Young Artists Chorus Young Artists Orchestra Paul Haas, Conductor

COLLEGE OF FINE ARTS ADMINISTRATION BUTI ADMINISTRATION Boston University Benjamin E. Juarez, Dean Phyllis Hoffman, Executive and Artistic Director Robert K. Dodson, Director, School of Music Shirley Leiphon, Administrative Director Tanglewood Institute Jim Petosa, Director, School of Theatre Arts Lisa Naas, Director of Operations and Student Life Lynne Allen, Director, School of Visual Arts David Faleris, Program Administrator John Amend, Assistant Dean of Finance and Emily Culler, Development, Alumni Relations, and presents Administration Outreach Officer Patricia Mitro, Senior Assistant Dean of Enrollment Grace Kennerly, Publications Coordinator Stephanie Trodello, Assistant Dean of Development Manda Shepherd, Office Coordinator and Alumni Relations Mandy Kelly, Office Intern Laurel Homer, Director of Communications Ben Fox, Private Lessons Coordinator Travis Dobson, Stage Crew Manager DESIGN TEAM FOR SEIJI OZAWA HALL Matthew Lemmel, Greg Mitrokostas, William Rawn Associates, Architect Andres Trujillo, Matt Visconti, Stage Crew Young Artists Chorus Lawrence Kierkegaard & Associates, Acoustician Michael Culler, Recording Engineer Theatre Projects Consultants, Inc., Theatrical Shane McMahon, Recording Engineer Consultant Xiaodan Liu, Piano Technician Young Artists Orchestra

YOUNG ARTISTS ORCHESTRA PROGRAM YOUNG ARTISTS VOCAL PROGRAM PAUL HAAS, conductor FACULTY AND STAFF FACULTY AND STAFF Ryan McAdams, Conductor Phyllis Hoffman, Director Paul Haas, Conductor Ann Howard Jones, Chorus Conductor Mark Berger, Viola Coach, String Chamber Music Elissa Alvarez, Vocal Coordinator Ariana Falk, Cello Coach, String Chamber Music Joy McIntrye, Artist in Residence Michael Israelievitch, Percussion Coach George Case, Assistant Chorus Conductor/ David Krauss, Brass Coach, Brass Chamber Music Voice Faculty Hyun Min Lee, Cello Coach, String Chamber Music Jonathan Cole, Voice Faculty Kai-yun Lu, Winds Coach, Wind Chamber Music Meredeth Kelly, Voice Faculty Laura Manko, Viola Coach, String Chamber Music Evangelia Leontis, Voice Faculty Miguel Perez-Espejo Cardenas, Violin Coach, Vera Savage, Voice Faculty String Coordinator Dana Schnitzer, Opera Coordinator/Voice Faculty Brian Perry, Double Bass Coach, String Chamber Gregory Zavracky, Theory Coordinator/Voice Faculty Saturday Music Justin Blackwell, Choral Pianist Caroline Pliszka, Violin Coach, String Chamber Music Michael Dauterman, Choral Pianist/Vocal Coach July 28, 2012 Clara Shin, Piano Chamber Music Coach Augustine Gonzales, Pianist/Vocal Coach Samuel Solomon, Percussion Coordinator and Coach Gretchen Peery-Hewitt, Pianist/Vocal Coach 2:30pm Klaudia Szlachta, Violin Coach, String Chamber Music Maja Tremiszewska, Pianist/Vocal Coach Hsin-Lin Tsai, Violin Coach, String Chamber Music Ronald Barron, Private Lessons Instructor, Trombone Seiji Ozawa Hall Dan Bauch, Private Lessons Instructor, Percussion Kevin Owen, Private Lessons Instructor, Horn Andrew Price, Private Lessons Instructor, Oboe Mike Roylance, Private Lessons Instructor, Tuba Linda Toote, Private Lessons Instructor, Flute Janet Underhill, Private Lessons Instructor, Bassoon Tiffany Chang, Orchestra/Chamber Music Manager Kory Major, Orchestra Librarian/Assistant Manager Florence Gould Auditorium SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD Seiji Ozawa Hall INSTITUTE IS PROVIDED BY: Tanglewood Young Artists Chorus Young Artists Orchestra Paul Haas, conductor

BERNSTEIN Symphony No. 1, “Jeremiah”

Prophecy Profanation Lamentation

Tammy Coil, mezzo soprano

~Intermission~

BEETHOVEN Mass in C major, op. 86

Kyrie Gloria (Qui tollis – Quoniam) Credo Sanctus (Benedictus – Osanna) Agnus Dei (Dona nobis pacem)

Young Artists Chorus Ann Howard Jones, conductor Dana Schnitzer, soprano Vera Savage, mezzo soprano Gregory Zavracky, tenor This program is supported in part by awards from the Jack Kent Cooke Foundation, the Surdna Foundation, Jonathan Cole, baritone the National Endowment for the Arts, the ASCAP Foundation Irving Caesar Fund, Zildjian, and the Bose Foundation. Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music.

Rehearsal space is provided In Kind by Lenox Commons. BOSTON UNIVERSITY COLLEGE OF FINE ARTS PAUL HAAS, conductor

According to The New York Times, Paul Haas “is surely on the brink of a noteworthy The Boston University Tanglewood Institute is part of the educational and artistic pro- career.” Time Out New York calls him a “visionary”. He is the Music Director of the grams of the Boston University School of Music. Founded in 1873, the School of Music Symphony of Northwest Arkansas (SoNA), and his guest conducting engagements combines the intimacy and intensity of conservatory training with a broadly based, have included performances with the Orchestra of St. Luke’s, San Antonio Symphony, traditional liberal arts education at the undergraduate level and intense coursework at the Rochester Philharmonic Orchestra, the Fort Worth Symphony Orchestra, and the the graduate level. The school offers degrees in performance, composition and theory, New World Symphony, among others, as well as festival appearances. Recently, Paul’s musicology, music education, collaborative piano, historical performance, as well as a performance with the National Symphony Orchestra and Itzhak Perlman as soloist certificate program in its Opera Institute, and artist and performance diplomas. caused the Washington Post to write:

Founded in 1839, Boston University is an internationally recognized private research “The young conductor Paul Haas was all about fresh thinking and visceral engagement. university with more than 30,000 students participating in undergraduate, graduate, His musicmaking…revealed a keen musical mind and an impressive feeling for the and professional programs. BU consists of 17 colleges and schools along with a number natural pulse and trajectory of a score… Haas’s sensitivity to rhythmic and dynamic of multi-disciplinary centers and institutes which are central to the school’s research gradation, and his ability to marry heartfelt expression with disciplined playing from and teaching mission. The Boston University College of Fine Arts was created in 1954 the NSO…would have been impressive in a conductor three times his age. If Thurs- to bring together the School of Music, the School of Theatre, and the School of Visual day’s concert was an accurate barometer of his talents, Haas is headed for a significant Arts. The University’s vision was to create a community of artists in a conservatory- podium career.” style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. As former Music Director of the renowned New York Youth Symphony, which performs Since those early days, education at the College of Fine Arts has begun on the BU regularly at Carnegie Hall, Mr. Haas and the NYYS were awarded the ASCAP-League campus and extended into the city of Boston, a rich center of cultural, artistic and intel- of American Orchestras Leonard Bernstein Award for Educational Programming, the lectual activity. first and only time that coveted award has ever been presented to a youth orchestra. Recently, Mr. Haas was selected out of hundreds to perform in the League of American Orchestras’ prestigious National Conductor Preview.

Haas also enjoys an active composing career. He conducted the premiere of his “Matthew Says” for orchestra, chorus, and two violin soloists at Carnegie Hall in 2007 and has premiered nine other orchestral pieces of his in New York City during recent seasons. San Francisco-based Hope Mohr Dance commissioned a large-scale score by Haas, premiering the work (“The Unsayable”) in March 2011. Recently, New York Magazine singled out Haas as one of the “New New York School” of composers.

In addition to his orchestral engagements, Haas is the founder and Artistic Director of Sympho, a trailblazing concert production company that creates powerful and emotional musical experiences, collaborating with leading artists and using unexpected performance methods and unorthodox venues. “Refits the Classical Experience for a New Century,” proclaimed The New York Times headline for Sympho’s first concert. “Something momentous has occurred,” raved the San Francisco Chronicle. And Sym- phony Magazine declared, “Something important was happening, something with emotional stakes.”

In February 2011, Sympho and Haas created a critically-acclaimed concert event for the opening night of the Park Avenue Armory’s Tune-In Music Festival, ranked by New York’s WQXR FM as the “Top New Music Event of 2011”. Recent events include a site- specific concert commission for Ann Hamilton’s Tower, an 80-foot sculpture and performance venue in Sonoma County, California, whose past performances have featured BOSTON UNIVERSITY TANGLEWOOD INSTITUTE the likes of Kronos Quartet and Meredith Monk. For more information about Sympho, please visit www.SymphoConcerts.org. The Boston University Tanglewood Institute is a program within the School of Music in Paul Haas is a graduate of Yale University and The Juilliard School, where he studied the College of Fine Arts at Boston University. conducting as a Bruno Walter Fellow with Otto-Werner Mueller. His other conducting teachers include Michael Tilson Thomas and Leonard Slatkin. He also studied opera In 1966, educational programs at Tanglewood were extended to younger students of conducting in Dresden, Germany, at the Hochschule für Musik. Haas currently resides in high-school age, when Erich Leinsdorf invited the Boston University College of Fine New York City with his wife and two daughters. Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- shires.

Young Artists Chorus Today, the Boston University Tanglewood Institute, in its unique association with the Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- ANN HOWARD JONES, conductor nationally as an outstanding educational opportunity for young artists. Under the guidance of dedicated, established professionals, and in the constant presence of the Ann Howard Jones is Professor of Music and Director of Choral Activities at Boston Boston Symphony Orchestra, young people devote themselves each summer to an University. She conducts the Symphonic and Chamber Choruses, supervises conduct- artistic experience without parallel. ing students in the Concert Chorus and the Women’s Chorale, teaches graduate choral conducting, and administers the Master of Music and Doctor of Musical Arts programs in Choral Conducting. Dr. Jones is also the conductor of the BU Tanglewood Institute YOUNG ARTISTS PROGRAMS Young Artists Vocal Program Chorus, an auditioned ensemble of high school singers which rehearses and performs at Tanglewood in the summer. Young Artists Orchestra and Chamber Music Program Young Artists Vocal Program Recognized as a distinguished clinician, adjudicator, teacher and conductor, she has led Young Artists Composition Program many all state and regional choruses, workshops and master classes in the US, Europe, Young Artists Piano Program South America, Canada, and Asia. She has been invited to teach and conduct at North Young Artists Wind Ensemble and Chamber Music Program Texas, Michigan State, Missouri, University of Miami, San Diego State, University of Young Artists Harp Seminar Missouri-Kansas City, Southern Methodist University, and Westminster Choir College of Rider University, University of Kentucky, and the University of New Mexico. INSTITUTE WORKSHOPS From 1984-1998, Dr. Jones was the assistant conductor to the late Robert Shaw and the Atlanta Symphony choruses, where she was Assistant Conductor for Choruses, Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop sang in the alto section, assisted with the Robert Shaw Chamber Singers and helped Oboe Workshop Horn Workshop Percussion Workshop to organize the Robert Shaw Institute. She sang and recorded with the Festival Singers Clarinet Workshop Trumpet Workshop Double Bass Workshop both in France and in the U.S. The Festival Singers were also represented in perfor- Bassoon Workshop Trombone Workshop String Quartet Workshop mances of major works for chorus and orchestra at Carnegie Hall in a series of performance workshops. After Shaw’s death in 1999, Dr. Jones was invited to conduct the Robert Shaw Tribute Singers for the American Choral Directors Association confer- ences in San Antonio and Orlando. For further information about auditions and program offerings, please contact the BUTI Choruses at Boston University have been invited to appear at conventions of the office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- American Choral Directors Association (ACDA) in Boston and New York City. Dr. Jones glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August). has traveled with a group of BU graduate students to Padua and Venice, Italy, to per- You may also contact us via e-mail at [email protected]. form and to study. A similar trip was made to Oslo and Bergen, Norway. In the spring Website: http://www.bu.edu/tanglewood of 2009, the graduate conducting students joined Dr. Jones at the national convention of ACDA in Oklahoma City, where she was invited to prepare and conduct the world premiere of a work by Dominick Argento. The conductors sang in the chorus and as- BOSTON UNIVERSITY TANGLEWOOD INSTITUTE sisted in the preparations for the performance. Among the honors which Dr. Jones has UPCOMING EVENTS received are the coveted Metcalf Award for Excellence in Teaching from Boston Univer- sity, a Fulbright professorship to Brazil, and a lectureship for the Lily Foundation. At the Sunday, July 29, 4:00pm Ventfort Piano Recital Series National Conference of the American Choral Directors Association on March 9, 2011, BOAZ SHARON Dr. Jones was named the recipient of the Robert Shaw Choral Award for distinguished Ventfort Hall Mansion service to the profession, the highest award given by the association.

Monday–Wednesday, July 30–August 1, 6:00pm Young Artists Orchestra Dr. Jones is a native of Iowa, and her degrees are from the University of Iowa. Student Chamber Music Recital Chamber Music Hall

Saturday, August 4, 11:00am Young Artists Piano Program TAMMY COIL, mezzo soprano Student Recital West Street Theatre Tammy Coil has been praised for her “engagement and amber warmth,” by Ann Midgette of the Washington Post. Most recently, her performance as Mercedes in Car- Saturday, August 4, 2:30pm BUTI Honors Recital men with the Opera Company of Philadelphia, “was truly outstanding in both vocals Seiji Ozawa Hall and characterization.” (Bachtrach Reporter) Ms. Coil is equally at home in classical and contemporary music in both the opera and recital world. She spent the summer Sunday, August 5, 11:30am Young Artists Harp Program of 2010 as an apprentice artist with Santa Fe Opera. Ms. Coil was a member of the Student Recital 2010 Opera on the Go! Program with the Opera Theater of St. Louis singing the role West Street Theatre of Cherubino. Ms. Coil participated in the inaugural Chateauville Festival performing the role of Nancy in Albert Herring under the baton of Lorin Maazel. In 2009, she sang Sunday, August 5, 2:00pm Young Artists Vocal Program the roles of L’Ecureuil, La Bergere and La Chatte in L’enfant et les Sortileges as well as Student Recital Zulma in L’Italiana in Algeri with the Opera Company of Philadelphia. Tammy holds West Street Theatre the Master of Music Degree from The Curtis Institute where she sang numerous roles, Sunday, August 5, 7:00pm Young Artists Composition Program each “summoning up vocal fire,” (Diane Burgwyn,Opera Now) including Margaret in Student Recital Wozzeck and Lorca in Golijov’s Ainadamar in collaboration with the Opera Company of West Street Theatre Philadelphia and the Kimmel Center. Other roles performed during her time at Curtis include Cherubino in Le Nozze di Figaro, Lady with a Hatbox in Postcard From Morrocco, Monday, August 6, 11:00am Young Artists Vocal Program and Sicle in L’Ormindo. Ms. Coil earned the Bachelor of Music degree from The Juilliard Student Recital School where she sang Zwei Dame in Die Zauberflote with The Juilliard Opera Work- West Street Theatre shop and Tasse Chinoise and the Libellule in L’enfant et les Sortileges with Juilliard Opera Center. She has also appeared with the Santa Fe Opera as an Apprentice Artist and Monday, August 6, 6:00pm Young Artists Vocal Program with the Opera Theater of St. Louis as a member of the Gerdine Young Artist Program. Student Recital Ms. Coil performed the title role in L’enfant et les Sortileges with the Opera Theater New West Street Theatre Jersey in their premiere season. At the Chautauqua Institution she performed Octavia Tuesday, August 7, 2:00pm Tanglewood on Parade in L’incoronatizione di Poppea and Dorabella in Cosi fan tutte. Most recently, she was a Young Artists Orchestra and Chorus soloist in the New York Philharmonic’s production of Candide and appeared at the Ken- Tanglewood Main Grounds nedy Center with Marvin Hamlisch and Lorin Maazel.

For more information on our events, please contact our office at (413) 637-1431. DANA SCHNITZER, soprano

West Street Theatre, 45 West Street, Lenox, Massachusetts Praised for her “stunning voice” that “rang clearly through the house” soprano Dana Chamber Music Hall, Tanglewood Main Grounds Schnitzer continues to amass accolades for her numerous operatic roles that include Seiji Ozawa Hall, Tanglewood Main Grounds Fiordiligi in Cosi fan tutte; Rosalinda, in Die Fledermaus; and Giannetta in L’elisir d’amore Ventfort Hall Mansion, 104 Walker Street, Lenox, Massachusetts , the latter performed at the prestigious Caramoor Festival In New York. She has also performed with Connecticut Lyric Opera, Commonwealth Opera and the Boston Opera Collaborative. She recently covered the role of Leonora in Beethoven’s Fidelio with The Alabama Friends of BUTI Allen Morrison BUTI salutes the Alabama Friends, a dedicated group Michael Mucci Opera Boston. of volunteers from the Montgomery Symphony, who Joan Nelsen demonstrate their passion for classical music and arts Eli Newberger Highlights of Ms. Schnitzer’s concert and oratorio performances include Vaughan Wil- education by providing annual BUTI scholarships to stu- Northeast Utilities Foundation dents from Alabama. BUTI is also honored to participate Jeanne and Michael Payne liams’s Sea Symphony, the Brahms Requiem and the Bach B Minor Mass with the Met- annually in the Montgomery Symphony’s prestigious Plumb Family ropolitan Chorale; the Beethoven Mass in C with the Newton Choral Society; the Bach Blount-Slawson Young Artists Competition. Barbara Rosenfelt Magnificat, Mozart Requiem and Mendelssohn’s St. Paul with the Choral Art Society; Henry Salz 2012 Alabama Friends Kevin Schmidt Handel’s Messiah and Faure’s Requiem with the Masterworks Chorale; and Mahler’s Teri A. Aronov Alan Schulman Rückertlieder with the Arlington Philharmonic. Barbara B. Britton Samuel Schulman Dorothy D. Cameron Barbara Shepetin Edith J. Crook Paul Shimer Ms. Schnitzer was awarded the 2012 St. Botolph Emerging Artist Grant for excellence Elizabeth B. Crump Barbara Simkin in music. She was a finalist in the 2009 Liederkranz Competition and winner of the Ar- Dr. and Mrs. Benjamin J. Cumbus David Solomkin lington Philharmonic Competition, and was among the winners in the Boston Regional Dr. Dorothy M. DiOrio Hugh Taylor Eileene D. Griffith Harry Thomas Auditions of the Metropolitan National Council Auditions. She has attended several Mr. and Mrs. W. F. Joseph Jr. Marion Waleryszak young artists programs including the Caramoor Bel Canto Young Artists Program, POR- Mr. and Mrs. James E. Klingler Henry Walker Topera Emerging Artists Program, the Britten-Pears Young Artist Programme, and the Dae H. Miller Stephen Wittenberg Mr. and Mrs. Jerome T. Moore Jr. Samuel Zilka Brevard Music Center/Janiec Opera Company. Beverly D. Ross S. Adam Schloss Foundation, Inc. Dana Schnitzer holds the Bachelor of Music degree from UMASS Amherst, the Master Winifred and Charles Stakely *This list represents friends who supported the Helen J. Steineker Boston University Tanglewood Institute between of Music degree from the New England Conservatory, and will complete the Doctor of Mr. and Mrs. Mose W. Stuart III July 2011 and June 2012. Musical Arts degree at Boston University in 2013. In addition to maintaining a large Elisabeth P. Thompson private voice studio, she is Founder/Artistic Director of Metro West Opera, adjunct fac- If you are interested in joining the Friends of BUTI The Kenneth L. Broad Memorial Scholarship Fund please contact Emily Culler, Development, Alumni ulty at Mount Holyoke College, and a member of the faculty of the Young Artists Vocal The Kenneth L. Broad Memorial Scholarship Fund awards Relations, and Outreach officer at 617-353-8995 or Program at the Boston University Tanglewood Institute. a half-scholarship each year to a promising young baritone in the Young Artists Vocal Program. Founded [email protected]. by Laura Broad in 2009, in memory of her husband - a gifted baritone and passionate supporter of the arts and VERA SAVAGE, mezzo soprano arts education - the fund is replenished each year by gifts ADVISORY BOARD OF THE from members and friends of the Broad family. BOSTON UNIVERSITY Vera Savage, mezzo soprano, recently performed the roles of the Prioress in Poulenc’s 2012 Kenneth L. Broad Memorial Scholarship Donors TANGLEWOOD INSTITUTE Dialogues of the Carmelites and Madeline Mitchell in Heggie’s Three Decembers in Esther-Ann Asch Leonard Atherton productions by the Boston University Opera Institute. The Boston Music Intelligencer Babson Capital Management described her portrayal of Mitchell as playing “ a convincing diva and… able to sing Robert Barnes Richard Balsam powerfully both operatically and as a Broadway baby”. And from the Bostonist, “ Vera James Bobo Emily Borababy Laura Broad Chester Douglass, chair Savage was “….stunning – a radiant and solid sound that brazenly approached even the Herta Carlin most challenging moments of Heggie’s score”. Audrey Chereskin Wilbur Fullbright Richard Coffey Richard Grausman Norma and Gilbert D’Oliveira Susan Grausman Ms. Savage has spent several summers as a young artist at the Caramoor Music Fes- William Davidson tival where she covered the title role in Rossini’s Semiramide, Adalgisa in Norma, and Rachel Donner Ellen Highstein the title role in Donizetti’s Maria di Rohan. Under stage director, Tito Capobanco, she Barbara Garvey Ellen Kazis-Walker Melvin Ginsberg Lucy Kim performed the roles of Donna Elvira in Don Giovanni and Hannah Glawari in The Merry Lynne and David Harding Widow. Randie Harmon Maureen Meister Terence Heslin Joy McIntyre John Lenard Beth Morrison A finalist in the Houston Grand Opera’s Eleanor McCollum Competition, Ms. Savage Carol Lonero received the top vocal prize in the Arts and Letters competition at Bloomington, Indiana Salvatore Macchia Michael Nock and second place in the Bel Canto Foundation of Chicago competition. She holds Mazotas Family Charles A. Stakely Stephen Moore Winifred Stakely Lynn and Paul Morris FRIENDS OF THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided the Bachelor of Music degree from the Oberlin Conservatory of Music, the Master of full- and partial scholarships for our gifted young artists, as well as resources for new initiatives and special programs, for the 2012 season.* Music degree from Indiana University and is a candidate for the Doctor of Musical Arts degree at Boston University where she is a student of Penelope Bitzas. $100,000 and above Lynne and David Harding Anonymous John Hecht Ms. Savage is currently a member of the faculty of the Young Artists Vocal Program at Jack Kent Cooke Foundation Gudjonson Hermannsson and Yingxing Wang Surdna Foundation Yumi Kendall BUTI. Lucy Kim and Dr. Matthew Guerrieri $10,000 - $99,999 Phyllis and Harvey Klein National Endowment for the Arts Robert Lea John Carey Dana and Yuri Mazurkevich GREGORY ZAVRACKY, tenor Peter McCallion $1,000 - $9,999 Maryjane Minkin ASCAP Foundation Irving Caesar Fund Roger Murray Gregory Zavracky, tenor, maintains an active career as performer, composer and Bose Foundation Carl Nathan teacher. His recent operatic roles include Count Almaviva in The Barber of Seville with Richard D. Carmel Charitable Remainder Trust Sandra Nicolucci Townsend Opera, Tamino in Boston Lyric Opera’s family production of The Magic Flute, Chester and Joy Douglass Pioneer Investments Mr. and Mrs. Peter Eliopoulos Andrew Price Prince Dauntless in Once Upon a Mattress and Schmidt in Werther with Chautauqua David Feigenbaum and Maureen Meister Benjamin Rudnick Opera, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake George Opera, Ferrando Ann and Gordon Getty Foundation In honor of Kenneth D. Rudnick and in memory in Così Fan Tutte and Camille in The Merry Widow with Cape Cod Opera, and Ernesto in Susan and Richard Grausman of Diane T. Rudnick, Ph.D. Phyllis and Robert Hoffman Sherri Rudnick Don Pasquale with Opera in the Heights in Houston. He has also recently been a soloist Ellen Kazis-Walker In honor of Kenneth D. Rudnick and in memory in Bach’s St John Passion, Mass in B Minor, and Magnificat, Handel’s Messiah, Mozart’s Elizabeth and Dean Kehler of Diane T. Rudnick, Ph.D. Mass in C minor and Vesperae de Dominica, Haydn’s Creation, Janácek’s Otcenás, and Margaret S. Lindsay Foundation Justine and Harvey Schussler Joy McIntyre Fenwick Smith Orff’s Carmina Burana. A proponent of new music, Gregory has sung the premieres Kenneth D. Rudnick Christine Standish of Dan Shore’s Works of Mercy, Ketty Nez’s The Fiddler and the Old Woman of Rumelia, In memory of Diane T. Rudnick, Ph.D. Susan Thonis James Yannatos’ Rocket’s Red Blare, and Anthony de Ritis’ Three American Songs. The Ushers & Programmers Fund Mr. and Mrs. Craig Vickers In honor of Robert and Dorothy Dandridge Linda Wildes Ellen and John Yates Carol Woolman Currently a doctoral candidate in voice performance at Boston University, Gregory received Bachelor of Arts degree in music from Emory University, followed by Master of $100 - $999 Up to $99 Samuel Adler Anthony Accinno Music degrees from New England Conservatory in voice performance and opera stud- Lorraine and Curtis Anastasio Leslie Boden ies. At BU, he teaches class voice and private lessons for non-majors. He has taught Daniel Balsam Katherine Canning private lessons for Norwood High School’s celebrated music program since 2001, and Paul Bentel Joel Caverly Phyllis Biener David Cohen maintains a small private studio. This is his second summer teaching voice and theory George Borababy Donna Convicer for the Young Artists Vocal Program at BUTI. Among his recent compositions is the David N. Burnham Bruce Creditor opera As You Like It from which he composed an act for the Young Artists opera scenes Deborah Burton Laurence and Karen Dusold Mr. and Mrs. Salvatore Cania Jacqueline Fernandez recital. Emily and Michael Culler Lawrence Fullerton Jane Carlson John and Barbara Gordon Bianca Carter Stephen Holzman Kimberly Cheiken Helen Holzwasser JONATHAN COLE, baritone Marjorie Clement Amy Kawa Barbara Coburn Jane Knox Mitchell Cohen Bruce Kozuma Jonathan Cole, baritone, is from Dallas, Texas and just completed two-year residency John Connor Michael Lascoe at the Boston University Opera Institute where, as a Phyllis Curtin Artist, he held the Robin Dull Christopher Lee scholarship that honors Ms. Curtin, the founder of the Institute. The roles he per- Irma and Eli Etscovitz Kathy Massa Kathleen and Dennis Faleris Marjorie Mendelsohn formed with the Institute include the Marquis de la Force in Dialogues of the Carmelites, Renee Plessner Fishman, Esq. Charles Overton Count Robinson in Il Matrimonio Segreto, Mercutio in Romeo et Juliette, Charlie in Three Paula Folkman Brenda Patterson Decembers (“As Charlie, Jonathan Cole nearly stole the show…..And his lament….was Laurel Friedman Vicki M. and John R. Rezzo Lorraine and Wilbur Fullbright Emma Shook touching”), Guglielmo in Cosi fan tutte, Laurent in Therese Raquin, and Elder McLean in Susan and Edward Goldstein Jean Stoutenborough Susannah. With Central City Opera, he has performed as El Dancaire in Carmen, Mon- Deborah Grausman David Talley sieur Presto in Les mammelles de Tiresias, and the Father in Die sieben Totsunden. Marian and Peter Hainsworth Stephanie Trodello YOUNG ARTISTS CHORUS A proponent of new works, especially American opera, Jonathan Cole has had the op- Ann Howard Jones, conductor portunity to work with eminent composers such as Carlisle Floyd, Jake Heggie, William George Case, assistant conductor Bolcom, Stephen Paulus, Lori Laitman, and Tobias Picker. Michael Dauterman, piano Mr. Cole is the winner of several competitions including the Crescendo Music Awards, Soprano Tenor the National M.T.N.A. and several Texas NATS competitions. He holds the Bachelor Virginia Barefield,Port Saint Luci, FL Ian Anstee, Havertown, PA of Music degree from Baylor University, the Master of Music degree and the Opera Margaret Bickerstaff, Grosse Pointe, MI Isaac Calvin, San Marino, CA Institute Certificate from Boston University. He will begin work as a candidate for the Desiree Dawson, Reisterstown, MD George Case*, Atlanta, GA Doctor of Musical Arts degree at the University of Colorado, Boulder this fall. He is Emily Donato, Brooklyn, NY Ezekiel Covenant, Riverdale, MD currently a member of the faculty of the Young Artists Vocal Program at the Boston Rebecca Finkelshteyn, Clive, IA Christian Davakis, Oradell, NJ University Tanglewood Institute. Christine Jay, Norfolk, MA Johan Hartman, Glastonbury, CT Leah Kimball, Brooklyn, NY Malik Lee, Baltimore, MD Evangelia Leontis*, Bowling Green, Ohio Joseph Lupa, Ludlow, MA Katherine Lerner Lee, Brooklyn, NY David McNeeley, Teaneck, NJ Rebecca Lipstein, Suffern, NY George Perry, Chevy Chase, MD Rachel Liss, New York, NY Ryan Schiller, La Canada Flintridge, CA Maggie McGuire, Tuscaloosa, AL Ian Scott, Wilmington, DE Karen Notovitz, Great Neck, NY Lucas Stilianos, Lynnfield, MA Mallory Nuss, Vienna, VA Pharoah Williams, Philadelphia, PA India Rowland, Los Angeles, CA ACKNOWLEDGEMENTS Ivy Sanderfoot, Madison, WI Alexandra Selawsky-Group, Milton, MA Bass Lucie Shelley, Washington, D.C. Alexander Bonner, Boca Raton, FL Ann Howard Jones, conductor of the Young Artists Chorus, was to have conducted the Hee So Son, New York, NY Jonathan Cole*, Arlington, TX chorus and orchestra in this performance of the Beethoven Mass in C but found it nec- Margaret Tigue, Wantagh, NY Benjamin Croen, New York, NY essary to withdraw because of family illness. She has, however, continued her prepara- Amy Weintraub, Fort Collins, CO Henry Cummings, Milwaukee, WI tion of the chorus for this concert for which we are deeply grateful. Emma Zyriek, Bel Air, MD Anthony Cutillo, Mansfield, MA Michael Dauterman*, Boston, MA We appreciate enormously that, on short notice, Paul Haas graciously accepted the Jovon Eborn, Upper Marlboro, MD responsibility for conducting this entire program. Alto Dylan Evans, Delray Beach, FL Lily Balshan, Atlanta, Ga William Krager, New Berlin, WI We are pleased to present Tanglewood Music Center Vocal Fellow, Tammy Coil, mezzo Madeline Bueter, Frisco, TX Matthias Kramer, Cary, NC Julia Cohen, New Paitz, NY Max Majillzadeh, Baltimore, MD soprano, in the solo role of the Bernstein Symphony No. 1, “Jeremiah” and we thank the Nicole Copeland, Kingwood, TX Max Masuda-Farkas, Los Angeles, CA TMC for supporting her preparation for this performance as part of her assignments Emily D’Angelo, Toronto, Ontario Jackson Mitchell, Gig Harbor, WA for this season. Ruby Dibble, Kansas City, MO Aaron Overton, Wake Forest, NC Talia Fuchs, Brooklyn, NY Eric Ritter, Baltimore, MD Angela Gust, Clive, IA Evan Rocco, Valley Cottage, NY Sarita Gustely, Louisville, KY Kyle Roeder, Jefferson, IA Rosie Hughes, Atlanta, GA Juan Suarez, Boca Raton, FL Sarah King, Riverside, CT Joshua Wolf, Elk River, MN Hailey McAvoy, Natick, MA Jessica Newman, Sudbury, MA Heather O’Donnell, Lake Oswego, OR Blossom Ojukwu, Brandywine, MD Vera Savage*, Simsbury, CT *denotes BUTI faculty/section leader Rachel Steinberg, Stoughton, MA Antona Yost, Salt Lake City, UT YOUNG ARTISTS ORCHESTRA PROGRAM NOTES Violins Cello Bassoon Hyunnew Choi, concertmaster #, Jacob Calix, principal #, Harrison Miller, New Canaan, CT Waban, MA South Pasadena, CA Nicholas Ritter, Vienna, VA Jiayi Zheng, concertmaster +, James Cooper, Houston, TX Arekson Sunwood +, Huntsville, AL Natick, MA Eliot Haas, Shreveport, LA Jacob Thonis #, Wellesley, MA LEONARD BERNSTEIN (1918–1990) Alec Hon, principal +, Santa Ana, CA Symphony No. 1, “Jeremiah” Keanu Mitanga, principal 2nd #, Kang Huh, Nashville, TN Contra Bassoon Atlanta, GA Taylor Jensen, Bainbridge Island, WA Harrison Miller, New Canaan, CT Ray Anthony Trujillo, principal 2nd +, Erica Ogihara, Pinecrest, FL Leonard Bernstein, a renaissance man in his own right, is perhaps considered the Elk Grove, CA Mitzi Okou, Norcross, GA Horn American musical voice of the Twentieth Century. A composer, conductor, educator, David Olson, Ashford, CT John Michael Adair, Jeremy Steele, Seattle, WA Birmingham, AL and philanthropist, Bernstein encapsulated in his music the sound of the American Ana Barrett, Irvington, NY Molly Steimle, Austin, TX Valerie Ankeney, Dayton, OH landscape during the turmoil of WWII through the anti-war movements of the 1970s Emelyn Bashour, Leverett, MA Xavier Wilson, Lancaster, TX Rachel Boehl, Annie Chabot, Rimouski, Quebec Westhampton Beach, NY with the fall of the Berlin Wall and Soviet Communism. Bernstein’s first symphony, Shu-Chi Chang, Cypress, TX Bass Thea Humphries #, Kanata, ON Jeremiah, begun in 1939 upon his graduation from Harvard, is an initial exploration of Naomi D’Amato, Duncanville, TX Jordan Calixto, principal +, Boston, MA Brooke Nance, Rochester, NY Erin David, Miami, FL Moises Carrasco, Haverhill, MA Jeremy Odell +, Austin, TX a theme both musical and spiritual that would prove to influence many major works Evan De Long, Newbury Park, CA Samuel Casseday, Jacksonville, FL throughout the composer’s career. Bernstein said in 1977, “The work I have been writing Alison Dooley, Cypress, TX Yi-Hsuan Chiu, Natick, MA Trumpet all my life is about the struggle that is born of the crisis of our century, a crisis of faith.” Joanna Duncan, Tuscaloosa, AL Patrick Fowler, Potomac, MD Maria Currie +, Rochester, NY Samuel Durben, Minneapolis, MN Will Langlie-Miletich, Seattle, WA Anthony Reyes #, Toronto, ON Though there is not yet a clear solution to “the crisis,” there is a renewal of faith that Kathryn Drake, Burnet, TX Joseph Newton, Dallas, TX Julie Tsuchiya-Mayhew, begins in Jeremiah, where we are presented with a great sense of optimism, sorrow, and Dorian Elgers-Lo, Amherst, MA Kevin Thompson, Fairfax, VA St. Louis, MO Oliver Feng, Wayne, PA Peter Walsh, principal #, Dallas, TX Caitlin Williams, Herndon, VA a search for acceptance as consolation for a tumultuous time and place. Michele Gardiner, Mesa, AZ Sebastian Zinca, Miami, FL Lia Hardy, Bainbridge Island, WA Trombone Emma Hathaway, Rutherford, NJ Flute Jasper Davis +, Spring, TX Bernstein’s original sketch for Jeremiah, based on a text from the Book of Lamentations, Itsva Hernandez, Roslindale, MA Hae Jee Ashley Cho , Demarest, NJ Joseph Dubas, Falls Church, VA was more or less a “Hebrew song” for soprano and orchestra. The musical references Melissa Ho, Miami, FL Margaux Filet #, Davis, CA Michael Shayte, Catonsville, MD to Jewish liturgical sources are evident throughout the work and serve as a testa- Minsoo Kim, Seoul, Korea Madeline Naroff +, Brandon Lin, Kowloon Tong, Kowloon Palm Beach Gardens, FL Tuba ment to Bernstein’s religious upbringing. In Lamentations, the Jewish prophet Jeremiah James Lin, Bridgewater, NJ Rachel Rodgers, South Salem, NY Colin Benton +, Peachtree City, GA warned the Israelites that the destruction of Jerusalem was imminent as punishment William Lohrmann, Oslo, Norway Pio Molina, Miami, FL Piccolo Timpani for their sins. Despite being ridiculed for delivering such an ominous, unacceptable Alexis Shambley, Dallas, TX Hae Jee Ashley Cho , Demarest, NJ Grant Hoechst #, McLean, VA prophecy, Jeremiah nevertheless expressed his hope and prayer that God would merci- Harry Joo Hyung Song, Concord, NH Gregory LaRosa +, Downington, PA Jeeyoung Sung, Phoenix, AZ Oboe fully revoke the punishment and forgive his people. Ultimately, Jeremiah was able to Emily Young, Bozeman, MT Jonathan Gentry +, Frisco, TX Percussion see beyond the immediate ruin and desolation of Jerusalem to an optimistic new day. Russell Hoffman, Joe Desotelle, Williamsville, NY Inspired by the prophet’s story, Bernstein realized that his song would become the final Viola Mountain Lakes, NJ Grant Hoechst, McLean, VA Lauren Brown, Boston, MA Mitchell Kuhn, Jacksonville, FL Harrison Honor, Westborough, MA movement of a greater three movement work, and his first setting for large orchestra. Sean Byrne, Chesterfield, MO Joshua Lauretig #, Beachwood, OH Greg LaRosa, Downington, PA Emilio Carlo, principal +, Joshua McClellen, Bella Vista, AR College Park, MD English Horn In 1942, two years after studying with Serge Koussevitsky at the Berkshire Music Alexander Chao, principal #, Russell Hoffman, Piano Center (now Tanglewood Music Center), the Boston Symphony Orchestra’s new school Seattle, WA Mountain Lakes, NJ Thomas Weaver*, Marlton, NJ Kenneth Chen, Needham, MA for advanced studies, Bernstein decided to enter Jeremiah in a competition organized Claudia Huang, Pittsfield, NY Clarinet by New England Conservatory with a jury chaired by Koussevitsky. Bernstein made Bethany Lai, Temple City, CA Peter Jalbert +, Stafford, TX substantial changes to the score, including writing the vocal part for mezzo-soprano. Carol Lee, Dix Hills, NY Andrew O’Donnell, Tampa, FL # denotes principal in Beethoven Katie Reinders, Portland, OR Benjamin Tisherman, Katonah, NY + denotes principal in Bernstein Working feverishly to complete the symphony, he met the competition deadline. In the Ari Shaw, West Palm Beach, FL Ayaka Yoshida #, Great Neck, NY * denotes BUTI staff member meantime, Bernstein made his famous Carnegie Hall conducting debut with the New Sophia Sun, New York, NY Jeremy Tonelli-Sippel, Bass Clarinet York Philharmonic. It was after this wildly successful performance in 1943 that Sam Whitinsville, MA Andrew O’Donnell, Tampa, FL Bernstein recognized his son’s overwhelming musical ambitions for the first time. There Derek Yeung, Dix Hills, NY E-flat Clarinet was a great reconciliation of father and son backstage, and Bernstein immediately Andrew O’Donnell, Tampa, FL dedicated his first symphony, “For my father.” In the end, Bernstein did not win the competition, but his conducting teacher at the Curtis Institute of Music, Fritz Reiner, loved Jeremiah and programmed its premiere with the Pittsburgh Symphony on January 28, 1944, with Bernstein conducting. Ironically, learning of Reiner’s enthusiasm for the Several auxiliary instruments used in tonight’s concert are on generous loan from work, Koussevitsky tried to preempt Bernstein scheduling the premiere with the Boston the Boston College Bands Program. Symphony Orchestra instead, but Reiner prevailed. Bernstein did, however, make his homo factus est. was made man. debut with the Boston Symphony Orchestra conducting Jeremiah three weeks after its Crucifixus etiam pro nobis sub And was also crucified for us under premiere. Both performances were astounding successes. Pontio Pilato, passus et Pontius Pilate, suffered, sepultus est. and was buried. The symphony is in three movements, Prophecy, Profanation, and Lamentation, with Et resurrexit tertia die And on the third day, He rose again Hebrew text from the Book of Lamentations sung by solo mezzo-soprano in the third. secundum scripturas, according to the Scriptures, Bernstein says of the work: et ascendit in coelum, and ascended into heaven, sedet ad dexteram Patris. and sits on the right hand of the Father. The intention is…not one of literalness, but of emotional quality. Thus the first Et iterum venturus est And He shall come again, cum gloria, judicare vivos with glory, to judge both the living movement (Prophecy) aims only to parallel in feeling the intensity of the prophet’s et mortuos, cujus regni and the dead, whose kingdom pleas with his people; and the Scherzo (Profanation) to give a general sense of the non eruit finis. shall have no end. destruction and chaos brought on by the pagan corruption within the priesthood Et in Spiritum sanctum, And in the Holy Spirit, and the people. The third movement (Lamentation), being a setting of poetic text, Dominum et vivificantem, the Lord and giver of life, is ruined, pillaged and dishonored after his desperate efforts to save it. qui ex Patre et Filio precedit. Who proceeds from the Father and Son. Qui cum Patre et Filio simul Who, with the Father and Son together, The Symphony does not make use to any great extent of actual Hebrew thematic adoratur et conglorificatur. is worshipped and glorified, material. The first theme of the Scherzo is paraphrased from a traditional Hebrew qui locutus est per Prophetas. Who spoke by the Prophets. chant, and the opening phrase of the vocal part in the Lamentation is based on a Et unam sanctam catholicam And one holy, catholic, et apolstolicam ecclesiam. and apostolic Church. liturgical cadence still sung today in commemoration of the destruction of Jeru- Confiteor unum baptisma I acknowledge one baptism salem by Babylon. Other resemblances to Hebrew liturgical music are a matter of in remissionem peccatorum, for the remission of sins, emotional quality rather than of the notes themselves. Et expecto resurrectionem And I expect the resurrection mortuorum, et vitam of the dead, and the life of Though Jeremiah can only provide consolation for “the struggle”, it is with the comple- venturi saeculi. Amen. the world to come. Amen. tion of other large works throughout his life—The Age of Anxiety, Kaddish, Chichester of Psalms, and Mass—that Bernstein finds a solution for “the crisis” through a fundamen- Sanctus tal faith in the spiritual connection that is humanity. Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth, Lord God of Sabaoth, pleni sunt coeli et terra heaven and earth are –Grace Kennerly gloria ejus. filled with His glory. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he who comes in nomine Domine. in the name of the Lord. Osanna in excelsis. Hosanna in the highest. LUDWIG VAN BEETHOVEN (1770–1827) Mass in C major, op. 86 Agnus Dei Agnus Dei, qui tollis Lamb of God, who takes away the Beethoven was born in Bonn on December 16, 1770 and died in Vienna on March 26, peccata mundi, sins of the world, 1827. He composed this mass on a commission from Prince Nicholas Esterházy II, for his miserere nobis. have mercy on us. wife’s name day. It was given its first performance on September 13, 1807. In addition to Dona nobis pacem. Grant us peace. four vocal soloists and chorus, the score calls for pairs of woodwinds, horns and trum- pets, timpani, organ, and strings. –Translated by Mike Allsen Though his home in Bonn was overshadowed by destitution, discord, and distress, and his first music teacher was his harsh and violent alcoholic father, Ludwig van Beethoven somehow persevered to pour into his remarkable music his pain, his hunger for peace and for happiness, and the strength of will that helped him survive a tumultuous and tortured life. Settling in Vienna in 1792, he was for a time the unhappy pupil of Franz Joseph Haydn, Luudwig van Beethoven Mass in C major, op. 86 from whom he claimed to have learned nothing. He made a living by giving music lessons and by playing the piano at the private homes and palaces of the music-loving Kyrie Viennese aristocracy, where his dynamic, emotionally charged performances began Kyrie eleison. Lord have mercy. to attract attention. He moved increasingly from a career as a virtuoso pianist toward Christe eleison. Christ have mercy. one as a composer, writing piano concertos and sonatas, chamber works for winds and Kyrie eleison. Lord have mercy. strings, and then symphonies. Although by 1800 his musical prestige was consider- able and his material fortunes were blossoming, he became aware that his hearing was Gloria Glory to God in the highest, deteriorating, and deafness soon threatened—not only his musical life, but his social Gloria in excelsis Deo and on earth, peace towards and personal life as well. et in terra pax hominibus men of good will. bonae voluntatis. We praise You, we bless You, Laudamus te, benedicimus te, we adore You, we glorify You. Beethoven became increasingly morose, withdrawn, and distrustful, and contemplated adoramus te, glorificamus te. We give thanks to You for Your suicide in 1802, even writing a testament (Heiligenstadt Testament), addressed to Gratias agimus tibi propter great glory. his two brothers, describing his unhappiness over his affliction in terms suggesting gloriam tuam. Lord God, heavenly king, that he believed that death was imminent. Only art, and his faith that he had much of Domine Deus, rex coelestis, Father almighty, importance yet to express musically, withheld him from ending his life. This document Pater omnipotens, Lord, the only-begotten Son, reveals not only how distraught, but also how determined a man Beethoven was: “Such Domini Fili unigenite, Jesus Christ, the most high, incidents drove me almost to despair; a little more of that and I would have ended my Jesu Christe altissime, Lord God, Lamb of God, life—it was only my art that held me back. Ah, it seemed to me impossible to leave the Domine Deus, Agnus Dei, Son of the Father. Filius patris. You, who takes away the sins of the world until I had brought forth all that I felt was within me. So I endured this wretched Qui tollis peccata mundi, world, have mercy upon us, receive existence.” Beethoven not only endured, but, with his resolution strengthened, he en- miserere nobis, suscipe our prayers. tered a new creative period during which he wrote the Mass in C major and produced deprecationem nostram. You, who sits at the right hand of the other works that established his reputation as the premiere composer of his time. Qui sedes ad dexteram patris, Father, have mercy upon us. miserere nobis. For You alone are holy, You alone are Each year, the Hungarian Prince Nicholas Esterházy II, whose family Joseph Haydn had Quoniam tu solus sanctus, tu solus the Lord, You alone are the Lord, served for many years as music master, had a new choral mass performed to celebrate Dominus, tu solus altissimus, O Jesus Christ. his wife’s name day, September 8. In 1807, Beethoven was commissioned to compose Jesu Christe. With the Holy Spirit, in the glory of this mass, and wrote to the Prince: “I shall deliver the Mass to you with timidity, since Cum sancto spiritu in gloria God the Father. Amen. Dei Patris. Amen. you are accustomed to having the inimitable masterpieces of the great Haydn performed for you.” His hesitancy indeed appears to have been warranted: He had never Credo before composed a mass, he procrastinated for months, and then he produced a work Credo in unum Deum, I believe in one God, that his patron and audience found unsatisfactory, since it was much humbler and Patrem omnipotem, factorem Father almighty, maker of more spiritual than the grand symphonic masses to which Prince Esterházy and the coeli et terrae, visibilium heaven and earth, and of all things Viennese musical establishment had become accustomed. It is said that Beethoven omnium et invisibilium. visible and invisible. first survived a singer rebellion led by chorus master Johannes Hummel, who did not Et in unum Dominum Jesu Chrisum, And in one Lord Jesus Christ, enjoy working with an “aurally challenged” conductor. Then at the public reception fol- Filium Dei unigenitum, et ex Patre the only begotten Son of God, who was lowing the work’s first performance on September 13, 1807, Prince Esterházy offended natum ante omnia secula . begotten by his Father before all worlds. Deum de Deo, lumen de lumine, God of God, light of light, the composer with the somewhat cryptic comment, “My dear Beethoven, what is it Deum verum de Deo vero, very God of very God, you have done here?” and he later remarked that that he found the mass “unbearably genitum, non factum, begotten, not made, ridiculous and detestable.” consubstantialem Patri, being of one substance with the Father, per quem omnia facta sunt. by whom all things were made. Beethoven therefore refused to dedicate the mass to the prince and never gave him the Qui propter nos homines et Who, for us, and manuscript. The composer instead began negotiating with his publishers for the print- propter nostram salutem for our salvation ing of the mass as a part of various packages that included his more popular fifth and descendit de coelis. descended from heaven. sixth symphonies, but it was several years before the Mass in C Major was published. Et incarnatus est de Spiritu And was incarnate by the Holy Sancto ex Maria virgine, et Spirit of the Virgin Mary, and Beethoven did not write another mass until he composed the mighty Missa solemnis TEXTS AND TRANSLATIONS some fifteen years later. Leonard Bernstein Though Beethoven followed Haydn’s general plan for a mass, including fugal settings Symphony No. 1, “Jeremiah” for the “cum Sancto Spiritu” in the Gloria, “et vitam venturi” in the Credo and “osanna in excelsis” in the Sanctus, his interpretation seems quite individual. The mass contains Lamentation no solo arias, and the solo quartet and choral parts are employed to provide contrasts of color, texture, and dynamics rather than to form separate musical sections. The use Lamentations, 1:1-3 of juxtaposed dynamic extremes, of wide leaps (frequently of an octave, especially in the Credo) in the vocal lines, of contrapuntal passages contrasted with chordal Eicha yashva vada ha’ir O how has the city that was and unison plainchant-style sections, and of sometimes startling harmonic changes, Rabati am once so populous remained lonely! Hay’ta k’almana; She has become like a widow! Beethoven seems to express musically his inner struggles and his desires for mercy Rabati vagoyim She that was great among the nations, and peace. Sarati bam’dinot a princess among the provinces, Hay’ta lamas. has become tributary. The general character of the Kyrie,” said Beethoven, “is heartfelt resignation, whence comes a deep sincerity of religious feeling.” It features alternating passages for chorus Bacho tivkeh balaila She weeps, yea, and four soloists, with the central “Christe eleison” being written in a key a third higher V’dim’ata al lehheiya; she weeps in the night, than the C major opening and closing sections. In the Gloria, joyous choral outbursts Ein la m’nahem and her tears are on her cheek; surround a central section in which chorus and soloists offer their petitions. In the Cre- Mikol ovaheiya; she has no comforter among all her lovers; do, the soloists do not participate until the middle section, in which Beethoven paints Kol re’eha bag’du va; all her friends have betrayed her; Hayu la oyevim. they have become her enemies. significant texts using such devices as the key changes and unusual harmonies, chro- maticism, descending motives for Jesus’ incarnation and suffering under Pontius Pilate, Galta Y’huda me’oni Judah went into exile and rising motives for the resurrection and ascension. The opening section of the Umerov avoda; because of affliction and great servitude; Sanctus, in A major, is tranquil, reverent, and chant-like, while the “pleni sunt coeli” is Hi yshva vagoyim, she settled among the nations, more lively and contrapuntal. The relatively lengthy Benedictus, in F major, is begun by Lo matz’a mano’ah; [and] found no rest; the soloists, who are soon joined and accompanied by the chanting chorus. The same Kol rod’feha hisguha all her pursuers overtook her A major fugal Osanna that concludes the Sanctus reappears to close the Benedictus. Bein hamitzarim. between the boundaries. The prayerful minor-mode Agnus Dei is characterized by key and tempo contrasts; its pained pleas for mercy give way to a soaring “dona nobis pacem.” Beethoven brings the Lamentations 1:8/1:1 Mass to a close with the same gentle music that opens the Kyrie, thus providing the Het hat’a Y’rushalayim... Jerusalem sinned grievously... work with a satisfying unity as the listener accompanies him at last into the spiritual Eicha yashva vada ha’ir... O how the city remained lonely... peace of the “higher world.” ...almana. ...a widow.

Na’u ivrim bahutzot The blind stagger through the streets, N’go’alu badam; they are defiled with blood, B’lo tuchlu and none can touch Yig’u bilvusheihem their garments.

Suru tame! kar’u lamo “Depart, unclean!” they called out to them, Suru, suru! a tiga’u... “Depart, depart!” do not touch...

Lamentations 5: 20-21

Lama lanetzah tishkahenu... Why do You forget us forever... Lanetzah ta’azvenu. forsake us so long? Hasbivenu Adonai elecha... Restore us to You, O Lord...