ennanga for Harp, Piano and String Orchestra [1956]

William Grant Still 1895-1978

Moderately fast Moderately slow Majestically Anastasia Jellison, harp Marvin Mills, piano

William Grant Still is considered by many to be the dean of African-American music. He was the irst African American to conduct a major U.S. symphony orchestra, the Los Angeles Philharmonic in 1939. His Symphony No. 1 was the irst symphony by a black composer to have been premiered by a major orchestra, the Rochester Philharmonic in 1931. He won commissions and awards of all kinds. Still, a Mississippi native, studied music at Wilberforce University (Dayton, Ohio) and Oberlin College. In addition to being a proliic composer of orchestral and chamber music, he also wrote eight operas, ilm and television scores, and vocal music in classical, jazz and popular styles. Still composed Ennanga for a virtuoso harpist friend of his, Louis Adele Craft, in 1956. It was performed for the irst time in 1958 in Los Angeles. An ennanga is a Ugandan harp, and Still describes the piece as his “impressions” of African folk themes. Still does not write this as a concerto, but in the words of one annotator, he “does not play the piano and harp against the strings in a traditional soloist-ensemble exchange. Rather all three play as equals in a constant back and forth to mimic the simultaneously lyrical and percussive sound of the ennanga.”

INTERMISSION

Suite from Porgy and Bess [1935]

George Gershwin 1898-1937 arr. Robert Russell Bennett 1894-1981

Veronica Chapman-Smith, soprano John Fulton, baritone Festival Choir

Overture Summertime A woman is a sometime thing Gone, gone, gone My man’s gone now The promise’ lan’ Oh, I got plenty o’ nuttin’ Bess, you is my woman now Oh, I can’t sit down I ain’t got no shame It ain’t necessarily so There’s a boat dat’s leavin’ soon for New York Oh, Lawd, I’m on my way

The setting for George Gershwin’s opus magnum, Porgy and Bess, is 1930s Charleston, South Carolina, in a former mansion, now a tenement called Catish Row. The story, set in an African-American ishing community in Charleston, is a tale of love and life, of love and loss, of the good and the not-so-good, of intrigues, of irrepressible joy and afections. In 1926, Gershwin read the novel Porgy written a few years earlier by Charleston native DuBose Hayward. When Gershwin indicated his interest in writing an opera based on Hayward’s book, Hayward agreed, and the two worked collaboratively to create the libretto. The two were assisted by George’s brother, Ira. In 1934, they worked together on Folly Beach, an island of the Charleston coast, and on September 30, 1935, the premiere performance of Porgy and Bess was staged in Boston. The history of performances and thought about the opera are nearly as complicated as the libretto itself, with surrounding racial and political issues, questions of classism, even whether or not it could justly be called an opera. Gershwin, however, according to biographer David Ewen, “never quite ceased to wonder at the miracle that he had been its composer. He never stopped loving each and every bar, never wavered in the conviction that he had produced a work of art.” The opera contains some of the most recognized and cherished songs in the entire American repertoire, especially Summertime. In his search for the ideal Porgy for that irst performance of Porgy and Bess Gershwin was introduced to Todd Duncan, a professor of music at Howard University in Washington D.C. It was Duncan who set the standard for all who sang the role after him. (He played the role more than 1800 times!) And it was Duncan, through his persistence, who persuaded the National Theatre in Washington D.C. to abandon its segregationist rules so that the performance would be open to performers and audiences alike of all races. Duncan had refused to perform in any house that “barred him from purchasing tickets to certain seats because of his race.” In 1936, the irst performance in Washington took place in a newly desegregated National Theatre.

BACH FESTIVAL BOARD OF ADVISORY AND STAFF

Front row (l to r): Jane Burner, Mary Kay Adams, Judy Cohen, Joanne Gallardo Second row: Ken Nafziger, Joyce Grove, Phil Helmuth, Michael Allain Third row: Cindy Mathews, Louise Hostetter, Jim Benedict, Donna Heatwole, Babs Fickes Back row: Benjamin Bergey, Ed Comer Not pictured above: LaDene King and Joan Griing

Honorary Members

Nelson Showalter

Linda Heatwole Bland

Festival Support Team Loren Swartzendruber, EMU President // Fred Kniss, EMU Provost // Kenneth Nafziger, SVBF Artistic Director/Conductor // Mary Kay Adams, SVBF Executive Director // Joan Griing, SVBF Orchestra Personnel Manager // Cindy Mathews, EMU Music Department Oice Manager // Phil Helmuth, EMU Executive Director of Development // Andrea Wenger, EMU Director of Marketing and Communications 43

Experience Virginia’s Beauty in Music Shenandoah-Blue Ridge Music Consortium 2015 Summer Events 2015 Summer Season July 3September 6 20 Chamber Music Concerts Saturdays at 5 pm Sundays at 3 pm

The Garth Newel Piano Quartet Teresa Ling, Genevieve Feiwen Lee, Evelyn Grau and Isaac Melamed

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THE LEIPZIG SERVICE Sunday, 21 June â&#x20AC;˘ Lehman Auditorium, 10 a.m. Prelude Ascend the Mountain: A Walk with Dr. King

James Lee, III b. 1975

Prelude on Cwm Rhondda

Paul Manz 1919-2009

Hymn

HWB 366

God of grace, and God of glory

Missa Prelude on Herzlich tut mich verlangen STS 58

O God, how we have wandered

Prelude on Grosser Gott, wir loben dich HWB 121

Johann P. Kirnberger 1721-1783

Paul Manz

Holy God, we praise thy name

Salutation and Collect Dominus vobiscum. Et cum spiritu tuo.

The Lord be with you. And also with you.

Oremus: Schmecket und sehet, wie freundlich der Herr ist! Alleluia. Wohl allen denen, die auf ihn trauen. Alleluia.

Let us pray: Taste and see how good the Lord is! Alleluia. Blessed are they who trust in him. Alleluia.

Largire quasemus, Dominus, idelibus tuis indulgentiam placates et pacem, ut partier ab omnibus mundemur ofensis et secura tibi mente deserviatur. Per Dominum nostrum Jesum Christum, qui tecum vivit et regnat in unitate Spiritus Sancti Deus, per omnia secula seculorum. Amen.

We beseech you, Lord, that you give your people both pardon and peace, cleanse them of their ofenses that they may serve you with a safe and quiet mind. We pray through our Lord Jesus Christ, who lives and reigns with you and the Holy Spirit, one God now and forever. Amen. 47

Hymn HWB 34 When the morning stars together A Responsive Reading from the Psalms: Praise God with a song, all people! The Lord strengthens your gates and guards your children within. God ills your lands with peace. We give thanks to you, O God; we thank you, and proclaim your wonders. We your people, the lock in your pasture, give unending thanks. In every age to come, we will sing your praise. “I,” says the Lord, “speak peace, peace to all people who turn their hearts to me.” Behold: Salvation is coming near, glory ills the land. Steadfast love and faithfulness will meet; righteousness and peace will kiss each other. Faithfulness will spring up from the ground, and righteousness will look down from the sky. The Lord pours out richness; the land springs to life. Justice clears God’s path, justice points the way. We give thanks to you, O God; we thank you, and proclaim your wonders. God, our God blesses us all. May the whole world worship you. A Reading from the Prophet Jeremiah: 6.14-20 The word of the Lord. Thanks be to God. STJ 41 Alleluia A Reading from the Gospel According to St. Mark: 4.35-41 STJ 41 Alleluia 48

Cantata Wir danken dir, Gott, BWV 29

Johann Sebastian Bach 1685-1750

Sinfonia Chorus Wir danken dir, Gott, wir danken dir und verkündigen deine Wunder.

We thank you, O God, we thank you and proclaim your wonders.

Aria – tenor Halleluja, Stärk und Macht sei des Allerhöchsten Namen! Zion ist noch seine Stadt, da er seine Wohnung hast, da er noch bei unserm Samen and der Vater Bund gedacht.

Hallelujah, strength and might be to the name of the Most-High! Zion is still his city, where his dwelling is made, and still to the generations remembers the covenant with our ancestors.

Recitative – bass Gottlob! es geht uns wohl! Gott ist noch unsre Zuversicht, sein Schutz, sein Trost und Licht beschirmt die Stadt und die Paläste. Sein Flügel hält die Mauern feste. Er läß uns allerorten segnen, der Treue, di den Frieden küßt, muß für und für Gerechtigkeit begegnen. Wo ist ein solches Volk wie wir, dem Gott so nah und gnädig ist!

Praise God who has blessed us! God is still our conidence, whose protection, and comfort and light shelter us. God’s wings hold the walls secure. Everywhere we are blessed; faithfulness that is kissed by peace is forever and ever. Righteousness is greeted by all to whom God is so near and gracious!

Aria – soprano Gedenk an uns mit deiner Liebe, schleuß uns in dein Erbarmen ein! Segne die, so uns regieren, die uns lieten, schützen, führen; segne die gehorsam sein!

Be mindful of us in your love, envelop us in your mercy! Bless those who govern, who lead, protect and guide; and bless those who are governed!

Recitative – alto & chorus Vergiß es ferner nicht, mit deiner Hand uns Gutes zu erweisen; so soll dich unsre Stadt und unser Land, das deiner Ehre voll, mit Opfern und mit Danken preisen, und alles Volk soll sagen: Amen!

Forget not in the future to show your goodness in with your hand; so shall our cities and lands that are illed with your honor, with sacriices and with thanksgiving, all say to you: Amen! 49

Aria – alto Halleluja, Stärk und Macht sei des Allerhöchsten Namen!

Hallelujah, strength and might be to the name of the Most-High!

Chorale Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligen Geist! Der woll in uns vermehren, was er uns aus Gnade verheißt, daß wir ihm fest vertrauen, gänzlich verlass’n auf ihn, von Herzen auf ihn bauten, daß unsr Herz, Mut und Sinn ihm tröstlich solln anhangen; drauf singen wir zur Stund: Amen, wir werden’s Erlangen, glaub’n wir aus Herzens Grund.

Glory and praise with honor be to God – Father, Son and Holy Spirit! May all be increased that has been promised through God’s mercy, that our trust might remain irm, completely relying on God; with all our heart building upon God, that our hearts, courage and mind would cling to him; therefore, we sing now: Amen, so be it, this we believe with all our hearts.

Pulpit Hymn Bicinium on Herr Jesu Christ, dich uns zu wend

Georg Philipp Telemann 1681-1767

HWB 22 Lord, Jesus Christ, be present now

Homily When There Is No Peace

Prayer, ending with the Lord’s Prayer

Aria

Mache dich mein Herze, rein, from St. Matthew Passion

Johann Sebastian Bach

Mache dich, mein Herze, rein, Ich will Jesum selbst begraben. Denn er soll nunmehr in mir für und für seine süße Ruhe haben. Welt, geh aus, laß Jesum ein!

Cleanse yourself, my heart, I myself want to entomb Jesus there. For from now on he shall ind in me, forever, his sweet rest. World, away with you, let Jesus in!

Blessing May God bless you and keep you. May the very face of God shine on you and be gracious to you. May God’s presence embrace you and give you peace. HWB 424

God, be merciful and gracious unto us

Postlude Canzona dopo l’Epistola Dona nobis pacem, from Mass in B Minor Dona nobis pacem.

Girolamo Frescobaldi 1583-1643 Johann Sebastian Bach Grant us peace.

Veronica Chapman-Smith, soprano Mark Rimple, countertenor Joel Ross, tenor John Fulton, bass Festival Chorus and Orchestra Marvin Mills, organ David Evans, homilist

Church bells began ringing at 6 a.m., calling the faithful to worship. The irst, and most elaborate, service began at 7 a.m. and lasted about three hours. The irst hour included most of the music for the day, the reading of scriptures, and a number of prayers. The performance of the cantata occurred during this irst hour and, especially in Bach’s hands, came to function as a musical illumination of the gospel for the day, a sermon in music. The second hour was taken up by the sermon, and the third was for the celebration of the Eucharist. The Leipzig service was bilingual, retaining many parts of the Latin liturgy along with Luther’s German service. There were enormous expectations of the St. Thomas cantor. For each Sunday, Bach was expected to compose a new 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 qualiications was available, had at their service for about twenty-seven years the greatest church musician, and most likely the greatest musician, the world has ever known. Cantata No. 29 was composed for the inauguration of the Leipzig Town Council on August 29, 1731. This was both a civic and a religious occasion, much like a Sunday morning liturgy, with sermon and music. Zion, or the city of God, mentioned in the libretto was understood to be Leipzig in the minds of Leipzig’s citizens. The libretto is based on a number of verses from the psalms. The responsive reading that we did together this morning is constructed from them. 51

The Sinfonia, a concerto-like movement for organ and orchestra, was originally the opening movement of Bach’s Partita No. 3 for Solo Violin in E Major. (If you attended the Tuesday noon recital, you heard this original version performed by Ralph Allen.) Before its appearance in this cantata, it also functioned as a piece for organ and strings in a wedding cantata. The opening chorus also has another life, appearing twice in the Mass in B Minor, irst as the chorus Gratias agimus tibi, and then at the end of the mass, as Dona nobis pacem, the concluding music of this morning’s service. Some believe that each of the three arias is a recycled version of an instrumental movement. It is a unique detail that the alto aria is a version of the tenor aria, having in common the irst two lines of text, and also having thematic connections. The inal chorale is a stanza from Johann Graumann’s Nun lob’, mein Seel’, den Herren (1540) by an anonymous composer, also from 1540. The cantata was used at two later dates, also for inauguration ceremonies for the Leipzig Town Council. Dr. James Lee III, the composer of the prelude this morning, Ascend the Mountain (AWalk with Dr. King), is associate professor of composition and theory at Morgan State University in Baltimore. Recipient of numerous commissions, his catalogue includes works for chorus, chamber ensemble, solo voice, orchestra and solo instruments. Holding degrees from The University of Michigan, he was a fellow at the Tanglewood Music Center in 2002 and recipient of the Wladimir and Rhoda Lakond Award from the American Academy of Arts and Letters in 2009. Ascend the Mountain was commissioned by Andrews University and premiered by Kenneth Logan on the occasion of the annual Black History Weekend 2000. One of this morning’s hymns, Holy God, we praise thy name is an English translation of an 18th century German translation of the Latin Te Deum, heard in Haydn’s version on Friday evening.

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Music excellence for all ages!  Instrumental music instruction: violin, viola, cello, piano, flute, clarinet, guitar; Suzuki method option available  Musikgarten: ages birth to 7 years  Shenandoah Valley Youth Symphony and Junior Strings: grades 3-12  Harrisonburg City Schools Strings Program: grades 3-4 in the elementary schools and grades 5-8 in the middle schools  Shenandoah Valley Children’s Choir: 160 children in three auditioned performing choirs and two non-auditioned early elementary classes

emu.edu/prepprog • emu.edu/svcc

EMU’s Preparatory Music Program and SVCC

The Shenandoah Valley Choral Society Talented ensemble comprised of over 125 singers performs three concerts each season [December, April & July]. SVCS repertoire includes cantata, oratorio, and a capella works as well as patriotic music, show tune favorites and standard classics.

Upcoming Concert

Celebrate America Patriotic/Pops Concert Shenandoah Valley Choral Society Choir and the Harrisonburg-Rockingham Concert Band Harrisonburg High School Auditorium * 1001 Garbers Church Road, Harrisonburg, VA

July 3 - 7:30 p.m.

www.singshenandoah.org THIS ARTS EVENT IS MADE POSSIBLE IN PART BY THE

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ARTIST BIOS Mary Kay Adams, Bach Festival’s executive director and principal lutist, is also principal lutist in the Shenandoah Symphony Orchestra. She has played lute in the Roanoke Symphony and was principal cellist of both the Shenandoah Symphony Orchestra and the Fort Smith Symphony. Active as a soloist and chamber musician on both lute and cello, she has performed at conventions of the National Flute Association and Music Educators National Conference. Her bachelor’s and master’s degrees in lute and cello performance are from the University of North Texas, where she did additional doctoral work in lute performance. A member of the music faculty at Eastern Mennonite University, Adams has played in the Shenandoah Valley Bach Festival Orchestra for each of its 23 seasons. Previously, she was the assistant director of the honors program at James Madison University; a music faculty member at JMU, Bridgewater College, Mary Baldwin College, Washington and Lee University, Liberty University, and Arkansas Tech University; a lute and cello instructor in the preparatory music program at EMU; and a freelance performer and teacher in the Dallas metropolitan area. Ralph Allen, violinist, grew up in Philadelphia, where he began serious violin studies with Estelle Kerner at the Settlement Music School. His major teachers have included Donald Weilerstein, Syoko Aki, Robert Mann, and Vera Beths. He worked in Holland for four years with such groups as the Schoenberg Ensemble and the Netherlands Chamber Orchestra. In New York, he performed regularly with the Orchestra of St. Luke’s and The Knights and started a chamber music series, R&R Concerts, that has given more than 40 concerts. Allen currently lives in Israel, where he performs with the Israel Contemporary Ensemble, the Jerusalem Baroque Orchestra, and as a violist in the Israel Symphony. He has taught in Harlem public schools, at summer festivals in New Hampshire and New Haven, and currently teaches in Nazareth and Ramat Hasharon in Israel.

With a voice that has been described as “exquisite,” “sublime,” and “pure beauty,” soprano Veronica Chapman-Smith has performed with opera companies and orchestras across the country while keeping irm roots in her hometown of Philadelphia. This summer’s performances mark her third appearance with the Shenandoah Valley Bach Festival, having previously been soprano soloist for the Verdi Requiem, the Mozart C Minor Mass, and as the Countess in Le Nozze di Figaro. Chapman-Smith recently sang the role of Lily (Porgy and Bess) at Lyric Opera of Chicago, a role she also performed in the 2008 production. With Opera Birmingham, she has performed several roles including Clorinda (Cenerentola), about which Michael Huebner of The Birmingham News remarked, “The role of Clorinda was engagingly sung, Veronica Chapman-Smith milked the sister’s arrogance and ineptitude for all it’s worth.” Of her performance as Liu (Turandot) with Opera Birmingham, Huebner noted that Chapman-Smith “sang passionately in the tear-jerking Act 1 aria, ‘Signore, ascolta,’ her inal high pianissimo notes suspended in pure beauty.” She has performed a lengthy list of operatic roles, including Sandrina (La Finta Giardiniera), Gianetta (The Gondoliers), First Lady (The Magic Flute), Clara (Porgy and Bess), Nedda (I Pagliacci), The Cousin (Madama Butterly), Solo Gospel Quartet (Coin in Egypt), and Solo Voice for a commissioned piece by Lembit Beecker titled I Have No Story to Tell with Opera Philadelphia. Chapman-Smith has been a soloist with leading orchestras and choral groups, performing with West Shore Symphony and Memphis Symphony, Colorado Symphony, Charlotte Symphony, Choral Arts Society of Philadelphia, Mendelssohn Club of Philadelphia, Ursinus College, and Orquestra Sinfonica Municipal de Caracas. In addition to her private teaching studio, Chapman-Smith is an artist in residence at Temple University. David Evans, homilist, is assistant professor of history, mission, intercultural, and interfaith studies at Eastern Mennonite Seminary. His research focuses on the braided identity categories of race, nation and religion. In addition to teach57

ing, he loves to spend time with his three children, Isaac, Solomon and Sarah. He inds joy in playing and coaching basketball and soccer. He is also an avid music enthusiast who grew up playing the cello and singing. Above all else, Evans would like to be known as someone who loves God with deep conviction and loves God’s people with a heart that is wide open. American baritone John Fulton made his European opera debut in 2014 at the Royal Danish Opera in its production of Porgy and Bess. He sang the role of Jake in this historic production, directed by Tony Award winner John Doyle and conducted by Mikel Boder. In the summer of 2012, he made his concert debut with the Berliner Philharmoniker under the baton of Sir Simon Rattle. The summer of 2011 included two important concert debuts, the irst under the direction of Lorin Maazel as a part of the Castleton Festival, in which he sang the baritone arias of Gershwin’s masterpiece, Porgy and Bess, and the second in a similar concert presentation under Bramwell Tovey with the Boston Symphony Orchestra at Tanglewood. Fulton recently completed two seasons with the Arizona Opera in the Marian Roose Pulin Young Artist Studio. During his residency from 2008-10 with Arizona Opera, Fulton performed in several productions, including Don Giovanni and Tosca; the following season included Salome, La Bohème, and Il Barbiere di Sivigila. In 2007-08, he debuted as a member of the New York Harlem Productions, Inc., touring production of Porgy and Bess. With this company Fulton has performed the roles of Jake, Crown, and Jim in numerous opera houses across Europe, including Hannover, Amsterdam, Dresden, Leipzig, and Berlin. In 2003 and 2005, when he was an apprentice artist at Central City Opera, his roles included John/Tom (Face on the Barroom Floor), Barney Ford (Gabriel’s Daughter), and the narrator and soloist in “The Quartet of the Defeated” (Paul Bunyan). Fulton was awarded the Richard F. Gold Career Grant and the Apprentice Artist Award at Central City in 2005 and the prestigious Dietrich Fischer-Dieskau Wolf Lieder Competition in New York in 2003. He studies voice with Charles Schneider and has studied voice with Metropolitan Opera baritone Mark Oswald, Ashely Putnam, Charles Lynam, and Jane Dillard. Fulton has collaborated with con58

ductors Joel Revzen, Steuart Bedford, Sir Simon Rattle, and Lorin Maazel and has been directed by Catherine Malitano, Ken Cazan, James Robinson, Sonja Frisell, and Lemuel Wade. Fulton is a native of Charlotte, North Carolina, and studied at UNC Greensboro, before going on to gain his master’s of music at Eastman School of Music. Harpsichordist Joseph Gascho recently joined the faculty at the University of Michigan School of Music, Theatre & Dance. He enjoys a multifaceted musical career as a solo and collaborative keyboardist, conductor, teacher, and recording producer. Featuring his own transcriptions of Bach, Handel, and Charpentier, his recent debut solo recording was praised in the American Record Guide for “bristling with sparkling articulation, subtle but highly efective rubato and other kinds of musical timing, and an enviable understanding of the various national styles of 17th and 18th century harpsichord music.” In 2002, he won irst prize in the Jurow International Harpsichord Competition. As a student of Webb Wiggins and Arthur Haas, he earned master’s and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross. He is also a graduate in music from Eastern Mennonite University. Recent highlights include performing with the National Symphony at Carnegie Hall, the Mark Morris Dance Group, and the Kennedy Center Opera Orchestra, and conducting Idomeneo for the Maryland Opera Studio. He has also conducted numerous operas from Monteverdi to Mozart for Opera Vivente. At the Oberlin Conservatory’s Baroque Performance Institute, he conducts the student orchestra, coaches chamber music, and teaches basso continuo. A strong proponent of technology in the arts, he has used computer-assisted techniques in opera productions, in a recent recording with the ensemble Harmonious Blacksmith and percussionist Glen Velez, and in his basso continuo classes. In demand as a recording producer, Gascho has recently produced sessions and recordings for Pomerium, the Folger Consort, Trio Pardessus, the 21st Century Consort, Ensemble Gaudior, Three Notch’d Road, pianist/composer Haskell

Small, Cantate Chamber Singers, and the Washington Master Chorale. Praised for “exemplary bravura” (New Haven Register) and “expressive animation” (Baltimore Sun), Sandra Gerster is a busy musician who has served as principal oboist of the Shenandoah Valley Bach Festival Orchestra for 22 years. Currently residing in Baltimore, Gerster performs regularly with the Baltimore, Annapolis, and Maryland Symphonies, as well as the Baltimore Chamber Orchestra, The Orchestra of St. John’s, and Annapolis Opera. As principal oboist of the Bach in Baltimore concert series, Gerster performs Bach cantatas each irst Sunday of the month and is a frequently featured concerto soloist. A founding member of the acclaimed oboe trio, Trio La Milpa, she concertizes throughout the United States with members of the Baltimore Symphony oboe section. In August 2007, the trio became the irst American musical ensemble to tour Greenland. From 1993 to 2005 Gerster lived in Virginia, performing with the Richmond and Virginia (Norfolk) Symphonies, as well as Virginia Opera and Williamsburg Symphonia. Formerly she was principal oboist of the Hartford Symphony, Connecticut Opera, Berkshire Opera, and Opera New England. As a founding member of the Soni Fidelis Quintet, Gerster made an acclaimed Carnegie Hall debut in 1989 and worked with celebrities such as Susan Saint James and Captain Kangaroo. Gerster has collaborated with the New World, Franciscan, and Cavani String Quartets and in 1998 participated in a special chamber music concert in London for Prime Minister Tony Blair and designated members of his cabinet. Gerster serves on the faculties of the Peabody Conservatory of Music and the Baltimore High School for the Arts. Violinist Joan Griing is a member of the Virginia Symphony, violin faculty with Eastern Music Festival, and a professor of music at Eastern Mennonite University. She earned her bachelor’s and master’s degrees in violin performance from Indiana University and her DMA from The Ohio State University. In the spring of 1999, she premiered a violin concerto written for her by Terry Vosbein, compos-

er-in-residence at Washington and Lee University. She has performed as concertmaster with the AIMS Festival Orchestra in Austria and Italy, as well as with the Coronado, Grand Teton, Norfolk, and Spoleto festivals. Her recent international appearances include a threeweek tour of Taiwan with the Atlanta Pops Orchestra, a series of guest recitals and master classes in the state of São Paulo, Brazil, a presentation at the International Viola Congress in Adelaide, Australia, a series of chamber music recitals and master classes in the northeastern part of Brazil, and a ive-month collaboration with artists at the University of Otago in Dunedin, New Zealand, studying the role of music in peace and conlict issues. Griing is a founding member of, and tours regularly with, the chamber music group Musica Harmonia, formed to promote peace and cultural understanding through musical collaboration. The group recorded a CD of chamber music by Gwyneth Walker, When the Spirit Sings, in 2014. Walker composed two of the works speciically for Musica Harmonia. In 2012, Griing and cellist Beth Vanderborgh gave the North American premiere of Double Concerto for Violin and Cello by New Zealand composer Anthony Ritchie as artists in residence at the Brush Creek Arts Foundation in Wyoming. In May 2014, she was solo violinist in Vaughan Williams’ The Lark Ascending with The Dance Theatre of Harlem. Arthur Haas is one of the most sought-after performers and teachers of Baroque music in the United States today. He received the top prize in the Paris International Harpsichord Competition in 1975 and then stayed in France for a number of years as an active member of the growing European early music scene. While in Paris, he joined the Five Centuries Ensemble, a group acclaimed for its performances and recordings of Baroque and contemporary 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 Aula Harmoniæ. He has recorded harpsichord music of Jean-Henry D’Anglebert, Forqueray, Purcell and his contemporaries, Elisabeth Jacquet de La Guerre, François Couperin, and most recently the three books of 59

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 awardwinning Stony Brook Baroque Players, and is also on the faculty of Juilliard’s historical performance program. In fall 2012, he joined the distinguished faculty of the Yale School of Music. A versatile performer on modern and historic instruments, Phillip Chase Hawkins, trumpet, is an active performer, educator, and clinician. He holds the positions of principal trumpet with the Knoxville Symphony Orchestra in Knoxville, Tennessee, and visiting professor of trumpet at Centre College in Danville, Kentucky. From 2012 to 2013, he served as interim professor of trumpet at the University of Kentucky. He is a member of the UK Brass Quintet, the 1st B-lat cornet in Saxton’s Cornet Band (America’s premier Civil War Cornet Band), and soprano E-lat cornet in the Lexington Brass Band. He has appeared in concert halls and recital venues around the world, including New York’s Carnegie Hall, Roy Thomson Hall in Toronto, Canada, the National Center for the Performing Arts in Beijing, China, Tianjin Concert Hall in Tianjin, China, Brucknerhaus in Linz, Austria, Stefaniensaal and Kasematten in Graz, Austria, Eastman School of Music’s Kodak Hall, and National Conservatory of Music in Lima, Peru, among others. Hawkins has had the opportunity to perform with great artists, such as Vincent DiMartino, James Thompson, Bob Sullivan, Denver Dill, Gaudete Brass Quintet, and the U.S. Naval Academy Brass Quintet. He has also performed with professional ensembles such as the Boston Pops Orchestra, West Virginia Symphony Orchestra, and the Lexington Philharmonic Orchestra, and as lead trumpet with Bluegrass Area Jazz Ambassadors, Havana Nights Salsa Band, and Half Ton Horns. As a winner of multiple national and international competitions, most recently he took irst place at the Grand Valley State University International Solo Competition in July 2014. In 2013, he won irst prize at the North American Brass Band 60

Association Solo Competition in the high lyric category. In 2012, he was the irst-place winner of the National Trumpet Competition in the graduate division and also won irst place in the National Brass Symposium Solo Competition. Hawkins holds a bachelor of music and a master of music degree from the Eastman School of Music, where he was awarded the prestigious Performer’s Certiicate. Anastasia Jellison holds a bachelor’s degree from the Cleveland Institute of Music, where she studied with Alice Chalifoux, principal harpist of the Cleveland Orchestra for 47 years. In 1999 she completed her master’s degree in harp performance at the Shepherd School of Music, Rice University, under the instruction of Paula Page, principal harpist of the Houston Symphony. Jellison has extensive experience as an orchestral harpist. She has played with the Houston Symphony, the Houston Ballet, the Houston Grand Opera, the Knoxville Symphony, Richmond Symphony, Virginia Symphony, Opera Roanoke and several other ensembles throughout Texas, Ohio and Virginia. In addition, she has toured Europe with the North Carolina School of the Arts, attended the International Festival-Institute at Round Top in Round Top, Texas, and has traveled to Japan with the Paciic Music Festival. Jellison spends her summers playing with the Shenandoah Valley Bach Festival and joined the Wintergreen Music Festival for their 2014 season. She debuted with the Roanoke Symphony for its 50th anniversary concert in a performance of the Bartok Concerto for Orchestra and has been principal harpist with the symphony since 2005. Currently she teaches at the University of Richmond, University of Virginia, and the College of William and Mary, and has a private studio in Richmond, Virginia. Lynne Mackey is founder and director of the Virginia Baroque Performance Academy, with this year’s Baroque workshop marking its seventh year as part of the Shenandoah Valley Bach Festival. She is a pianist and harpsichordist, 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. Mack-

ey holds master’s and doctorate degrees from The Juilliard School and the Eastman School of Music, and a bachelor’s degree from the University of Michigan. Highlights of her career include performances at Weill Recital Hall and Merkin Hall in New York City, the Banf Centre in Alberta, Canada, and at the International Gaudeamus Interpreters Competition in Rotterdam. Mackey was awarded an Appalachian College Association Fellowship for a residency at the University of Virginia in the ield of contemporary music. More recently, she spent the winter and spring of 2014 in Paris as the recipient of an artist residency at the Cité Internationale des Arts. Most recently, in January of 2015, she was invited to perform in a week of solo harpsichord masterclasses conducted by Trevor Pinnock at Brandywine Baroque. In the spring of 2016, she will be harpsichord concerto soloist with the Symphony Orchestra of Presbyterian College in South Carolina. She also performs in the Gee-Mackey Duo (cello and piano), touring in the United States and also in Spain and Morocco. She has taught on the faculties of Eastern Mennonite University, the University of Mary Washington, the University of Virginia, and Blueield College. Carol G. Marsh, Baroque dance specialist, received her Ph.D. from the City University of New York, with a dissertation on early 18th-century English dance sources. A professor emerita at the University of North Carolina at Greensboro, she taught music history and viola da gamba and was director of the Collegium Musicum. In spring 1998, she was a Fulbright Scholar at the University of Salzburg. Her books include Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos (with Rebecca Harris-Warrick), La Danse Noble: An Inventory of Dances and Sources (with Meredith Little), and the facsimile edition of L’Abbé’s New Collection of Dances. She has lectured and given dance workshops at numerous universities in the United States and abroad and has been on the faculty at many early music and dance workshops in North America and Europe, teaching viola da gamba, Renaissance music notation, and historical dance. Martha McGaughey, viola da gamba, was for many years a member of the Paris-based Five Centuries Ensemble, known for its performances of both early and contemporary music. She was a founding member of New York’s Empire

Viols and of Musical Assembly, whose recording of the chamber music of François Couperin has received critical acclaim. She has toured with the Waverly Consort, performed with Concert Royal, the Aulos Ensemble, and the New York Collegium, and appears regularly with the Long Island Baroque Ensemble as well as the Capella Oratoriana of Brooklyn. McGaughey has also collaborated with the British viol consort, Phantasm, in several concerts and a CD of the consort music of William Byrd. She has recorded for the Fonit Cetra and Erato labels in Italy and France, as well as for EMI. McGaughey has taught at the École Nationale de Musique in Angoulême (France), at the Eastman School of Music, and at Stanford University. She studied in Basel with Jordi Savall and in Brussels with Wieland Kuijken. She has twice been a Regents’ Lecturer at the University of California, San Diego, teaches regularly at Amherst Early Music, the 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. McGaughey is a founding member of the New York-based groups Empire Viols and Aula Harmoniae. Aula Harmoniae toured Korea in the fall of 2013. Marvin Mills, organist and choral director, 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 include the Jacksonville, Pittsburgh, and Peabody Symphonies in works by Handel, Rheinberger, Hindemith, and Jongen. He has served as university organist at Howard University, music director of The National Spiritual Ensemble, and is organist at St. Paul’s UMC, Kensington, Maryland. A frequent guest artist with The Ritz Chamber Players (Jacksonville, Fla.) and MasterSingers of Wilmington (Del.), he has been keyboard artist/choral director for the Shenandoah Valley Bach Festival since 2001. PipeDreams (Minnesota Public Radio) featured Mills, a prize-winning composer, in the broadcast Music of Color, his Kennedy Center Millennium Stage Recital was webcast, and he was a recitalist for the inaugural weekend of the Dobson 61

pipe organ in Philadelphia’s Kimmel Center Verizon Hall. His Four Spirituals for Denyce Graves has been performed throughout the country at colleges and universities by aspiring singers. A setting of a Phyllis Wheatley poem, On Virtue, was commissioned by the Cathedral of St. John the Divine for its Poets Corner. He made his theatrical conducting debut in Joplin’s Treemonisha with Washington Savoyards in 2010. Kenneth Nafziger, artistic director and conductor, is professor of music at Eastern Mennonite University. A graduate of Goshen College, he received a doctor of musical arts in music history and literature from the University of Oregon and was a post-doctoral conducting student with Helmuth Rilling in Frankfurt/Main and Stuttgart, Germany. At EMU his teaching responsibilities include the EMU Chamber Singers and courses in conducting, interdisciplinary 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, Virginia. A highlight of this past season included the irst U.S. performance of a recent choral work by Ysaye Maria Barnwell. He has worked with many of Cuba’s premier orchestral and choral ensembles over the past number of years, 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 signiicant work in church music. He edited or assisted in editing three hymnals (the ones in the hymnal racks), producing teaching materials and recordings, and co-wrote a book on the signiicance of singing among Mennonites. His work is widely known in many denominations. A January workshop, which he founded for church music leaders, has run successfully for more than twenty years and draws a large population of church musicians from a wide geographic and denominational spread. He is a frequent guest conductor, workshop leader, and clinician 62

across the United States and Canada. Last January he spent a long weekend with St. Paul’s United Methodist Church in Ithaca, New York, as a song leader and worship consultant. Violist Diane Phoenix-Neal performs regularly throughout the United States and worldwide as a recitalist and as a collaborative chamber musician. She received her training from UNC School of the Arts and at The Juilliard School, where she studied with William Lincer and with the Juilliard Quartet. As an educator, she enjoys her role as visiting assistant professor and orchestra director for Central College in Pella, Iowa. Currently principal violist of the Shenandoah Valley Bach Festival, she also serves on the faculty of Drake University in Des Moines. In the summer, she is in residence in North Carolina, where she performs, coordinates a chamber music program, and teaches as a faculty member at the Eastern Music Festival. Her performances have taken her to concert stages worldwide, to France, Spain, Poland, Portugal, China, Morocco, and Brazil, and to the music festivals of Spoleto, Banf, and Evian. In France, she served as both the solo violist of the Orchestre de Picardie and as violist of Quatuor Joachim. She is a founding member of the chamber ensemble Musica Harmonia, formed to promote peace and cultural understanding through musical collaboration. An enthusiast of new music, Phoenix-Neal has collaborated with composers Jerzy Kornowicz (Poland) and Gwyneth Walker (U.S.) in commission projects in 2013, 2014, and 2015, presenting world premiere performances of works written for her and for Musica Harmonia. Her recent recitals and projects featuring contemporary music for viola have been presented at Central College, Northwestern University New Music Conference, the New Frontiers Festival at the University of Wyoming, and at the Academy of Music in Kraków, Poland. Recent collaborative performances include guest appearances at Eastern Mennonite University, Augustana College, and with Drake Fine Arts Faculty Series. Linda Quan, violinist, was born in Los Angeles and earned her bachelor’s and master’s degrees in music at The Juilliard School under Joseph Fuchs. Quan has had a diverse career concertizing and recording in the United States, Canada, South America, Europe, Asia, and Australia as a so-

loist, a chamber musician, and a principal orchestral player. Extremely active in the ield of “original instrument” performance, she is a founding member of the Aulos Ensemble and Classical Quartet, and she appears regularly as a principal player with The American Classical Orchestra, The Handel and Haydn Society, Smithsonian Chamber Players, and The Bach Ensemble. Quan has an equally strong involvement in new music, performing and recording with the Atlantic Quartet, The New York New Music Ensemble, the ISCM Chamber Ensemble, and the Composers Conference at Wellesley. In the past, she has appeared and toured with such groups as The Orpheus Chamber Ensemble, The Classical Band, The St. Luke’s Orchestra of New York, and The Contemporary Chamber Ensemble, and has appeared in numerous summer festivals, including Mostly Mozart at Lincoln Center, Tanglewood, Caramoor, Santa Fe, Blossom, June in Bufalo, and Wolf Trap. International festivals include Festival of Perth, Schleswig Holstein, Lufthansa Festival of London, Edinburgh International Festival, and contemporary music festivals in Beijing, Thailand, Cambodia, and Belgium. Besides her position on the faculty of Vassar College since 1980, Quan has led workshops in old and new music performance practices at universities and summer academies throughout America. She has recorded on the Harmonia Mundi, Smithsonian, CRI, Musical Heritage Society, MusicMasters, Opus One, Decca (L’Oiseau-Lyre), and Centaur labels. Mark Rimple has appeared as countertenor and lutenist with some of the top ensembles performing medieval through baroque music today, including Trefoil, The Newberry Consort, The Folger Consort, Ex Umbris, Pifaro, the Renaissance Band, Tempesta di Mare, and Melomanie. A Chicago Tribune reporter praised his “efortless upper notes capable of pinpoint accuracy.” His vocal performances of the music of Ciconia with Ellen Hargis and Drew Minter on Puzzles and Perfect Beauty (Noyse Productions) were lauded by critics. A Philadelphia Inquirer critic wrote that his lute playing has “the speciicity of a great vocal performance.” Rimple has accompanied solo recitals by Drew

Minter, Julianne Baird, and Laura Heimes. He has also recorded new music by Matthew Greenbaum on archlute and recorded modern countertenor music by Jonathan Dawe. As a composer, he incorporates the rhythmic and tonal aspects of early music and often includes early instruments and techniques in his works. Leading ensembles including The League of Composers/ISCM Chamber Players, Parnassus, Choral Arts Philadelphia, Pifaro, and Mélomanie have performed his compositions. Most recently, his Nouvelle Chanson des Oiseaux (for SATB choir and lute) was deemed by critics as “nothing short of a masterpiece” and “movingly beautiful.” He is in the inal stages of recording his irst solo composition CD, January, featuring new works for archlute, countertenor, viola da gamba, and harpischord. Rimple holds a doctorate of musical arts in composition from Temple University and is professor of music theory and composition at West Chester University, where he also directs the Collegium Musicum. He has lectured and taught early notation, coached vocalists, given lute masterclasses, and taught vocal and instrumental ensembles for the Amherst Early Music Festival, The Madison Early Music Festival, The Virginia Baroque Performance Academy, Pinewoods Early Music Week, and the Interlochen Summer Arts Camp. Joel Ross, tenor, graduated from Messiah College in Grantham, Pennsylvania, with a bachelor's degree in music education with a concentration in voice. In 2011, he completed a master’s in music 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 currently sings in Good Company, a semi-professional a cappella sextet based in Harrisonburg, Va. He also serves as the music director and writes and arranges music for Good Company. Ross teaches in Shenandoah County, where he directs the choir and string orchestra programs at Signal Knob Middle School and Strasburg High School and teaches high school and AP music theory. He regularly composes and arranges 63

music for the Strasburg High School String Ensemble and has submitted several of his works for publication. He also is the founder and administrator of Shenandoah Summer Strings, a week-long summer orchestra camp in Shenandoah County. Philadelphia artist Melinda Stefy creates visual artwork that fuses music theory and color theory, translating works by composers such as J.S. Bach and Bartók into complex color patterns. She received a master of ine arts in painting from The University of the Arts and a bachelor’s degree from Eastern Mennonite University. Her artwork has been on display across the northeast at galleries such as Rowan University (N.J.), Crane Arts (Philadelphia), Sam Quinn Gallery (Philadelphia), Delaware Center for Contemporary Art, Fringe Wilmington (Del.), Lancaster Museum of Art (Pa.), Villanova University (Pa.), Finlandia University (Mich.), Micro Museum (N.Y.), and Stamford Art Association (Conn.), among others, and she was prize winner in the 29th annual Faber Birren Color Award Show. Melinda is an artist member of InLiquid and a LEADERSHIP Philadelphia fellow. She has taught art classes and workshops for all ages and previously worked as a freelance art reviewer, covering exhibitions in the Philadelphia region. Also an accomplished musician, Stefy currently serves as the executive director for innovative music nonproit LiveConnections and sings with a 15-voice a capella chamber choir, the Chestnut Street Singers. Anne Timberlake has appeared across the United States performing repertoire from Bach to 21st-century premieres to Celtic tunes. She holds degrees in recorder performance from Oberlin Conservatory, where she 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 “ine technique 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 Ad64

vancement of the Arts and was awarded a Fulbright Grant. With Musik Ekklesia, she has recorded for the Sono Luminus label. She is a founding member of the ensemble Wayward Sisters, specializing in music of the early Baroque. In 2011, Wayward Sisters won Early Music America’s Naxos Recording Competition. Wayward Sisters released its debut CD on the Naxos label in 2014. Timberlake enjoys teaching as well as playing. In addition to maintaining a private studio, she has coached through Indiana University’s Pre-College Recorder Program, the San Francisco Early Music Society, the Virginia Baroque Performance Institute, Mountain Collegium, and for numerous ARS chapters. Pianist Anne Waltner has performed on ive continents in numerous solo and collaborative roles. Currently assistant professor of music at Eastern Mennonite University, she is regarded both as a demanding teacher and a highly artistic performer. At EMU she coordinates the music theory sequence and the collaborative piano program and teaches studio piano. Previously she taught at West Virginia State University, Woodstock School in Mussoorie, India, and at the Rainey Institute in Cleveland, Ohio. A graduate of the Cleveland Institute of Music with a doctorate of musical arts and an artist diploma in collaborative piano, she studied with Anita Pontremoli and Olga Radosavljevich. Waltner received her master’s and bachelor’s degrees in solo piano performance from Chicago College of Performing Arts with Ludmila Lazar, and from Goshen College with Marvin Blickenstaf, respectively.

ACKNOWLEDGEMENTS Generous underwriting and grant support is provided in part by … Conductor Eugene Stoltzfus and Janet Trettner Soloists E. Rhodes and Leona B. Carpenter Foundation Festival Concert 1 Ed and Cathy Comer Alden and Louise Hostetter Ron and Shirley Yoder Festival Concert 2 C. Robert and Charity S. Showalter Donald E. and Marlene C. Showalter Nelson L. and Phyllis E. Showalter Festival Concert 3 Sidney Bland and Linda Heatwole Bland Janet S. Einstein Principal Oboe Chair Beryl and Mark Brubaker Noon Concerts Chris and Betsy Little • Monday Dr. Kip Riddle and Corja Mulckhuyse • Tuesday Roy and Donna Heatwole • Wednesday Michael and Violet Allain and Jim and Joyce Benedict • Thursday Welby C. Showalter, Attorney at Law • Friday Carol Yetzer • Saturday

2015 FESTIVAL CHOIR Soprano Judy Bomberger Harrisonburg, Va. Sue Cockley Harrisonburg, Va. Christine Fairield Staunton, Va. Sylvia Fellows Harrisonburg, Va. Mamie Mellinger Harrisonburg, Va. Augusta Nafziger Weyers Cave, Va. Barbara Reisner Harrisonburg, Va. Jennifer Davis Sensenig Harrisonburg, Va. Jewel Shenk Sarasota, Fla. Kris Shank Zehr Harrisonburg, Va.

Alto Babs Fickes Palmyra, Va. Margaret Figgins Woodstock, Va. Lynn Grandle Hampton, Va. Beth Harter Bridgewater, Va. Joyce Lind Harrisonburg, Va. Jane Moll New Market, Va. Ginny Newman Luray, Va. Anna Showalter Durham, N.C. Bonny Strassler Staunton, Va. Dorothy Jean Weaver Harrisonburg, Va. Abigail Shank Zehr Harrisonburg, Va.

Tenor John Barr Bridgewater, Va. Les Helmuth Harrisonburg, Va. Jim Hershberger Linville, Va. Robert Jochen Mount Sidney, Va. David Kaeuper Timberville, Va. Clair Mellinger Harrisonburg, Va. Daniel Miller Harrisonburg, Va. Jeremy Nafziger Weyers Cave, Va.

Bass Drew Bellinger Harrisonburg, Va. Joshua Goines New Market, Va. David Holl, Bridgewater, Va. Sam Kaufman Harrisonburg, Va. Vernon Mast Broadway, Va. Sam Miller Harrisonburg, Va. Jim Newman Luray, Va. Lowell Newman Stanardsville, Va. Stephen Stutzman Harrisonburg, Va. William Tompkins Harrisonburg, Va. Don Tyson Harrisonburg, Va.

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2015 FESTIVAL ORCHESTRA Violin 1 Joan Griing, concertmaster Harrisonburg, Va. Ralph Allen Raanana, Israel Amy Glick Orrville, Ohio Mark Hartman Shippensburg, Pa.

Eleonel Molina Ellicott City, Md. Jennifer Rickard Fairfax, Va. Phil Stoltzfus Northield, Minn. Mark Taylor Buena Vista, Va. Jacinda Stahly * Atmore, Ala. Violin 2 Susan Black, principal Charlottesville, Va. Susan Bedell Richmond, Va. Kaye Crowther Harrisonburg, Va. Rebecca Hunter Harrisonburg, Va. Maria Lorcas Grottoes, Va. Paul McEnderfer Harrisonburg, Va. Sharon Miller Harrisonburg, Va. Miranda Helm * Luray, Va.

Viola Diane Phoenix-Neal, principal Pella, Iowa Karen Johnson Dayton, Ohio Christy Kaufman Lancaster, Pa. Thomas Stevens Richmond, Va. Cello Paige Riggs, principal Pittsburgh, Pa. Nadine Monchecourt Cincinnati, Ohio Eric Stoltzfus Mt. Rainier, Md. Beth Vanderborgh Laramie, Wyo. Lisa Wright Harrisonburg, Va. Bass Pete Spaar, principal Charlottesville, Va. Fred Dole Rochester, N.Y. Flute Mary Kay Adams, principal Bridgewater, Va. Carol Warner Bridgewater, Va. Oboe Sandra Gerster, principal Baltimore, Md. Kevin Piccini Hampton, Va. Michael Lisicky Baltimore, Md.

Clarinet Leslie Nicholas, principal Harrisonburg, Va. Lynda Dembowski Annapolis, Md. Michael Lippard York, Pa.

Tuba Kevin Stees Harrisonburg, Va.

Bassoon Jonathan Friedman, principal Richmond, Va. Lynda Edwards Richmond, Va.

Percussion Michael Overman, principal Bridgewater, Va. Charlie Nesmith Staunton, Va. Josh Miller * Baltimore, Md. Benjamin Hill * Harrisonburg, Va.

Horn David Wick, principal Virginia Beach, Va. Jay Chadwick Reston, Va. Tara Islas Alexandria, Va. Roger Novak Richmond, Va. Trumpet Judith Saxton, principal Winston-Salem, N.C. Susan Messersmith Charleston, S.C. Christine Carrillo Harrisonburg, Va. Trombone Ron Baedke, principal Glen Allen, Va. Jay Crone Blacksburg, Va. Harold Van Schaik St. Petersburg, Fla.

Timpani Raymond Breakall Chester, Va.

Harp Anastasia Jellison Richmond, Va. Organ and Harpsichord Marvin Mills Baltimore, Md. * orchestra fellows Festival Interns Erin Hershey Mechanicsburg, Pa. Benjamin Hill Harrisonburg, Va. Caitlin Holsapple Harrisonburg, Va. Jacinda Stahly Atmore, Ala.

SPECIAL THANKS … to Eastern Mennonite University, for providing facilities for meetings, rehearsals, and concerts, and for its inancial and campus-wide support to ensure the success of the festival.

… to Melinda Stefy, for sharing her sapple, interns, for providing manageBach-inspired artwork in the MM ment assistance. Gehman Gallery and in Lehman Audi- … to VMRC, for providing meeting space torium, and for her presentation on our for the festival board. opening weekend. … to Ken Nafziger, for writing program … to First Presbyterian Church, for the … to our silent auction donors: Melinda notes, and to Jeremy Nafziger and use of their facilities for the noon conStefy (watercolor); Babs and Don Judy Cohen, for their editorial work. certs, the Baroque Workshop, and the Fickes (vacation packages, quilt); … to Evergreen & Victoria Floral, for Road Scholar program. Anne Waltner (performance); donating loral arrangements for the Musica Harmonia musicians Joan … to Whitesel Music and Josh Dove, foyer. Griing, Diane Phoenix-Neal, and owner, for loaning the grand piano for Beth Vanderborgh (performance); … to Blue Sprocket Sound, for producnoon concerts and for hosting “Bach & and an anonymous donor (a Baring archival recordings. Beyond II”; and to Deb Ryder, Teresa bara Camph stained glass window). Crawford, Joyce Grove, and Bill …to Jef Warner, for preparing the Vance, “Four-in-a-Chord” pianists, for … to Helen Nafziger (First Presbyterian) stage design and lighting. performing at “Bach & Beyond II.” and Judy Bomberger (Lehman), ush… to EMU personnel for signiicant super coordinators; and to all ushers. … to WMRA 90.7-WEMC 91.7 Public port: Radio, WHSV TV3, and Verstandig … to Janet Trettner, for chairing the Cindy Mathews, ad management, Broadcasting, for promotional supBach Guild. mailings, choir management assisport. … to facilitators of the Road Scholar tance, and music engraving … to Kirsten Moore, for contributing Program: Phyllis Coulter and ElisaMatt Hunsberger, stage and facilities her artistic gift in the creation of this beth Eggleston, coordinators; to drivmanagement season’s concept design. ers Paul Yoder (coordinator), Millard Jessica Hostetler, marketing assisShowalter, Tom Sawin, Ray Horst, … to Susan Black, organizer, and Westtance and Daniel Hoopert; to speakers minster Presbyterian Church (CharKen Nafziger, Sidney Bland, Fred Lindsey Kolb and Jon Styer, photoglottesville), for hosting a fundraising Dole, Judith Saxton, Lynne Mackey, raphy and graphic design concert; to Polly Haynes and Babs and Mary Kay Adams; and to CrossFickes, for promotion; and to the perMary Jo Veurink, program book design Roads Valley Brethren-Mennonite formers: Nancy Garlick, Jonathan Heritage Center, for hosting a tour. Mike Zucconi, media promotion Schakel and other Charlottesville musicians, and SVBF musicians … to Helen and Ken Nafziger, Cathy Lynn Veurink, box oice manager Kenneth Nafziger, Joan Griing, and Ed Comer, and Loretta and Phil Helmuth, Kirk Shisler, and SuDiane Phoenix-Neal, Susan Black, Phil Helmuth, for hosting events in san Beck, development, advancement, Lisa Wright, David Wick, Rebecca their homes or gardens. advertising Hunter, Lynda Edwards, Pete Spaar, … to Lynne Mackey, director, for manJacob Kaufman, gift receipting and Mary Kay Adams. aging the Baroque Workshop. B.J. Gerber, development analysis … to Michael Overman and the JMU … to Erin Hershey, Jacinda Stahly, Steel Band, for performing a fundraisCindy Smoker, development coordinaBenjamin Hill, and Caitlin Holing concert at JMU. tion, mailings 68

Bruce Emmerson, food services Stella Knicely, Loretta Helmuth, and Physical Plant staf, coordination of details … to musicians’ housing hosts: Michael and Violet Allain David and Julia Alleman Hans and Linda Barthmus Jim and Joyce Benedict Ed and Cathy Comer Jerry and Phyllis Coulter Don and Margaret Foth Phil and Loretta Helmuth Glenn and Sandra Hodge Paul and Shirley Hoover Alden and Louise Hostetter Jack and Lynn Martin Wesley and Nancy Ross Jack and Gloria Rutt

Harley and Sadie Showalter John and Virginia Spicher Loren and Pat Swartzendruber Paul and Ann Yoder Ron and Shirley Yoder Performance rights and materials for: George Gershwin’s Porgy and Bess, by arrangement with European American Music Distributors Company, 60 Depot Street, Verona, N.J. 07044; Aldolphus Hailstork’s Three Spirituals, by arrangement with Theodore Presser Company, 488 North Gulph Road, King of Prussia, Pa. 19406; Edmund Thornton Jenkins’ Charlestonia: A Folk Rhapsody, by arrangement with the Charleston Symphony Orchestra, 756 St. Andrews Blvd., Charleston, S.C. 29407; William Grant Still’s Ennanga, by arrangement with

Serving the Shenandoah Valley for more than 120 Years.

William Grant Still Music, 809 W. Riordan Rd., Suite 100, Box 109, Flagstaf, Ariz. 86001-0810. Johann Sebastian Bach’s Concerto in G Major for Violin and Viola, Robert Bridges’ restoration, by arrangement with Ars Lyrica Houston, Matthew Dirst, artistic director, 4807 San Felipe, Suite 202, Houston, Tex. 77056; engraving by Cindy Mathews. Programs and artists are subject to change without notice or refund. The use of any photography, video or audio recording devices is not permitted in the auditorium. Food and drink are not permitted in the auditorium. Additional restrooms are available in the Campus Center.

Delight in the details.

www.mybrb.com Charlottesville | Harrisonburg | Luray | McGaheysville | Shenandoah Member FDIC

126 W. Bruce Street Harrisonburg, Virginia www.blueridgearchitects.com

We are grateful to our donors. Thank you! This list relects gifts received May 21, 2014 – May 20, 2015. Founding Sponsors Charles and Judith Strickler In tribute to Louise Showalter: Carl Showalter C. Robert and Charity S. Showalter Donald E. and Marlene C. Showalter Nelson L. and Phyllis E. Showalter Conductor’s Circle, $10,000 & up E. Rhodes and Leona B. Carpenter Foundation Virtuoso’s Circle, $5,000-$9,999 Eugene Stoltzfus and Janet Trettner Musician’s Circle, $2,500-$4,999 Sidney Bland and Linda Heatwole Bland Benefactor, $1,000-$2,499 Anonymous Jacob E. Baer Beryl and Mark Brubaker Ed and Cathy Comer Dynamic Aviation Elisabeth T. Eggleston Janet S. Einstein Joseph and Barbara Gascho Roy and Donna Heatwole Alden and Louise Hostetter Dr. LaDene King and Gretchen Nyce Rosemary King Anne S. McFarland Ken and Helen Nafziger Dr. Kip Riddle and Corja Mulckhuyse Jack and Gloria Rutt C. Robert & Charity S. Showalter Donald E. and Marlene C. Showalter Nelson L. and Phyllis E. Showalter Welby C. Showalter, Attorney at Law Carol Yetzer Ron and Shirley Yoder 70

Patron, $500-$999 Mary Kay and Gary Adams Violet and Michael Allain Donna S. Amenta Myron and Esther Augsburger Jim and Joyce Benedict Sharon S. Bowers Earl and Donna Burkholder Judy and Ralph Cohen Phyllis and Jerry Coulter Babs and Don Fickes Fred and Gail Fox Bill and Mary Gibb Robert E. Gillette Diane and Bob Guzzi Leo and Ruthanne Heatwole Les and Sylvia Helmuth Robert F. Jochen and Christopher T. Smith Richard and Mona Johnson Ruth and Timothy Jost Fred and Rosalyn Kniss David and Margaret Messner Mary E. Reitz Barkley and Marina Rosser Jon and Sheryl Shenk Loren and Pat Swartzendruber Partner, $250-$499 Benjamin and Kate Bergey Larry and Marcia Brown George and Margie Chadwick Ted and Renate Chapman John and Kathryn Fairield Ray and Wilma Gingerich Hiram and Mary Jane Lederach Hershey David and Deborah Jackson David Kaeuper Ron and Lila King Robert and Nancy Lee

Robert Lock and John Dobricky Paul McEnderfer Lois W. Miller Ellen Nash and Jonathan Jay Mia Nollert Elizabeth and William Oscanyan S. Grayson Sless and David Lane Sherwyn and Deirdre Smeltzer Don R. Smith Del and Lee Snyder Frank and Nancy Steller Anne Waltner Jim and Carol Warner David Wick Ingeborg and Vernon Yeich Sustainer, $100-$249 Ervin and Ann Nofsinger Anderson Anonymous Beth Aracena and David Roth Richard and Elaine Bachman John G. Barr Evon and Philip Bergey Bob and Dolores Bersson Daniel W. Bly Don and Judy Bomberger Elizabeth Brunk Ruel and Diane Burkholder Steve and Denise Call Ellen Campbell Eric and Jerry Lee Chain Lee and Carol Congdon Patricia S. Costie James Ford and Donna Courtney Gary and Kaye Crowther Joe and Alice Davis Linda Dove Nell Dove Tom DuVal and Lorie Merrow Robert Eggleston Joe and Diana Enedy

Jody and David Evans Seymour Freed Greg Gessert Ervie and Mary Glick Joan Griing and Leslie Nicholas Joyce and Sidney Grove Bernard and Susan Halterman Dwight and Pearl Hartman Collier and Betty Harvey Dr. J.T. Hearn Nancy Heisey and Paul Longacre Phil and Loretta Helmuth Judy Henneberger Glenn and Sandra Hodge Bill and Becky Hunter Jean Janzen Johnson & Johnson Family of Companies Norman and Rhoda Kraus Marijke Kyler Roland and Darlene Landes Jay and Peggy Landis Larry and Jane Lehman Knute and Betty Leidal Richard and Jan Lorette Joan Losen Robert and Merle Mast Marge Maust David and Sarah McCracken Mary Sue McDonald Edward and Elaine McLaughlin David and Charlette McQuilkin Clair and Mamie Mellinger Anne Miller Sylvia S. Moore John and Bernice Mrotek Jeremy Nafziger and Michael Ann Courtney Rhoda E. Nolt C.K. and Mary Norville Alice Parker Elmo and Ella Pascale Zack and Judith Perdue Paula Putman Cathy Rittenhouse and Daniel Hostetter

Ada Mae Saxton Brenda Seal Ann and Ralph Sebrell Kenneth Seitz, Jr., and Audrey Metz Rowland and Thelma Shank Frances C. Shaw Sam and Jan Showalter Stuart and Shirley Showalter Lara and Daniel Steinel Barbara Stickley Robert H. and Lorraine W. Strickler Foundation Betty Sullivan Roy and Carol Thomas Doris Trumbo VistaShare Dorothy Jean Weaver Peggy and Dick Wurst Friend, up to $99 Anonymous Ruth Arnold and Lou Dolive Don and Martha Augsburger Emmert and Esther Bittinger James R. and Doris A. Bomberger Doug Brunk and Lloyd Bowman Joseph and Akiko Carniglia Steve and Chris Carpenter Allen Clague Rose Cox Abraham Davis, Jr. Dennis and Gayle Dupier Mary Lou Wylie and Lennis Echterling Marie Engle Conrad Erb Emily Everling Helen and Allen Fleishman Kathleen L. Gardner Jim and Phyllis Gaskins John Goodloe Ralph Grove Harry and Florence Hall Liam and Svetlana Hannaher Frank and Sherrel Hissong Jim and Judith Hollowood

Eliza Hoover Larry and Pat Hoover Bob and Betty Hoskins Jessica Hostetler Don and Sarah Hunsberger James and Mary John Leo and Carrie Kanagy Dorothy Kasten J.D. and Joyce Keiper Harold and Betty Kitzmann Diane and Larry Korte William and Carole Kreowski Elizabeth La Grua Mrs. Becci S. Leatherman Anne Leonard Victor Luftig Miriam Martin Judy Maupin Sharon and Jim Miller Kevin and Sara Piccini Sandra Price-Stroble Dr. Jayne and Eric Rynar Steve and Karen Moshier Shenk Charlotte Shnaider Ilene N. Smith Judy Spahr James and Ruth Staufer James and Deborah Stephenson Lee Sternberger and Craig Shealy Thomas Teisberg Diana Umbel Rick and Joyce Wampler Jean Whiteman Gordon and Alice Williams Lt. Col. Charles and Stephanie Wollerton Lawrence and Shirlee Yoder Philip and Lois Zeigler

In memory of: Roddy V. Amenta Donna S. Amenta Ann Lootsma Barr John G. Barr Betty and Walter Gessert Greg Gessert Heather Nicholas Hartley Jim and Carol Warner Phyllis Weaver Hearn Dr. J.T. Hearn Carol Heatwole Leo and Ruthanne Heatwole Leon and Vivian Jackson David and Deborah Jackson Katherine S. Leonard Anne Leonard August Nollert Mia Nollert Jack Savage Anonymous Carl G. and Louise Mensch Showalter Hiram and Mary Jane Lederach Hershey Stuart and Shirley Showalter Beth VelimiroviÄ&#x2021; Babs and Don Fickes Miriam L. Weaver Dorothy Jean Weaver Nicole M. Yoder Gary and Mary Kay Adams In honor of: Mary Kay Adams Charlette and David McQuilkin

Dr. Ed Comer Zack and Judith Perdue Lawrence Ernst Cathy Rittenhouse and Daniel Hostetter Marvin Mills Bill and Mary Gibb Ken Nafziger Robert H. and Lorraine W. Strickler Foundation Alice Parker Babs Fickes Judith A. Saxton Ada Mae Saxton Jubilee Friends (SVBF in estate plans) James Gibbons Roy and Carol Thomas Carol Yetzer Heritage Circle (SVBF Endowment Fund) Sidney Bland and Linda Heatwole Bland James Gibbons Roy and Carol Thomas Carol Yetzer Deal-Thomas Families Endowment Ulla and Victor Bogdan Mark Cudek and Lisa Green-Cudek David and Susan Howard Shahab Khanahmadi Melinda Oâ&#x20AC;&#x2122;Neal Jefrey and Rebecca Przylucki Janice Rafel Mr. and Mrs. Charles Ries

Steven Silverman Robert C. Thomas Robert and Debra Thomas Roy and Carol Thomas Susan and Jay Treadway Virginia Baroque Performance Academy Roxanna Atwood Scott and Margaret Ballin John and Janet Boody Theodore and Kathleen Cathey Dymphna DeWild and Jacobus Jonkman Evelyn Grau Harriet Hanger Chris and Betsy Little Maria Lopez James David Lott Lynne Mackey Preston Manning Marion and James Morrison Dwayne Pitsenbarger James Robertson Benjamin and Jennifer Roe Susan and Paul Rosen Louise Scott Peter Sellar and Laurie Gundersen Terry Southerington Jason Stell Louise Temple-Rosebrook and Frederick Rosebrook Al and Emily Weed Hugh and Connie Westfall Randell and Helen Willard

Major in music at EMU and enjoy big campus quality with small campus benefits  Excellent 1:1 faculty/student relationships  Performance opportunities on and off campus  Valuable cross-cultural exposure  Integration of faith and values

emu.edu/music

A CHRISTIAN UNIVERSITY like no other Harrisonburg, Virginia 73

Perpetual Bach! Bach’s music has blessed and enriched our lives for nearly three centuries. The Shenandoah Valley Bach Festival, now in its 23rd year, brings that music to life right here in the beautiful Shenandoah Valley.

Gift Annuity Payment Rates Selected rates for one person Age

Rate

9.0%

7.8%

6.8%

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

5.8%

5.1%

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

4.7%

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

Selected rates for two people

 Funds to make PERPETUAL BACH possible.

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%

Just as Bach has been around for years, did you know that you can give today and receive income from your gift for a lifetime - even for two people? You can create a charitable gift annuity. Here are some things a charitable gift annuity can do for you:  You may receive an income tax deduction this year.  You and/or someone you love will receive secure income for life.  Much of the income you receive may be tax-free.  You will build up the Bach endowment and ensure that the Shenandoah Valley has PERPETUAL BACH. The chart on this page shows a few of the rates, which are based on the age(s) of the person(s) receiving the income. Ask the EMU Development oice what rate would apply for you. (The minimum contribution for a charitable gift annuity is $10,000.)

For more information contact: Phil Helmuth: (540) 432-4597 or (800) 368-3383 (toll free), phil.helmuth@emu.edu. Thank you for considering the opportunity to share PERPETUAL BACH.

OUR ADVERTISERS We appreciate the support of our advertisers and encourage you to patronize their businesses. American Shakespeare Center .......................................................15

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

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

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

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

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

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

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

Babsâ&#x20AC;&#x201C;Professional Seamstress........................................................52

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EMU Preparatory Music and

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

Shenandoah Valley Childrenâ&#x20AC;&#x2122;s Choir ...........................................55

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ZN Stained Glass .................................................................................46 75

A . W E S L E Y G R AV E S , V I M A NAGI NG D I R EC TOR – I N V E S T M E N T S

B RU C E F. L I G H T S E N I OR VI C E P R E S I D E N T – I N V E S T M E N T S R E S I D E N T B R A NC H M A NAG E R

A S A W. G R AV E S , V II, CFA M A NAGI NG D I R EC TOR – I N V E S T M E N T S

J. D O U G L A S L I G H T A S S O C I AT E VI C E P R E S I D E N T – I N V E S T M E N T S

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

Planning for your tomorrow today.

Home & Auto Insurance Business Insurance Employee Benefits Benefits Administration Life & Health Insurance Financial Services

205 South Liberty Street Harrisonburg, VA 22801 800.366.3846

www.LDBinsurance.com

Advisory services & securities offered through ProEquities, Inc. Member FINRA/SIPC

Next Year THE 24TH SHENANDOAH VALLEY BACH FESTIVAL JUNE 12-19, 2016 BACH’S WORK WEEK – THE SUNDAY CANTATA THE COUNTERTENOR VOICE – NATHAN MEDLEY (HHS GRAD, 2005) RURAL ROOTS – COPLAND, GINASTERA, THOMSON