CULMINATION: MASS IN B MINOR

NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC SUNDAY, APRIL 29 AT 3:00 PM

WASHINGTON BACH CONSORT D R. J. R EILLY LEWIS , F OUNDER

WASHINGTON BACH CONSORT

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2017–2018 SEASON NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC

SUNDAY, APRIL 29, 2018 AT 3:00 PM

CULMINATION: MASS IN B MINOR

Mass in B Minor, BWV 232 Johann Sebastian Bach (1685–1750)

Anonymous Donor, underwriter

Gwendolyn Toth, conductor & artistic director candidate

Laura Choi Stuart, soprano Rebecca Kellerman, soprano Roger O. Isaacs, countertenor

Matthew Hill, tenor Mark Duer, bass

I. Missa Kyrie – Gloria

II. Symbolum NicenumCredo

INTERMISSION

III. SanctusIV. Osanna, Benedictus, Agnus Dei et Dona Nobis Pacem

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TEXTS & TRANSLATIONS

[1] KYRIE (Chor) Kyrie eleison.

[2] CHRISTE (S1, S2) Christe eleison.

[3] GLORIA (Chor) Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis

[4] LAUDAMUS TE (S2) Laudamus te, benedicimus te, Adoramus te, glorificamus te.

[5] GRATIAS (Chor) Gratias agimus tibi propter magnam gloriam tuam.

[6] DOMINE DEUS (Duett: S1, T) Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

[7] QUI TOLLIS (Chor) Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, Suscipe deprecationem nostram.

[8] QUI SEDES (A) Qui sedes ad dexteram Patris, miserere nobis.

[9] QUONIAM (B) Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, Jesu Christe.

[10] CUM SANCTO (Chor) Cum Sancto Spiritu in gloria Dei Patris, Amen.

[11] CREDO (Chor) Credo in unum Deum.

[12] PATREM OMNIPOTENTEM (Chor) Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.

[1] KYRIE (Chorus) Lord have mercy.

[2] CHRISTE (S1, S2) Christ have mercy.

[3] GLORIA (Chorus) Glory to God in the highest, And peace on earth to men of good will.

[4] LAUDAMUS TE (S2) We praise You, we bless You, We worship You, we glorify You.

[5] GRATIAS (Chorus) We give You thanks for Your great glory.

[6] DOMINE DEUS (Duet: S1, T) Lord God, King of Heaven, God the Father Almighty. Lord only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father.

[7] QUI TOLLIS (Chorus) You who take away the sin of the world, Have mercy on us. You who take away the sin of the world, Hear our prayer.

[8] QUI SEDES (A) You who sit at the right hand of the Father, have mercy on us.

[9] QUONIAM (B) For You alone are holy, You alone are Lord, You alone are the Most High, Jesus Christ.

[10] CUM SANCTO (Chorus) With the Holy Spirit in the glory of God the Father, Amen.

[11] CREDO (Chorus) I believe in one God.

[12] PATREM OMNIPOTENTEM (Chorus) the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen.

TEXTS & TRANSLATIONS

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[13] ET IN UNUM (S1, A) Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.

[14] ET INCARNATUS (Chor) Et incarnatus est de Spiritu Sancto, ex Maria virgine; et homo factus est.

[15] CRUCIFIXUS (Chor) Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

[16] ET RESURREXIT (Chor) Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis.

[17] ET IN SPIRITUM (B) Et in Spiritum Sanctum Dominum, et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur, et conglorificatur, qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Eccelsiam.

[18] CONFITEOR (Chor) Confiteor unum baptisma in remissionem peccatorum, et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

[19] SANCTUS (Chor) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua.

[20] OSANNA (Chor) Osanna in excelsis.

[21] BENEDICTUS (T) Benedictus qui venit in nomine Domini.

[22] OSANNA (Chor) Osanna in excelsis.

[13] ET IN UNUM (S1, A) And in one Lord Jesus Christ, the only Son of God, eternally begotten of the Father, God from God, light from light, true God from true God, begotten, not made, of one being with the Father; through Him all things were made. For us and for our salvation He came down from heaven.

[14] ET INCARNATUS (Chorus) By the power of the Holy Spirit He became incarnate from the Virgin Mary, and was made man.

[15] CRUCIFIXUS (Chorus) For our sake He was crucified under Pontius Pilate; He suffered death and was buried.

[16] ET RESURREXIT (Chorus) On the third day He rose again in accordance with the Scriptures; He ascended into heaven, and is seated at the right hand of the Father; He will come again in glory to judge the living and the dead, and His kingdom will have no end.

[17] ET IN SPIRITUM (B) And I believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son; with the Father and the Son He is worshipped and glorified. He has spoken through the prophets. I believe in one holy catholic and apostolic Church.

[18] CONFITEOR (Chorus) I acknowledge one baptism for the forgiveness of sins; I look for the resurrection of the dead, and the life of the world to come. Amen.

[19] SANCTUS (Chorus) Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory.

[20] OSANNA (Chorus) Hosannah in the highest.

[21] BENEDICTUS (T) Blessed is He who comes in the name of the Lord.

[22] OSANNA (Chorus) Hosannah in the highest.

TEXTS & TRANSLATIONS

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[23] AGNUS DEI (A) Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi,

[24] DONA NOBIS PACEM (Chor) dona nobis pacem.

[23] AGNUS DEI (A) Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world,

[24] DONA NOBIS PACEM (Chorus) grant us peace.

Translations ©Pamela Dellal, courtesy of Emmanuel Music, Boston, MA www.emmanuelmusic.org

About the Music: What Makes a Monument?

“Monument: an outstanding, enduring, and memorable example of something.” —Oxford Living Dictionaries

None of us would disagree that Bach’s Mass in B Minor is one of the monuments of classical music. Like many notable monuments such as the great cathedrals of Europe, the Mass in B Minor was composed over a period of many years

and reflected some of the trials and triumphs of Bach’s own life.

Bach composed the Missa, the first portion of the Mass in B Minor, in 1733. At this time in his life, he had been Kapellmeister in Leipzig since 1723. It was an important Lutheran position in a major city, a city with a famous university where he could send his sons for a good education to lift them up in the world. The application process to become the St Thomas Kantor, where three others were offered the position ahead of him and at least three more seriously considered, gave rise to the well-known comment by a city councilor that “since the best man cannot be obtained, mediocre ones will have to be considered.” Bach remained in Leipzig until his death.

Bach’s new appointment in Leipzig involved a strenuous daily grind. He had to supervise and teach music, Latin, and theology to some 50 choir students; he had to compose or retrofit cantatas for each of three annual liturgical cycles, which translated to 64 occasions yearly; and he had to provide music and oversee the production of the same not only for St. Thomas church but for three other town churches. He also supervised certain musical activities of the university students, and, beginning in 1729, directed the Leipzig Collegium concerts. Lastly, let us not forget that during these first ten years of his time in Leipzig his second wife Anna Magdalena was busy having babies: she bore nine in those first ten years, of whom only two survived past infancy. Plus, of course, he was raising teenagers from

his first wife. Can any of us even picture such a situation? These years, the prime of his life from age 38 to 48, were both musically productive and personally chaotic. We know that he had many difficulties with the authorities over money, teaching responsibilities, and church issues, such as attacks by clergy on his choice of cantata texts.

ABOUT THE MUSIC

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One of the most prestigious musical centers in Germany at this time was the court of Prince Friedrich August I, Elector of Saxony, in Dresden. He had also become the King of Poland in 1697. However, to achieve the Polish kingship he was obliged to convert to Roman Catholicism—not a popular move for his Saxon subjects and with interesting implications for a stalwart Lutheran such as Johann Sebastian Bach. August I built fabulous palaces; imported opera, theater, painting, sculpture, and decorative arts from France and Italy; and in general aspired to make Dresden the cultural and political capital of central Europe, as well as one of the most beautiful cities in all of Europe.

Bach had written to the Leipzig authorities in 1730 that the Dresden musical establishment represented the perfect model of an orchestra whereby all musicians were assured a living and were required to master but a single instrument. Bach also made two trips to Dresden in 1725 and 1731 to play organ concerts at the Lutheran St. Sophia’s Church, where he managed to get his son Wilhelm Friedemann the organist position in 1732. Clearly, Bach looked to Dresden for future musical possibilities—who wouldn’t, after ten years of the Leipzig daily grind!

When the Elector died, his son Friedrich August II succeeded him. Also a Catholic, he is famous for largely ignoring his political affairs in favor of hunting, opera, and collecting art. A new prince meant new opportunities, and it is no wonder that Bach strove to ingratiate himself with August II. During the mourning period for August I when no music was allowed, February 15–July 2, 1733, Bach set to composing a new work dedicated to August II, which he presented to him as a set of parts on July 27: the Missa, which forms the Kyrie and Gloria of the Mass in B Minor.

The accompanying letter reads, in part:

“For some years and up to the present moment I have had the Directorium of the Music in the two principal churches in Leipzig , but have innocently had to suffer one injury or another, and on one occasion also a diminution of the fees accruing to me in this office; but these injuries would disappear altogether if Your Royal Highness would grant me the favor of conferring upon me a title of Your Highness’s Court Capelle…I will offer myself in most indebted obedience to show at all times, upon Your Royal Highness’s Most Gracious Desire, my untiring zeal in the composition of music for the church as well as for the orchestra, and to devote my entire forces to the service of Your Highness, remaining in unceasing fidelity Your Royal Highness’s most humble and most obedient servant, Johann Sebastian Bach.”

It is no surprise that the work he composed for this Catholic prince was a grand and monumental work, since the Dresden court was so famous for its lavish musical taste. The Kyrie and Gloria are two sections of the mass that Bach, ever the practical composer, could use both for a Lutheran mass or a Catholic mass in Dresden. However, the grandeur of the style clearly indicates that these two movements were written with the Dresden musicians in mind, many of whom were very famous. There is at present no definitive proof that these two movements were performed in Dresden in 1733: an argument in favor is the hasty copying of the parts by Bach, his wife, and his sons, all of whom traveled to Dresden with him, on paper found only in Dresden, not Leipzig. Arguments against a performance include indications that Bach himself did not lead the piece and the lack of a record of any such

instance. In any case, the presentation of the work to August II did not result in any immediate position. Finally in 1736 he named Bach “Court Composer,” an honorary title without remuneration. Bach never achieved his goal of becoming the Kapellmeister in Dresden.

ABOUT THE MUSIC

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The Mass in B Minor that we know has four additional mass sections. Around 1748—as a much older man perhaps looking back on his life as a composer—Bach took up his score again and began to formulate a complete setting of the entire mass: Kyrie, Gloria, Credo, Sanctus/Osanna, Benedictus and Agnus Dei. To do so, he drew almost entirely on movements that he had already written. The Sanctus was a Christmas piece written in 1724 for an SSSATB choir; Bach modified it to be SSAATB. However, he retained the original instrumental scoring, making this the only movement where a third oboe is present in the orchestra. The Osanna was repurposed from Es lebe der König of 1732, a lost name day cantata for August I in 1732, but itself already first

reused in Cantata 215, a secular cantata and a suitably grand, jubilant work for the anniversary celebration of August II in 1734. The origin of the Benedictus is still unknown, but scholars agree that certain characteristics of the writing in the score point to an earlier piece in German being re-set to the Latin text. The initial aria of the Agnus Dei was known to have a close connection to an aria from the Ascension Cantata of 1735, Ach bleibe doch, but now it is thought that both arias are based an aria from an early lost wedding serenade, Entfernet euch. It is no wonder, since it is one of the most sublimely beautiful arias of the Mass in B Minor, that Bach wished to re-use his compositional ideas a third time. The concluding full ensemble Dona nobis pacem of the Agnus Dei is the same music as the already-written Gratias agimus tibi from Gloria of the 1733 Missa.

The Credo, or Symbolum Nicenum, is a remarkable set of movements. The first movement, the Credo in unum Deum, was newly written by Bach in an archaic style that began to greatly interest him in his older years. The theme is based on plainchant, and is worked out imitatively in dense counterpoint. The second movement, Patrem omnipotentem, was lifted from Cantata 171’s opening chorus of 1729, but with changes that emphasize its form as a very modern fugue in contrast to the archaic fugue of the Credo in unum Deum. The third movement, Et in unum Deum, was composed by Bach in the late 1740s based on an earlier work that has not survived. His initial conception included all the text through the words “Et incarnatus est…et homo factus est.” However, in a final

revision after the completion of the entire score, Bach removed the “Et incarnatus” portion of the text, revising the music and stretching the previous text to fill the entire Et in unum Deum, and inserted a page into the score making Et incarnatus a separate movement, with newly composed musical ideas. Because it was clearly done after the remainder of the score was completed, Et incarnatus is very likely the last music Bach wrote for the Mass in B Minor. It is followed by the Crucifixus movement, set to music taken directly from Cantata 12 of 1714, and written over forty years previously. With this significant revision, Bach juxtaposed the earliest and latest music in the Mass in B Minor.

The origin of the lengthy and celebratory Et resurrexit movement is unknown, but scholars point to a lost August I birthday cantata of 1729 because of similarities in the text. The following aria Et in spiritum is a gentle and pastoral movement likely from an unknown earlier movement. The final two movements, a newly composed Confiteor and Et Expecto, from Cantata 120 of 1728, are again a pair of movements with one in archaic polyphonic style without any concerted instrumental accompaniment, and a final up-to-date eighteenth-century Vivaldian chorus. Between the two movements lies one of the most striking moments of the Mass in B Minor: a transitional passage of some 25 bars, with a walking bass that brings us right back to the world of the Crucifixus.

One could say the entirety of the Mass in B Minor is a mashup of movements written in different times, derived from other works of Bach, and in many different styles. So again we return to the question, what makes this a monument?

ABOUT THE MUSIC

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Several factors are significant. One is the initial conception of the Kyrie and Gloria as Bach’s grandest, most virtuosic writing of his middle age, meant to secure a coveted court position. Another is Bach’s return to this material in his old age, with hindsight and a wealth of previous material to draw upon, as well as some newly-composed material reflecting his interest in archaic polyphony in the 1740s. Bach took a great piece, the Missa of 1733 with its Kyrie and Gloria, and added to it the remaining movements to make it a complete mass, or Missa tota, and he did that in a way in which the total is more than the sum of the parts. By making musical connections between the old Missa and the new Dona nobis pacem, by juxtaposing archaic styles with modern styles, by

incorporating all the current styles of baroque music—French dance music, Italian opera, Italian concerto style—and, as always, setting the texts with extreme sensitivity, he gave the entirety of the work an exceptional and coherent unity and breadth of expression.

Bach never heard the Mass in B Minor in its completed form. The first performance of the Credo was given by his son Carl Philipp Emanuel in Hamburg in 1786, when he prepared a set of parts from his father’s score, and several movements were individually heard in public or in private readings during the first half of the nineteenth century. The first complete full performance did not take place until 1859 in Leipzig, over 100 years after Bach’s death. The first American performance was given by the Bach Choir of Bethlehem in 1900. The first recording on period instruments took place in 1968 (Nikolaus Harnoncourt) and the first performance of the Washington Bach Consort took place in 1979. It is clear that audiences and performers today still cannot help but respond to the glorious, extraordinary, monumental Mass in B Minor, Bach’s masterpiece.

–Gwendolyn Toth, © 2018

St. Thomas, Leipzig, with surrounding buildings, etching by Gabriel Bodenehr, c. 1700.

MEET THE ARTISTS

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Hailed as “a lyric soprano of ravishing quality” by The Boston Globe, soprano Laura Choi

Stuart has appeared in mainstage roles with Boston Lyric Opera, Opera Boston, Annapolis

Opera, Lake George Opera, the In Series, and Opera North as Musetta, Adina, Gilda,

Pamina, and Frasquita. Equally comfortable in early music, recital, and concert settings, she

was one of the 2009 Art Song Discovery Series winners for the Vocal Arts Society and 2nd

prize winner at both the 2010 and 2012 National Association of Teachers of Singing Artist

Awards. Laura received her training at The Santa Fe Opera Apprentice Program for

Singers, Opera North, and Berkshire Opera, as well as The New England Conservatory

and Dartmouth College.

Rebecca Kellerman has been hailed as a soprano with “grace and elegance” by The Washington Post and is a sought-after presence in the DC metro area consort and recital scene. Rebecca sings with groups including the Washington Bach Consort, Bach Sinfonia, Chantry, Cathedra, Opera Lafayette, and the National Gallery Vocal Ensemble. Beyond DC, she has appeared with Bach Collegium San Diego, Chatham Baroque, Three Notch'd Road, Kontrabande, and she recently made her Berkeley Early Music Festival debut. Most recently, Rebecca's solo appearances have included recitals featuring the works of Reger,

Dupré, Chausson, Francis Pott, Britten, Monteverdi, Purcell, and Handel. In England, she has performed as a recitalist on concert series in Edinburgh and Coventry and worked with members of Fretwork. Last summer, she made her Australian debut with recitals in Brisbane. Rebecca maintains an active private voice studio in Charles Town, WV and Washington, DC.

Countertenor Roger O. Isaacs has performed as soloist with many of the most prominent choral organizations on the East Coast of America. Hailed by The Washington Post as a “countertenor quite extraordinary both for vocal quality and for his mastery of baroque style,” he has been called upon to perform a wide range of diverse repertoire. Past performances include solo appearances in Monteverdi’s Vespers of 1610, the Mass in B Minor and St. Matthew Passion by Bach, and Stabat Mater by Vivaldi for solo alto. Mr. Isaacs’ most recent appearances include performances of Laßt uns sorgen, laßt uns wachen, BWV 213 with the Washington Bach Consort, where he sang the role of Hercules, as well as a performance of Israel in Egypt by Handel. Mr. Isaacs recently made his debut with the Bergen Opera in Norway singing in a staged production of Handel’s Messiah. Mr. Isaacs performs regularly in festivals in the Czech Republic, and has been the featured soloist at the International Music Festival at Cesky Krumlov. Roger Isaacs remains active as an ensemble singer, and regularly performs with the National Gallery of Art Vocal Ensemble (NGAVE), Cathedra, and the Washington Bach Consort, as well as the Washington National Cathedral Choirs.

MEET THE ARTISTS

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Soprano Katelyn G. Aungst Kate Vetter Cain Crossley Hawn Rebecca Kellerman Emily Noël Laura Choi Stuart

Alto Kristen Dubenion-Smith Jeremy Filsell Roger O. Isaacs Sarah Davis Issaelkhoury

Tenor Gary Glick Matthew Hill Patrick Kilbride Robert Petillo

Bass Joshua Michael Brown Steven Combs Mark Duer Jason Widney

Chorus

Orchestra

Violin I Andrew Fouts, concertmaster Fiona Hughes Evan Few Leslie Nero

Violin II Tatiana Chulochnikova David McCormick Annie Loud Caroline Levy

Flute Colin St-Martin Kathryn Roth

Oboe Geoffrey Burgess Margaret Owens Fatma Daglar

Viola Risa Browder Marta Howard Scott McCormick

Cello John Moran Rebecca Humphrey

Bass Patricia Ann Neely Jessica Powell Eig

Bassoon Stephanie Corwin Kelsey Andrew Schilling

Horn Bradley Tatum

Baritone Mark Duer has been a soloist with such varied companies as the New York Chamber Ensemble, Woodstock Fringe Festival, Berkshire Choral Festival, Cleveland Opera, Greensboro Opera, Ash Lawn-Highland Opera, and others. He has appeared with the orchestras of the Battell Chamber Orchestra, Cleveland Orchestra, Apollo’s Fire, Bach Sinfonia, Musica Sacra, Masterworks Chorale, West Virginia Symphony, American Virtuosi, and the Washington Bach Consort. His solo engagements have included performances at Carnegie Hall, Weil Hall, the Bar Harbor Music Festival, and Tanglewood. He was a

featured soloist in national broadcasts of the Cleveland Orchestra, and of “Pipedreams” on NPR. Mark’s professional choral work includes Chantry and the Bach Sinfonia, the Handel & Haydn Society, recordings and concerts with New York’s Voices of Ascension, and seventeen seasons as a member of the renowned Renaissance choir Pomerium. Mark has sung with many esteemed conductors including Jahja Ling, Charles Dutoit, Sir Colin Davis, Christopher Hogwood, and Kurt Masur.

Matthew Hill, tenor, recently finished his Master of Music degree in Opera Performance at the University of Maryland. He enjoys a varied career as a soloist and ensemble singer and is based in Washington, DC. Recent opera credits include his debut with Washington National Opera as Older Brother in Dead Man Walking, Parpignol in La Bohème with Wolf Trap Opera, Tamino in Die Zauberflöte with the Maryland Opera Studio, and Damon in Acis and Galatea with New Dominion Chorale. Past solo concert work includes the Evangelist in Bach's St. Matthew Passion, Handel’s Messiah and Israel in Egypt, Mozart’s Requiem,

Rachmaninoff’s All-Night Vigil, and Bach’s Mass in B Minor. He performs regularly as a soloist and chorister with the Washington Master Chorale and Washington Bach Consort, and is a staff singer at the National Cathedral. In addition, he is currently a vocalist with the United States Air Force Band Singing Sergeants.

Trumpet Josh Cohen Joelle Monroe Dennis Ferry

Timpani Michelle Humphreys

Organ Adam Pearl

ARTISTIC DIRECTOR CANDIDATE SPOTLIGHT

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Recognized as one of America’s leading early music performers, Gwendolyn Toth is a conductor and early keyboard artist based in New York City. “Her interpretive skills are sensitive and intelligent, and she clearly has a gift for program conceptualization” (The New York Times). She has conducted at Sadler’s Wells Theater in London, BAM in New York City, Skylight Theater in Milwaukee, Astoria Music Festival in Oregon, Carmel Bach Festival in California, and for the German Radio network in Cologne, Germany.

Ms. Toth is the founder and director of New York City’s period instrument ensemble, ARTEK, specializing in music

of the early baroque. Under her direction, the ensemble released the first North American recording of Monteverdi’s opera, Orfeo, to outstanding critical acclaim. Other CDs include Love Letters from Italy, I Don’t Want to Love, Monteverdi’s Madrigals Book 5, and Solo Cantatas of Rosenmüller. ARTEK’s current project is Monteverdi’s complete Madrigals Book 7, another landmark North American recording. Ms. Toth and ARTEK have appeared at Lincoln Center, the Metropolitan Museum, and major churches in New York City; at the National Gallery of Art in Washington, DC; and at the Regensburg Tage Alte Musik Festival in Germany and the Boston, Berkeley, Bloomington, and Indianapolis early music festivals in America. ARTEK was privileged to tour throughout America, the UK and Europe with the Mark Morris Dance Group in the dance “I Don’t Want to Love” for several years, receiving numerous accolades for their fine performances. ARTEK’s early music theater show, “I’ll Never See the Stars Again” at the Edinburgh Fringe Festival in Edinburgh, UK was lauded as “a stark reminder of just how rich and passionate, as well as achingly sad, Monteverdi’s songs can be” (The Stage, UK). Opera News has honored Ms. Toth as an “Outstanding Young Conductor” and she was the recipient of the “Newell Jenkins Prize” for excellence in early music performance.

As a soloist on historical organs, Ms. Toth has performed on the 1434 organ in Sion, Switzerland; the fifteenth-century organ in Oosthuizen, Netherlands; the 1509 organ in Trevi, Italy; the 1531 organ in Krewerd, Netherlands;

the 1649 organ in Zeerijp, Netherlands; the 1696 Arp Schnitger organ in Noordbroek, Netherlands; and the 1714 organ in St. Michael’s Church, Vienna among many others. Her numerous CD recordings of Renaissance and baroque music have been recorded on historic Dutch organs in Noordbroek, Zeerijp, Oosthuizen, Eenum, and Krewerd. Ms. Toth also has a solo recording of J.S. Bach’s Goldberg Variations performed on a lautenwerk, a reconstruction of Bach’s lute-harpsichord, strung in both gut and metal strings.

Ms. Toth holds the D.M.A. in organ performance from Yale University and did post-graduate study with Ton Koopman at the Sweelinck Conservatory in Amsterdam, the Netherlands. In addition to being the director of ARTEK, she is Orchestra Director at Manhattan College and Choir Director at Mount Saint Vincent College, both in Riverdale, NY, and in 2017 she was Music Director of the Virginia Best Adams Master Class at Carmel Bach Festival.

WASHINGTON BACH CONSORT

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The National Presbyterian Church Series National Presbyterian Church 4101 Nebraska Avenue NW, Washington, DC

FOUNDATION AND THE REFORMATION Sunday, September 17, 2017, 3:00 PM Festive music for two anniversaries Richard Giarusso, conductor & artistic director candidate

CELEBRATION: CHRISTMAS ORATORIO Saturday, December 9, 2017, 6:00 PM The quintessential Bach holiday experience Dana Marsh, conductor & artistic director candidate

COMMEMORATION: ST. JOHN PASSION Sunday,

March 18, 2018, 3:00 PM Bach the musical dramatist at his best Matthew Dirst, conductor & artistic director candidate

CULMINATION: MASS IN B MINOR Sunday, April 29, 2018, 3:00 PM The summation of a life’s work Gwendolyn Toth, conductor & artistic director candidate

The Chamber Series Live! at 10th & G 945 G Street NW, Washington, DC

FROM THE ARCHIVES Friday, October 20, 2017, 7:00 PM Music from our first concert in 1977, including the Brandenburg Concerto No. 6

VIRTUOSITY AND INNOVATION Friday, February 23, 2018, 7:00 PM Partita No. 2 for Violin Solo and selections from The Well-Tempered Clavier

THE MUSICAL OFFERING Friday, April 6, 2018, 7:00 PM Bach’s unparalleled contrapuntal mastery fit for a king!

2017–2018 40th Anniversary Season

OCTOBER 3, 2017 Was Gott tut, das ist wohlgetan, BWV 100 Prelude and Fugue in D, BWV 532 Matthew Dirst, organist & conductor

NOVEMBER 7, 2017 Nun danket alle Gott, BWV 192 Prelude and Fugue in E-flat, BWV 552 Todd Fickley, organist & conductor

DECEMBER 5, 2017 Tritt auf die Glaubensbahn, BWV 152 Meine Seele erhebt den Herren, BWV 648 Fuga: sopra il Magnificat (a 5), BWV 733 Dana Marsh, organist & conductor

MONDAY, MARCH 5, 2018 AT 12:10 PM St. Peter’s Church on Capitol Hill

TUESDAY, MARCH 6, 2018 AT 12:10 PM Church of the Epiphany

Sie werden aus Saba alle kommen, BWV 65 Prelude and Fugue in C, BWV 547* Jeremy Filsell, organist Richard Giarusso, conductor

MONDAY, APRIL 2, 2018 AT 12:10 PM St. Peter’s Church on Capitol Hill

TUESDAY, APRIL 3, 2018 AT 12:10 PM Church of the Epiphany

Ich habe genug, BWV 82a Prelude and Fugue in G, BWV 541* Julie Vidrick Evans, organist John Moran, conductor

MONDAY, APRIL 30, 2018 AT 12:10 PM St. Peter’s Church on Capitol Hill

TUESDAY, MAY 1, 2018 AT 12:10 PM Church of the Epiphany

Gelobet sei der Herr, mein Gott, BWV 129 Prelude and Fugue in B minor, BWV 544* Gwendolyn Toth, organist & conductor

*Tuesday performances only

Noontime Cantata Series Church of the Epiphany 1317 G Street NW, Washington, DC

St. Peter’s Church on Capitol Hill 312 2nd Street SE, Washington, DC

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THROUGH MUSIC WE COME TOGETHER

T-Mobile is honored to support the arts as a proud sponsor of the Washington Bach Consort.Together we believe in the mission of preserving and celebrating the works of Johann Sebastian Bach,

because music unites us all.

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The Washington Bach Consort wishes to thank its generous donors.

This list represents gifts made between April 11, 2017 and April 11, 2018.

If you notice an error in your listing, please accept our apologies and contact Alex Interlandi at 202.429.2121 during business hours so that it may be corrected.

ANGELS: $25,000+ Anonymous AT&T DC Commission on the Arts & Humanities Tamera Luzzatto & David Leiter The Millstream Fund^

The National Endowment for the Arts The Honorable & Mrs. John D. Rockefeller IV

TRUSTEES: $15,000 Anonymous Robert Beizer & Janet Risseeuw Billy Rose Foundation Chris & Susan DeMuth Deutsche Telekom, Inc. Beth Lewis* The Morris & Gwendolyn Cafritz Foundation Charles Reifel & Janie Kinney William H. Donner Foundation

CONDUCTORS: $10,000 Book Arts* Reverend Elizabeth L. Carl & Victoria Hill Shannon & Jim Davis Jill Kent & Mark Solomons Cy & Pearl Richardson† Sally L. Wells^ Dorothy B. Wexler Stephen C. Wright & Thomas Woodruff

DIRECTORS: $5,000 Richard & Beth Ayres L. Brent & Norma Bozell

Hope P. McGowan Dr. Brian R. McNeill & Kathryn McKenzie Rosemary Monagan

Bradley J. Olson, K.N.O. & Martha A. Olson James E. Rich, Jr.

ARTISTS: $2,500 Mary Martha Churchman Dallas Morse Coors Foundation

for the Performing Arts Mary Ann Gardner Captain & Mrs. Don P. Johnson Mary Elizabeth Lewis Alfred Regnery Siemens Corporation Joy F. & Jeff Spragens Catherine Ann Stevens Stonehall Farm John Van Wagoner* Margaret Whitehead John C. Wohlstetter

PATRONS: $1,000 Marjorie Abbot Anonymous

Sandra Baer Donald Baker & Nina McLemore Barbara Bankoff & Robert Crandall Margarita Brose Glenda & Tim Christenson Mr. David A. Churchill Alan Coffey & Janet S. Potts Susan Dillon* Todd Fickley* Linda Fienberg & Jeffrey Bauman Nancy Folger Susan & Greg Foster Margaret & David Gardner Neil E. Graham Joyce Hagel-Silverman in memory of Charles Silverman

Martha Harris Anna Karavangelos

The Washington Bach Consort honors the members of the

1685 Society L. Brent & Norma Bozell

Mr. & Mrs. David P. Condit Shannon & Jim Davis

Susan Dillon Marilyn Wong Gleysteen

Neil Graham Jill E. Kent & Mark E. Solomons

Dr.† & Mrs. J. Reilly Lewis Mary Elizabeth Lewis

Tamera Luzzatto & David Leiter Dr. Brian R. McNeill &

Kathryn McKenzie Julia O’Brien Michael Ochs

Laura E. Phillips† Charles Reifel & Janie Kinney

James E. Rich, Jr. Cy & Pearl Richardson†

William T. & Sally Semple Margaret Shannon

Bernice & Reynold Stelloh† Lynn Trundle

Pierre & Claire Wagner Isabel T. Wallop

Margaret W. Webb

Martha H. Wedeman† Sally Wells

John C. Wiecking Stephen C. Wright

† In memoriam

* Gift made in honor of Dr. J. Reilly Lewis^ Gift made in honor of John D. Rockefeller IV

† In memoriam

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Erna & Michael Kerst* David A. Klaus in honor of Jill Kent Alan J. Kriegel David & Becky Legge Barbara Meeker The Merck Foundation

William B. Munier, MD Robert & Beatrice Newkirk Lillian M. Penna Wolfgang & Leslie Pordzik David Post & Nancy Birdsall Mark & Jean† Raabe Bill & Annette Reilly Charles P. Rockefeller^ Linda & Richard Roeckelein Mr. & Mrs. McKim Symington* The Walt Disney Company Drs. Richard & Elizabeth Waugaman Reinhard Wieck Margot Young*

BENEFACTORS: $500 Gilbert C. Adams Anonymous David & Nancy Barbour Patricia Bauman Amy Berger & Glen Nager Howard M. Brown C. John & Janet C. Buresh Marcia P. Crandall Stanley & Ann Degler Lynne & Paul d’Eustachio Drs. & Mrs. Barry Eisenstein Stephenie Foster Joseph J. Francis Gary & Linda Glick Karen L. Handorf

Frederick S. Hird Theodore Hirt Norris & Miriam Keeler Debra Kraft & Rob Liberatore* Reverend & Mrs. Wayne Lehrer Martha Stecher Lewis Nick & Courtney Lewis. Devra C. Marcus & Michael J. Horowitz Hanna Marks

Robert & Suzanne McDowell Nancy & Herb Milstein Julia L. O'Brien Y. Ogawa Ronald & Deborah Peverill Frances H. Pratt Susannah Prindle

Ritchie Marsh Fund Peter D. & Connie Robinson Dr. & Mrs. John D. Rockefeller V^ Mrs. Milton Rose Jessica Rosenworcel & Mark Bailen William T. & Sally Semple* Mr. & Mrs. Viguen Terminassian Lynn Trundle* Benjamin & Emily Tsai Hans N. Tuch Dr. Arina van Breda Carmela Veneroso & John Odling-Smee Margaret W. Webb*

Frauke & Heinrich Westphal Anita L. Woehler Jack & Susan Yanovski

FRIENDS: $100 Thomas & Gisela Ahern Reverend Father & Mrs. Alister Anderson Anonymous (5) Kathleen Bacskay David & Livia Bardin Judith Barnett Betty J. Beard Catherine H. Beauchamp Jean Bedenbaugh Irene L. Berns

Kate Blackwell Thomas Bleha Patricia Bloomfield Christa & Robert Bluehdorn Inga C. Blust N. Prentice Bowsher & Sally Steenland Drs. Henry & Rachel Brem Kathleen A. Brion in memory of Steven Brion-Meisels

James & Judith Bromley Bill & Michelle Bukowski Michael Calingaert James Chin^ George M. Coburn Karen C. Coe Clark Conkling*

Mr. & Mrs. Frank Correl Ellen & Michael Cronin Elizabeth Daniels Nelson C. & Ruth S. Denlinger Jeff & Shelly Dilks Sharrill Dittmann Carleen Dixon Webb* John H. Doles III Patricia Taffe Driscoll Allison Drucker & Tom Holzman James C. Easterly in memory of Barbara Easterly Anna Eberly Mr. & Mrs. Nicholas Eberstadt David & Elizabeth Edminster Marc Eisenberg

Phyllis & Murray Eisenberg Emerson & Joyce Elliott Neil R. Ericsson Barbara Fairchild & George Newman Joan & Richard Fidler Jane Finn Mr. & Mrs. Karl Flicker Mary D. Foster in honor of Maye Johnson Elisabeth French Ellen Frost & William Pendersen Dr. & Mrs. Howard E. Frost Nadine Gabai-Botero J. William Gadzuk Paul & Anita Gallagher

Marilyn Wong Gleysteen Elisabeth Gonglewski in honor of Margaret Gonglewski Margaret Gonglewski & John Heins

in honor of Todd Fickley Susan Grad Tom & Margaret Greene

* Gift made in honor of Dr. J. Reilly Lewis^ Gift made in honor of John D. Rockefeller IV

† In memoriam

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Susan Grosser Eric Hager Hanna Hall Dr. Judith M. Harper, Oberlin 1967* Leigh & Miriam Harrington Mrs. Frederick Hart

Louis Hering Patricia Hevner The Honorable Eric L. Hirschhorn David Hoover & William Roberts Patricia H. Horan John Howe Edward Hurwitz Steven Jackson & Cynthia Wayne Peter† & Carol Jobusch Clete & Shelia Johnson Dr. Nancy E. Johnson Catherine Jones Donald L. Jones Joyce E. Howland Charitable Fund Erika R. Joyce Louis E. & Ruth Kahn*

Roxane Kaufman & Neal Fitzpatrick Joan Keenan Hans Keithley Lee Kelley Robert H. Kessler & Swanee Busic David Keto & Beth Tomasello Charles Kinney Michael Knable Cathy & Mark Knepper* Richard Koretz & Judith E. Bauer Barbara Kraft Dale Krumvide John & Maureen Lagomarcino Dominique Lallement* Richard & Jeanne Lambert*

David W. Lankford Willard & Carolyn Larkin Camille Larson & George Ruttinger William Leach Steve & Rosalie Learned Kendrick R. Lee Jan & Elizabeth Vickery Lodal Mr. & Mrs. George Londeree Ellen Loughran Lynch Kenneth Lowenberg

Chip & Laurie Lubsen Mr. & Mrs. Alaster MacDonald Nancy Malan Mary Lynne Martin Lawrence & Jean Matthews Mark Mattucci & Judith Furash Susan McCloskey

David R. McGown & Mary Ruth Keller Margaret McKay Neal & Nancy McKelvey Mr. & Mrs. David E. Miller Dan & Pat Moore Mr. Jeffrey Mora & Ms. Wendy Fuller-Mora Paul Murray Reverend Dr. Bernard & Mrs. Nass William & Vivian Neff Marshall Newman in memory of Leni Anderson

Christian Michael Ochs

Gayle Tweeton Parsons Laurence D. Pearl B. Dwight & Suzanne Perry Elizabeth A. Peterson Mrs. Patricia Pickard Thomas Pierce & Lu Ann Dillon Lawrence A. Plumlee Cecelia Porter David Pozorski & Anna Romanski

Janet Raber Mary Douglas Reed John Noel Reifel in honor of Charles M. Reifel Raymond P. Rhinehart & Walter Smalling Jr.

Donald† & Lydia Rice Fred & Linda Richards Eleanor Roberts Markley Roberts Bruce Roinson in memory of Ron Villafranco Jo Ellen & Mark Roseman Arthur Rowse* Susan Santa Cruz

Robert L. Savage James & Madeleine Schaller Patricia Schettino Ann Imhah Schneider Gregory K. Schoepfle Kathryn Seddon David Seidman & Ruth Greenstein

Mark & Theresa Shaltanis Margaret Shannon* Don Shapero John & Linda Sibert Michael C. Sieverts Carol Sikkelee Daniel B. Silver Thomas M. Sneeringer Harvey Sohnen & Kathleen Meagher

in honor of Marc Eisenberg Irene M. Solet Milford Sprecher L. Bradley Stanford Isle M. Stauffer Inge Steiner

Barbara Steingaszner Crawford Feagin Stone Douglas & Carol Stuart Rosemarie L. Stucki Thomas A. Tesoriero Judith Tickner Richard Tollo Jane T. Udelson Frederik van Bolhuis Pierre & Claire Wagner Robert Wales Isabel T. Wallop Herbert & Judith Weintraub Nyckolaus Jan Wellem Mr. John Westley George Whitley & Candace Ballard

Elsa B. Williams Dr. Katherine J. Williams Victoria Williamson Edith C. Wolff Stephen & Pat Worrel* Gretchen K. Young Stephen Zilliacus

* Gift made in honor of Dr. J. Reilly Lewis^ Gift made in honor of John D. Rockefeller IV

† In memoriam

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WASHINGTON BACH CONSORT

Billy Rose Foundation

Morris and Gwendolyn Cafritz Foundation

BOARD OF DIRECTORS Stephen Wright, President

Tamera Luzzatto, Vice President

Charles Reifel, Treasurer

Richard Ayres, Secretary

Donald I. Baker

Robert Beizer

L. Brent Bozell III

Margarita Brose

Shannon Davis

Glen S. Fukushima

Jill Kent

Mary Elizabeth Lewis

Alfred Regnery

James E. Rich

The Honorable John D. Rockefeller IV

Joy Spragens

Catherine Ann Stevens

Reinhard Wieck

John Wohlstetter

STAFF Carolyn Davies, Operations Manager

Marc Eisenberg, Executive Director

Alex Interlandi, Development Manager

Genevieve McGahey, Patron Services Associate

Janey Moskowitz, Director of External Affairs

OUR MISSION The Washington Bach Consort is a professional choral and orchestral ensemble based in Washington, DC, that is committed to ensuring that current and future audiences experience the music of Johann Sebastian Bach and his contemporaries by:

performing the music of Bach and his contemporaries to the highestartistic standards,

sharing the joy of Bach’s music by broadening audiences in thenation’s capital,

nurturing the appreciation of Bach’s music through education andcommunity outreach activities, and

interpreting the music of Bach for audiences of today, therebyensuring his legacy.

GIVING BACH Throughout its history the Washington Bach Consort has made music education programs and audience outreach activities central to its mission. Its Giving Bach to the Community initiatives have offered a range of free or low-cost educational and enrichment activities to residents of the greater Washington, DC, area.

Designed to bring the mastery of Bach’s music as well as the artistry of the Consort to those who, for reasons of cost, location, schedule, or lack of familiarity with the music, are unlikely to be regular attendees at any classical music concert, the program includes Bach to School, the Noontime Cantata Series, Talking Bach, and our newest education program the Wunderkind Projekt. These programs showcase the talents of Consort musicians, guest artists, and guest lecturers, and provide thousands of DC-area residents with the opportunity to hear, learn, and be inspired by top-notch classical music performances.

INSTITUTIONAL PARTNERS This program is brought to you in part by these generous sponsors.

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