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The Caine College of the Arts Program All Music Department Programs Archives

3-25-2016

St. Matthew Passion: BWV 244,

American Festival and

Craig Jessop Utah State University

USU Chamber Singers

USU Women's

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Recommended Citation American Festival Chorus and Orchestra; Jessop, Craig; USU Chamber Singers; and USU Women's Choir, "St. Matthew Passion: BWV 244, Johann Sebastian Bach" (2016). All Music Department Programs. 81. https://digitalcommons.usu.edu/music_programs/81

This American Festival Chorus is brought to you for free and open access by the The Caine College of the Arts Music Program Archives at DigitalCommons@USU. It has been accepted for inclusion in All Music Department Programs by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Ws~W!vCHORUS ~ AND ORCHEST R ~™ R.

JOHANN SEBASTIAN BACH BWV244

FRIDAY, MARCH 25, 2016 7:00 PM ELLEN ECCLES THEATRE

SATURDAY, MARCH 26, 2016 NOON CATHEDRAL OF THE MADELEINE

l A I N I COLLEGE oftheARTS TO BE SUNG IN ENGLISH UtahStateUn ive rsity "The Agony in the Garden" Gustave Dore PROGRAM

MARCH 25, 2016 7:00PM ELLEN ECCLES THEATRE, LOGAN

MARCH 26, 2016 12:00PM CATHEDRAL OF THE MADELEINE,

ST. MATTHEW PASSION BWV244 JOHANN SEBASTIAN BACH

PAUL PHOENIX , DARRELL BABIDGE, CELENA SHAFER, HOLLY SORENSEN , MEZZO-SOPRANO ROBERT BREAULT, JOHN BUFFETT, MARK OSHIDA & MEREDITH CAMPBELL , ADAM DE SORGO , JOSEPH JONES , CRAIG TROMPETER, CONT!NUO / DA GAMBA PHILLIP RUKAVINA , AMERICAN FESTIVAL SINGERS MEMBERS OF USU CHAMBER SINGERS USU WOMEN'S CHOIR CRAIG JESSOP , DIRECTOR'S TRIBUTE

Robert Shaw is hailed to this day as the most influential and celebrated choral conductor to have ever been trained in the United States. His lifelong commitment in bringing the great masterworks of the choral/orchestral repertoire to American audiences is legendary . To assist in this endeavor, he translated and published several choral masterworks into English for accessibility to the American audienc­ es. Tonight's will use the Robert Shaw English adaptation of the St. Matthew Passion which he completed and published in 1959. Below is the to his English edition which eloquently presents his case for performing these masterworks in the language of the audiences that are hearing them. April of 2016 will see the centennial celebration of the birth of Robert Shaw in several cities of America. For 10 years it was my privilege to sing as a member of the Robert Shaw Festival Singers. During those years, Mr. Shaw became a personal mentor and friend to me. I will be ever grateful to him for his kindness and gener­ osity of time and spirit. In honor of his 100th birthday, I wish to personally dedicate these to his memory. CRAIG JESSOP

TRANSLATION NOTES

Any translation of a great work must mean a loss to those for whom its original language is a native tongue . Bach's was true not only to the rhythm and accentuation of German speech, but to the spirit and shadings of the Lutheran . Nevertheless, in the ease of his Passion Music we cannot escape the conviction that Bach's first concern was to affirm and quicken a faith-by the immediate communication of its great drama. That is truly possi­ ble only when the story and its meaning are told in the living language of the singer and listener-the language in which they dream, hope, remember, think, love and believe. It is undoubtedly true that a religious language and tradition are longer-lived than the fads sand fashions of secular arts, but even a religious language may ap­ pear vague and uncommunicative to generations far removed from its original cur­ rency; and in this sense, great works of lyric art, (especially those of a foreign tongue or culture), may require a periodic re-translation to retain their impact and meaning. The attention of t~e translator has to be that of finding in one language the in­ nate expressive attitud'e of the other, in order to evoke the same basic experiences. The corollary of this attention is the desperate avoidance of injury to the music itself, to details of word and tone relationship-so sensitive in Bach-since in all great , spirit is no less resident in musical detail than it is in text. As regards the recitative and narrative portions of the St. Matthew Passion, we have had reference to all the available translations, but have relied most heavily on the familiarity of the King James Version and the clarity of the recent Revised Standard Version, which manages, it seems to us, to say things both clearly and beautifully. We have also had in front us Mr. Henry Drinker's remarkable accom­ plishments in the field of Bach's vocal works. We have tried, in every instance, first to maintain Bach's original notation and to find English words of proper syllabifi­ cation and emphasis to coincide. Failing that, as has been frequently inevitable, we have tried to preserve his melodic contour and the expressiveness of his prosody. Practically, this has meant that when it was unavoidable to alter rhythmic syllabification in one part of a phrase, in order to preserve Bach's masterful sense of balance, we had to find a way to alter it, very slightly but sensitively, in another part of the phrase. In order to preserve Bach's coincidence of melodic and verbal stress we have occasionally and reluctantly employed English "as she is spoke" - English words with somewhat foreign and awkward grammar. Admitting that this frequently looks bad, it sometimes sounds surprisingly acceptable to our ears simp­ ly because of Bach's sensitive melodic writing . (together with ariosos)and choralesare resP2(tively individual and cmgregatimal responses to moments of particular poignancy in the drama of the Passion. Since these are cast in rather regular poetic forms there has been little necessity to alter note duration or phrasing . In the arias we have tried to find words of color or ac­ tion that parallel both the syllabification and emotion of those of the original text. We have not always been successful. With the a particular attempt has been made to avoid the time-dishonored cliches of polite religiosity, to return, as far as common sense and thoughtful liberal taste allow, to the directness or even occasional "vulgarity" (in a fine sense) of the original common utterance . Many people will find many ways to improve this translation . Even should it have a general acceptance, soloists and conductors will want to change words here and there. We hope this will happen . For then the language of the St. Matthew Passionwill Mane !TlC!"eimmediate and i:ersmal to tha;e who use it, and will Mane a truly living language.

ROBERT SHAW NOTES ON THE HISTORY OF THE MUSIC

St. Matthew Passion, BWV 244

Instrumentation: 4 , 4 , viola da gamba, organ, , strings, double chorus, boys choir, soloists SATBB .

Duration: 131 minutes in two parts .

THE - JOHANN SEBASTIAN BACH (1685-1750) - Bach was in the first years of his period in 1727. He had moved there in 1723 to assume the combined posts of Kantor at the Thomasschule and Director of Civic Music. The double-position had a rich history and was highly coveted by through­ out Germany, who no doubt viewed the municipal stability of urban Leipzig quite favorably in comparison to their provincial and unpredictable court employments.

THE HISTORY - Both of Bach's surviving were premiered in Leipzig, where he would remain until the end of his life in 1750. St. John was first per­ formed on Good Friday in 1724 with St. Matthew appearing on the same holy day in 1727. The latter is based predominately on the Lutheran translation of chapters 26 and 27 of the Gospel According to Saint Matthew, to which Bach added material from various 16th and 17th century hymnals . Bach's frequent collaborator Picander (Christian Friedrich Henrici) served as librettist for the project and created a text of such intricacy that the composer was welcome (or compelled, maybe) to craft a musical work that was equally elaborate. The grandly conceived score calls for two four-part choruses and a large (by Bach's standards) orchestra split into two dis­ tinct groupings. A solo ensemble of up to six singers is tasked with the dramatic portrayal of Jesus, Pilate, Judas, Peter and others including the important narrator role of the Evangelist. The impact of the whole is tantamount to a religious and the depth of spiritual experience on offer is among the most ambitious of Bach's career. That operatic style of presentation was a shock to the audiences of the first performances and, aside from some recognizable settings, the star­ tling originality of the music raised more than a few Leipzig eyebrows. Thankfully, they would have two more decades to fully understand the gifts of their brilliant new Kantor.

THE WORLD - Handel became a British subject in 1727. Russian Empress Cathe­ rine I died that year, as did England's King George I and Sir Isaac Newton. Also in 1727, the Kiakhta Treaty was signed and established the border between Siberia and Mongolia.

Jeff Counts © 2016 ST. MATTHEW PASSION PART ONE

PROLOGUE THE ANOINTING AT BETHANY 1. Chorus 6. Recitative(Matthew 26:6-8) Come, ye daughters, share my wailing. Evangelist: Now when Jesus was in See ye! Whom? Tile Bridegroom see! Bethany, in the house of Simon the Leper, See Him! How? A lamb is He . there came unto him a woman; and bearing 0 Lamb of God, most holy, a box of precious ointment, she poured it on The bitter Cross Thou hast taken. his head as he sat at meat. But when his See it! What? His patience mild . disciples saw it, they had indignation, and At all times meek and lowly, said : Though by Thy children forsaken. 7. Chorus (Matthew 26:8-9) Look! Ah where? Upon our guilt. To what purpose is this wasted? For this The sins of man Thou'rt bearing, ointment might have better far been sold, Else were we left despairing. and the poor and the needy nourished. Look on Him, for love untold He Himself the Cross is bearing. 8. Recitative (Matthew26:10-13) Have mercy on us, 0 Jesu. Evangelist: When Jesus had understood, he said to them: THE ANNOUNCEMENT OF THE PASSION Jesus: Why trouble ye the woman? It is a 2. Recitative(Matthew26 :1-2) good work that she hath done . For ye have Evangelist: When Jesus then had finished always the poor with you, but me ye shall all these sayings, he said to his disciples : not always have. For in that she hath poured this ointment on my body, this she Jesus: Ye know that after two days is the hath done for my burial. Verily I say to Passover , and the Son of Man shall then be you, wheresoever hereafter the gospel shall delivered up that he be crucified . be preached throughout all the world shall 3. also be told wh at this woman hath done in Ah, dearest Jesu, how hast Thou offended, her remembrance . That such a bitter judgement has been 9. Arioso () handed? 0 dearest Saviour , Thou! Where is Thy guilt, in what the great While Thy disciples foolish quarrel transgression for Thy confession? That this good woman sought Thy body to anoint, THE RULERS CONSPIRE AGAINST For burial to prepare Thee; JESUS So let me, too, attend Thee now. 4. Recitative(Matthew 26:3-5) See in my eyes full tearful flowing Evangelist: Then assembled all the chief An ointment on Thy head bestowing. priests and the scribes together, with the elders of the people, within the court of the 10. (Alto) high priest, whose name was Caiphas; and Grief and pain counselled there how by craft to lay hold on Rend my sinful heart in twain . Jesus and kill him. But thus they said : Softly dropping, may my weeping Bear an incense sweet and rare , 5. Chorus (Matthew26:5) Dearest Jesu, for Thy keeping . Not upon the feast, lest from it an uproar riseth among the people. THE TREASON OF JUDAS 16. Chorale 11. Recitative (Matthew26 :14-16) 'Tis I, my sin, repenting, Evangelist: Then one of the twel ve disci­ My hands and feet consenting, ples, he knew as Judas Iscariot, went unto Should take the bonds of Hell. the chief priests and said : The scourge and thongs which bound Thee, And all the wrongs around Thee Judas: Now what will ye give me if I to Are merit of my sinful soul. you betray him? 17. Recitative& Arioso (Matthew 26:23-29) Evangelist: And they promised him thirty Evangelist: He answered to them and said: silver pieces. And from that time sought he opportunity that he might betr ay him. Jesus : Who dippeth his hand with me in the dish, shall the same betray me. The Son 12. Aria (Soprano) of Man goeth on his way as of him it has Bleed and break, thou loving heart! been written ; but woe unto that man by Ah, a child , who Thou didst cherish, whom the Son of Man shall be betrayed! For On Thy breast so fondly nourish' d, him it were better if he had not been born . Hastes with evil to betray Thee, Cometh like a snake to slay Thee. Evangelist: Then came unto him Judas, he which betrayed him, and said : THE PREPARATION OF THE PASSOVER THE LAST SUPPER Judas: Lord, is it I? 13. Recitative(Matthew26 :17) Evangelist : He said to him: Evangelist: Now on the first day of the feast of unleavened bread came the disciples Jesus: Thou sayest. to Jesus, and said unto him : Evangelist: And as they were eating, he 14. Chorus took of the bread; blessing it, he brake it, Where wilt Thou, Master , that the feast of and gave the disciples, and said : the Passover be prepared Thee? Jesus: Take ye, eat ye. This is my body.

15. Recitative & Chorus (Matthew26:18-22) Evangelist: And he took the cup, and Evangelist: He said: blessing it, he gave it them and said:

Jesus: Go into the city to such a man, and Jesus: Drink ye all of it; this is my blood of say to him: The Master saith , My time is at the new testament. Know ye, this blood is hand; I will keep the Passover here with my shed for many for remission of sins; I say to disciples. you , that from this day henceforth no more Evangelist: The disciples hearkened and will I drink the fruit of the vine, until that they did as Jesus had appointed and made day when I drink it anew with you within ready there the Passover. And when even my Father's kingdom. came he sat at the table with the twelve. 18. Arioso (Soprano) And as they did eat, he saieth : Although my heart with tears o'erflow Jesus: Verily I say to you, it is one of you That Jesus from us now must go, who shall betray me . Yet doth His testament my soul rejoice. His flesh and blood, 0 sacrifice! Evangelist: Then were they exceeding sor­ A treasure giv'n into my hands. rowful, and began every one of them to As He to us on earth was loving ever, question and say unto him: Or harm or pain dids't never , Chorus I: Lord , is' t I? So loves He still His own, unending. "The Last Supper" Gustave Dore

19. Aria (Soprano) From which my good has come . Lord, to Thee my heart is given: They mouth has oft refreshed me Sink therein, dwell Thou in me. With milk and honey ' d food . So will I in Thee find haven. I rest me in Thy spirit, Though to Thee this world be small And joy in Heaven's good . Thou shall be my all in all - More than earth and heaven be. PETER'S DENIAL FORETOLD BY JESUS 22. Recitative (Matthew 26:33-35) AT THE MOUNT OF OLIVES Evangelist: Peter then gave him answ er, 20. Recitative(Matthew26:30-32) and said to him : Evangelist: And when they had sung a Peter: Though all men shall be offended hymn of praise together, they went out unto because of thee, yet will I, Lord, be never the Mount of Olives. Then said Jesus to offended . them: Evangelist: Jesus said to him : Jesus: This very night all ye shall be offended because of me; for it is written . Ye Jesus: Verily I say to you, this very night , lo, I will smite the shepherd, and the sheep ere yet the cock croweth, even thou wilt of the flock shall be scattered abroad. But thrice deny me. after I am arisen, then I will go before you to Evangelist: Peter said to Him: Galilea. Peter: Lord, e'en though I should die with 21. Chorale thee , yet I never deny thee. Remember me, my Saviour, My shepherd, lead me home . Evangelist: And likewise also said all the Thou fount of every goodness, others . 23. Chorale How bitter, yet how sweet are they . I'll stand here close beside Thee, 27. Recitative (Matthew26:39) Do not Thou me forsake. Evangelist: And he went a little farther, Nor will I ever leave Thee, and falling upon his face, he prayed and Ev'n when Thy heart shall break. said: And when Thy lingering paleness By thorns of death its pressed, Jesus: My Father, if possible, wilt thou let Into my arms I'll take Thee, pass this cup from me; yet, not as I will, but And hold Thee to my breast. as thou wilt.

GETHSEMANE 28. Arioso (Bass) 24, Recitative (Matthew26:36-38) The Saviour low before His Father bended: Evangelist: Then came Jesus with them unto whereby sustained am I and all - yea, be a garden called , and said to his fore our Falling- and up to God's great disciples: love ascended. He is prepared the cup of death's dark bitterness to savor, wherein the Jesus: Sit ye here, while I go yonder and sins of all the world their odors pour in pray . bitter flavor - if thus it be so God hath Evangelist He took with him Peter and willed. both the sons of Zebediah, and began to be 29. Aria (Bass) sorrowful and to tremble. Then said Jesus to Gladly will I take my portion : them : Cross and cup in sure devotion Jesus: My soul is full of sorrow, e'en unto Drink I with my Saviour here. death . Tarry here and watch with me. For His mouth as with milk and honey flowing, 25. Arioso (Tenor) & Chorus First hath Blest it, redeeming shame and Ah, woe! What trembling fills his tortured fear, breast! Sweetness at His lips restoring . How sinks His heart! How pale His face oppress' d! 30. Recitative (Matthew 26:40-42) Ah, what has brought on Thee this Evangelist: And he came to his disciples tribulation? and found them sleeping, and said to Peter: Before the Judge He must appear, Jesus: What, could ye not even watch with There is no help, no comfort near. me one hour? Watch ye, and pray, that ye 'Tis my own sinning, naught of Thy enter not into temptation. The spirit indeed trangression! is willing, but the flesh is weak. Such agonies doth Hell awaken: He must for others' faults be taken. Evangelist: Again he went away, prayed, 'Tis I, Lord Jesus, all the anguish own here and said : which you atone here. Jesus: My Father, if it must be, that this Ah, if my love Thy stay could be, cup may not pass from me, except I drink it, My Saviour, could calm Thy fear or share it, then let Thy will be done. Could make it less, or help to bear it - How gladly would I watch with Thee! 31. Chorale What God hath willed will always be, 26. Aria (Tenor) & Chorus His will is best, most surely, I would be with my Jesu watching, An ever present help is He So slumber, all our sins, and stay! If faith be fixed securely. Ev'n my death Our help in need, all-good, all-wise, Ransom finds in His last breath, Rebukes with kindness ever . His sorrow maketh sure my gladness. Who trusts in God, on Him relies, The griefs that he for us endureth Will be forsaken never. THE BETRAYAL AND ARREST The false-hearted traitor , 32. Recitative(Matthew 26:43-50) The murderous ! Evangelist: And again he came and found them sleeping for their ey~s were heavy THE DISCIPLES FORSAKE JESUS with sleep. And he left tli.em, and again 34. Recitative(Matthew26:51-56) went away and prayed the third time, say Evangelist: Behold then! One of his ing again the same words. Then came he to disciples which were there with Jesus, his disciples and said unto them: drawing his sword forth, He struck the high priest's servant, and smote off his ear. Then Jesus: Ah! Are ye sti ll resting and sleep said Jesus to him: ing? Lo, the hour is at hand, and the Son of Man to the hands of sinners now shall be Jesus: Put up thy sword into its place, for betrayed. Then arise! Let us be going. Look all who take the sword will perish by the ye, he is come who doth betray me. sword. For what thinkest Thou, that I can not now beseech my Father, and He will Evangelist: And as he yet spake came straightway give me more than twelve Judas, who was one of the twelve disciples, legions of angels? But how thereby were and with him came with a great array, with the Word fulfilled, that thus it must be? swords and with staves, who were sent by the priests and the elders of the people. Evangelist : In that same hour Jesus said to Now he that betrayed him, had given to the people: them a sign, and had said: Whomsoever I Jesus : Are ye come out here as though shall kiss, that is he; him take ye. And against a robber, with swords and with straightaway came he to Jesus and said: staves that ye may take me? Day after day I Judas: All hail to the, 0 Master! have sat beside you, and daily have taught in the temple, and ye laid no hold upon me. Evangelist: And kissed Him. Jesus said But I tell you, all has been done that there unto him : be fulfilled the scriptures of the prophets.

Jesus: My friend, wherefore art thou come? Evangelist: And then all the disciples Evangelist: And thereupon they came, and forsook him, and fled. laid their hands on Jesus, and took him. 35. ChoraleFantasia 33. (Soprano& Alto) & Chorus Oh man, bewail thy grievous sin, Alas, my Jesus now is taken. Wherefore the sole begotten Son Loose Him! Halt ye! Bind Him not! Hath left His Father's dwelling . Moon and stars have for grief the night Born of a virgin sweet and mild forsaken, To earth came down this Holy Child, Since my Jesus has been taken. God's perfect love revealing. They pull Him on; ah, they have bound Him. The dead He raised to life again, Have lightening and thunder from He healed the sick, and eased our pain Heaven all vanished? Until His time drew near Him. Then open thy fiery abysses, 0 Hell? That He for us be sacrificed. Defile them, devour them, Then were our sins put on by Christ, Destroy them, dispel them! And on the cross He wore them. Strike swiftly to brand

END OF PART ONE INTERMISSION PART TWO

36. Aria (Alto) & Chorus that which these have witnessed against Ah, now is my Jesus gone! thee? Whither has thy dear one departed, Evangelist: Yet was Jesus still silent. 0 thou fairest one among women? Must it be so, can I bear it? 40. Arioso (Tenor) Whither has thy friend turned away? He answers not Ah, my lamb in tiger's talons! To false accusal, never. Ah, where is my Jesus gone? So is my heart reliant For we would go with thee to seek Him. That His great mercy standeth ever. Ah, my soul, what can I say thee He will endure whate'er be wrought When thou wilt so anxious pray me? So like Him, in our agony He should the pattern be; IN THE COURT OF CAIPHAS In persecution, still be silent. 37. Recitative (Matthew26:57-60) Evangelist: And they that had so laid hold 41. Aria (Tenor) on Jesus led him away unto the high priest, Be still, be still - Caiphas; and with him were the scribes and Though the traitor's tongues shall sting me. the elders assembled all together. Peter also Bear I whatsoe'er they will- followed after him afar off, unto the court of Scoff and scorn! the high priest's palace; and went therein Ah, may God their evil turn, and sat with the guards and servants, that My heart's honor bright avenging! he might see how all would be ended. 42. Recitative & Chorus (Matthew 26:63-66) Then did the priests conspire with the elders Evangelist: And then the high priest gave and all of the council, how that they might him an answer thus, and said: false witness bring on Jesus, that he might High Priest: I adjure Thee here before the be put to death. But found they none. living God, that Thou do tell us if Thou be 38. Chorale the Christ, the Son of God. So has the world its treach'ry wrought; Evangelist: Jesus said to him: With lies and false accusal sought To tangle and ensnare me. Jesus: Thou sayest ; yet I say to you, Be Thou my guard in danger, Lord! hereafter when ye see Him, ye shall see in And sure escape prepare me. that time the Son of Man sitting on the right hand of power, and coming in the clouds of 39. Recitative (Matthew26:60-63) heaven. Evangelist: Yea, though many a false and lying witness came, they could find them Evangelist: Thereupon the high priest tore none. At last two there came who falsely his robes asunder, and said: witnessed, in this wise: High Priest: He hath spoken blasphemy! Two Witnesses: This fellow said, full What need we further witness? Truly, ye all pow'r is given me to destroy God's temple; have heard the blasphemy that he has and in three days can I again rebuild it. spoken. What think ye now? Evangelist: The high priest then did arise, Evangelist: They answered to him, and and say to him: said : High Priest: Dost answer Thou nought to Choruses I & II: Of death this man is guilty! 44. Chorale Evangelist: He denied it a second time; and Who was it so did strike Thee, swore an oath; My Lord, and who requite Thee Peter: I do not know this man. This fierce and cruel blow? For Thou wert no offend~r - Evangelist: And in a little while came As we to sin surrender. others who had been standing beside him, No evil didst Thou ever know. and said to Peter: PETER'S DENIAL,. Chorus: Surely thou also art a disciple, for 45. Recitative& Chorus (Matthew26:69-73) all thy speech doth betray thee. Evangelist: Peter sat outside in the palace 46. Recitative(Matthew26:74-75) court; and a damsel came unto him and Evangelist: But Peter still denied with said: cursing and with swearing: Maidservant I: Thou also hast been with Peter: I know not the man! Jesus of Galilea. Evangelist: Immediate crew the cock. Then Evangelist : But Peter denied it before them Peter brought to mind the words of Jesus, all, and said: which said unto him: Ere yet the cock Peter: I know not what thou sayest. croweth, wilt thou have thrice denied me. And he went out, and wept bitterly. Evangelist: And again at the palace door way he was seen by another maid, who said 47. Aria (Alto) to them that stood there with him : Thy mercy, Lord, my God, See Thou, my tears are flowing. Maidservant II: This man also was with Look on me: Jesus of Nazareth. Heart and eyes so weep to Thee bitterly.

"Peter Denies Knowing Jesus" Gustave Dore 48. Chorale this very day. Then was fulfilled what had Have I also from Thee parted? been foretold by the prophet Jeremiah, Still I will return again. when he said: They took thereupon the Life anew is in me started thirty silver pieces, which were a price on By Thy Son's despair and pain. him that was valued, set by certain of the I may not my guilt efface, sons of Israel; and taking them, they save But Thy mercy and Thy grace them for a potter's field; as did the Lord, my Are far greater than my failing God appoint me . And the sin within me dwelling. Jesus therefore , stood before the governor; and the governor asked Him, and said : JESUS BEFORE PILATE 49. Recitative& Chorus (Matthew27:1-4) Pilate : Art thou the King of the Jews? Evangelist Now when the morning came, Evangelist: Jesus answered unto him : all the chief priests gathered with the elders of the people to plot against Jesus, that they Jesus: Thou sayest. might kill him. And when they had bound Evangelist: But when he was accused him, they led him away, and delivered him when the high priests and the elders to the court of the governor, Pontius Pilate . accused him, he answered . Then When, therefore, Judas - the same who had Pilate said unto him : betrayed him - saw Jesus condemned to death, he repented of himself, and brought Pilate: Hearest thou not what things they once again the thirty silver pieces to the charge against thee? high priests and elders, and said: Evangelist: And he answered him to never Judas: I have great evil done, for I have a word, not one, insomuch that Pontius righteous blood this day betrayed . Pilate marveled greatly. Evangelist They said : 53. Chorale Entrust thy ways unto Him Choruses I & II: And what is that to us? And all thy heart's distress . Go see thou to that! His wisdom and His bidding 50. Recitative(Matthew27:5-6) Do highest Heav'n confess . Evangelist: Then he cast the silver pieces By Him the clouds are order' d, in the temple, and turned away, and went The winds arise and blow. out; and he hanged himself . And when the He best can choose the pathway priests had gathered up all of the silver Whereon they feet should go. pieces they said: 54. Recitative& Chorus(Matthew27:15-22) Priests I & II: We may not, by the law, in Evangelist: Now upon that feast the the temple treasury place them; for it is governor was accustomed to release there blood-money, and the price of blood! on one prisoner unto them, whomever they wanted. Now at that time, there among the 51. Aria (Bass) other prisoners, was a most notorious man, Give me back my Jesus, pray thee! who name was Barabbas . And when they See the price of murder done were gathered together, Pilate said unto Cast by the tormented son them: At their feet who paid it. Pilate: Whom will ye that I release unto 52. Recitative(Matthew27:7-14) you, Barabbas or this Jesus, of whom 'tis Evangelist : And they took counsel among said: He is Christ? themselves and bought therewith a potter's field where within they might bury a Evangelist: For he knew full well that for stranger; wherefore this field has been envy it was that he had been delivered. called by the name of Blood's-field; yea, to And while he sat on the judgement seat, ! then did his wife send him a message Chorus I & II: Let Him be crucified saying: 55. Chorale Pilate's Wife: Have thou nothing to do What wonders rare this punishment doth with that righteous man , for I have suffered offer! much this day in a dream because of him. The Shepherd for his sheep content to suffer; Evangelist: Still did the high priests argue, The Lord of Righteou sness pays full and the elders, falsely to inflame the people, deliv'rance that thereby Ba abbas be released, and that For guilty servants. Jesus be crucified. And the governor turned again to the people, and asked them: 56. Recitative (Matthew 27:23) Evangelist : The governor answered: Pilate: Now , which of the two will ye that I release to you? Pilate: But what evil deed has He don e?

Evangelist: They shouted: 57. Arioso (Soprano) He is for all men good alone: Chorus I & II: Barabbas! The blinded hav e been giv'n to see, Evangelist: Then Pilate said unto them : The lame to walk aright; He speaks to us His Father 's Word, Pilate: And what shall I do, then with He drives the devils forth; Jesus, of whom one sayeth, He is Christ? The sorrowing of their grief are free; Evangelist: Again they shouted: He takes all sinners to His own - Than this, my Jesus naught hath done .

"Jesusis Presentedto the People" Gustave Dore 58. Aria (Soprano) THE CROWNING WITH THORNS For love now is my Saviour dying, 62. Recitative& Chorus (Matthew 27:27-30) Of mortal sin He knoweth naught Evangelist: The guards of the governor May the everlasting torment came and they took Jesus to the common On that Day of Judgement wrought hall, and gathered around him all the Not on my poor soul be lying . soldier band . And then they did strip him, For love is now my Saviour dying. and brought a scarlet robe and put it on him ; and platted him a crown of thorns, and 59. Recitative& Chorus (Matthew27:23-26) put it upon his head , and a reed in his right Evangelist But crying out all the more, hand, and bowed the knee before him low, they shouted: and mocked at him and said : Choruses I & II: Let him be crucified! Choruses I & II: We hail thee, King of the Evangelist When Pilate therefore saw he Jews! prevailed nothing, but that rather arose Evangelist: And they spat upon his face, there a tumult , he took water, and washed and took the reed , and smote him upon his his hands before them all, and said: head . Pilate: I am innocent of the blood of this 63. Chorale just man : see ye to it! 0 Head, so sorely wounded, Evangelist Then together all the people Defiled and put to scorn - answered and said : 0 sacred Head, surrounded By mocking crown of thorn - Choruses I & II: His blood be on us and on 0 Head adorned and honored our children! So lovely fair to see THE SCOURGING But now so low degraded, Evangelist And Pilate then set Barabbas I greet and treasure Thee. free, but Jesus he had scourged; and then he Thou face of Kingly grandeur delivered Him, that they might crucify Him. What fear will gird Thy throne 60. Arioso (Alto) When Thou shalt judge in splendor, Thy mercy, God! Though now so spat upon. How stands the Saviour all unheeding! How art Thou pale and withered, 0 torturers! 0 scourge! 0 bleeding! Thine eyes that once were bright Ye murderers, let Him be! With glory of no other - Does sight of all His anguish start Ah, who has dimmed their light? No pity here within your breast? 64. Recitative(Matthew 27:31-32) Ah yes- Ye have a heart: Evangelist: And after they had mocked It must the murder-stone outlast! Him thus, they took off from him the scarlet Wast none so hard as ye! robe, and clothed him again in his own Have mercy , let Him be! raiment, and let him away, that he be 61. Aria (Alto) crucified . And as they were going out, they Is my weeping, my bewailing came upon a man of Cyrene , whose name Naught availing? as Simon and compelled this man to carry Oh then take my heart to thee , Jesus ' s cross. Could it bear the precious flooding 65. Arioso (Bass) Of his wounds so mildly bleeding Yea, truly for us all, must flesh and blood It would Heaven's be. Be forced the cross to bear : What works our spirit greatest good - The least can enter there. "The Crucifixion" Gustave Dore

66. Aria (Bass) had been foretold by the prophet: They Come, blessed Cross, I'll not forswear it: parted all my garments equ ally among My Jesus, give it here to me them, and for my vestur e, yea for my And if too great the burd en be - vestur e, they cast lots. Then they sat them Then help Thou me to help Thee bea r it. around , and wa tch him there. And over above his head they set thereto the THE CRUCIFIXION inscripti on of his death accusation, namely: 67. Recitative & Chorus (Matthew2 7:33-43) This is Jesus, the King of the Jews. Evangelist : And when in his wise they were come to a place called Golgotha - that There we re also two thieves who with Him is to say, the place of skulls - then they gave we re crucified, one on the right hand , and him vinegar to drink that was mingled with one on the left. And all they wh o passed ga ll; but when He tasted it, yet he would not that way reviled at him; deridin g, they drink it. wagge d their head s, and said: And when, there fore, they had crucified Choruses I & II: Thou who des troy's t the Jesus, they divided his garm ents by casting templ e of God, and build est it aga in in thr ee lots for them; that it might be fulfilled what days - save thyse lf! Be thou the Son of God, come down to us from off the cross! Evangelist: And likewise also did the chief Evangelist: And straightway one of them priests mock at him with the scribes and did run and took a sponge and filling the with the elders and said: sponge with vinegar, he put it upon a reed and gave him to drink. The others spoke Choruses I & II: Saviour was he of others among them : but for himself not a Saviour! If he be King of Israel, then let him come of the cross, and Chorus II: Wait, and see now if Elias we will then believe him. He in God has cometh and will save him. trusted: let his God deliver him now, if he Evangelist: And again did Jesus cry aloud, will, for he hath said: I am Son of God. and was gone . 68. Recitative(Matthew27 :44) 72. Chorale Evangelist And also scoffed at him the two When comes my hour of parting thieves which were crucified with him. Then part Thou not from me 69. Arioso (Alto) When shades of death are dark'ning Ah, Golgotha Thy steps my guide shall be. Unholy Golgotha! When anxious fears shall rend me, The Lord of Glory see in shameful And close my heart enchain, desecration: Oh, then do Thou befriend me The blest redeemer of the race Through Thine own grief and pain . Hangs as a curse upon the cross. 73. Recitative& Chorus (Matthew27:51-58) The Lord who heav 'n and earth hath made - Evangelist: And then behold! The veil of Him earth and air hath been denied . the temple was rended in twain, all from The sinless suffers condemnation. - the top unto the ground. And there came a So doth it weigh upon my soul. great earthquake , and the rocks burst Ah, Golgatha, asunder, and the graves were opened again, Unholy Golgotha! and there rose many saints and the holy 70. Aria (Alto) & Chorus ones that were sleeping; and came from out Haste ye! Jesus waiting stands - of the graves after.Jesus' resurrection, and Open arms and out-stretched hands. went into the holy city, and appeared to Come! (Ah where?) Let Jesus hold thee. many. Now when the captain, and the others with him who were watching Jesus - Seek salvation; find His mercy. when they saw the earthquake and those Live here, die here, softly rest - things that were done, they trembled with Little birds must have a nest fear and said: Stay then! Let Jesus hold thee. Choruses I & II: Truly, this man was the Son of God. 71. Recitative& Chorus (Matthew27 :45-50) Evangelist: Now from the sixth hour Evangelist: And many women were onward there was darkness over all the gathered there from afar off beholding, who land, until the ninth hour. And about the had followed after Jesus from Galilea, to ninth hour Jesus cried aloud, and said: minister unto him. And among them was Mary Magdalene, also Mary, the mother of Jesus: Eli, Eli, lama sabachthani? Jesus and John, and the mother of the sons Evangelist That is: My God, My God , oh of Zebediah. why, why hast thou forsaken me? Some of At eventide there came a wealthy man from them who stood and watched him when Arimathea, by name Joseph, who was also they had heard him, turned and said: one of Jesus' disciples. He went unto Pilate, Chorus I: He called for Elias. and begged of him the body of Jesus, wherefore Pilate commanded that it be given Him . THE DESCENT FROM THE CROSS grave He is this day arisen! So would then 74. Arioso (Bass) the last be a worse error than the first one. At even, hour of cooling rest, Evangelist: And Pilate said to them: Was Adam's fall mad e.manifest. At even, too, they took' the Saviour down. Pilate: Ye have a watch; go your way, and At even did the dove return - secure it as you may. A bit of olive-leaf she bore . Evangelist: So they went out, and they 0 fairest time, 0 evening hour! guarded the grave with watchmen, and Our peace with ~o d is evermore assured, they sealed up the stone. For Jesus hath His cross endured. His body comes to rest. 77. Arioso & Chorus Ah, thou beloved, dost thou ask? Now has the Lord been laid to rest. Go - and beseech thee Jesus' body broken. My Jesus sweet good-night 0 holy thought , 0 precious heav'nly token! Thy pain is o'er Which all our sin on Thy hath pressed 75. Aria (Bass) My Jesus, sweet good-night. Come, my heart, and make thee clean, 0 Thou most holy body! That my Jesus I may bury. See, how I come in penitence to mourn Enter Thou, whom I adore, Thee. Evermore. Thus did my Fall Here in sweetest rest to tarry . Thy agony betide . World, away! Let Jesus in. My Jesus, sweet good-night THE BURIAL While life shall last 76. Recitative& Chorus I will this wonder every thank: Evangelist: Then Joseph took the body, and That thus my soul was worthy in Thy wrapped it in a cloth of purest linen and laid sight! it in his own new tomb, which he had hewn My Jesus, sweet good-night. from out the solid rock. And when he had EPILOGUE rolled a mighty stone to the door of the tomb, 78. ChorusesI & II he went away. There was also in that place Here bide we still with tears and weeping, Mary Magdalene and the other Mary, sitting And call to Thee in death now blest. over against Jesus' grave. Rest, Thou softly, softly rest. Now on the morrow, which followed the day Rest, Thou weary body sleeping. of preparation, straightway there came the Rest, Thou softly, rest Thou well. priests and the Pharisees together unto Pilate See in grave and stone a grace and said: For the anxious, the despairing : Heaven's pillow, comfort bearing, Choruses I & II: Sir, we bear it in mind that And the soul's sweet resting place. this base deceiver said, when he was yet Come, my joy! alive: Upon the third day will I once again be Slumb er doth mine eyes embrace. risen. Therefore command the tomb be made secure, yea, until the third day, lest his Here bide we still with tears and weeping, disciples come by night there and steal him And call to Thee in death now blest, thence, and say to all the people: From the Rest, Thou softly, softly rest. "The Burial of Jesus Christ" Gustave Dore GUEST PERFORMERS

Paul Phoenix, Tenor British-born , Evange list. Darrell Babidge grad­ Paul's long career uated from the Royal in the music business Northern College of began in the 1970's as Music in the U.K. He a chorister in St. received his Master's Paul's Cathedral degree from Brigham Choir in the City of Young University and London. his Professional de­ He sang in the gree in vocal perfor­ Queen's Silver Jubilee service in 1977 and mance from the Manhattan School of Music, recorded the Ivor Novello award-winning funded by the Birgitt Nilsson scholar­ theme Nunc Dimittis by Geoffrey Burgon, in ship. He has performed as a soloist the BBC adaptation of John Le Car re's Tinker with opera companies throughout the Un i­ Tailor Soldier Spy in 1979, for which he was ted States and Europe, and made his Carne­ awarded a gold disc. gie Hall debut in 2004. Mr. Babidge has also His musical ed ucation continued at the performed with lead ing orchestra s Royal North ern College of Music, in Man­ and conductor s, including Kent Nagano, Sir chester, England, betwee n 1986 and 1991. Andrew Davi s, James Levine, Ivor Bolton, After six yea rs as a freelance tenor, Paul Julius Rudell and John Eliot Gardiner. CD, joined the King's Singers in 1997 and over DVD and TV appearances include the title the next seventeen yea rs and 2000 role in 77ie Redeemer with the Mormon sang in many of the world's greates t . halls, from Sydney Op era Hou se to Carnegie Recent engag ements includ e the title role Ha ll in New York, and travelled as far as of Mendelssohn's with the Salt Lake Chile and New Zealand, Russia, China and Choral Artists, Count Almaviva in Le Nozze South Africa, with too man y places to men­ di Figaro for Utah Festival Opera and Falke tion in betw een! in Die Fledermaus for Intermountain Opera. As well as a packed concert schedul e, He has performed with the Utah Opera and King's Singers recording s continue to be Symphony in concerts and opera, released to critical acclaim, and in 2009 Paul most recently in Gianni Schicchi and Little was awarded a Grammy as co-producer and Women. soloist on the , Simple Gifts, as well as Darrell is full-time faculty at Brigham performin g on the 2011 Grammy-winning Young University. He is also on the vocal recording, Light and Gold, featuring works faculty at the Institut e for Young Dram atic by the American compo ser, Eric Whitacre. Voices with Dolora Zajick and the VOICEx­ In 2013, the King's Singers were also perience program with Sherrill Milnes. Stu­ voted into the Gramophone Hall of Fame. dents have recently performed at the Royal 2014 marked his 're tirement' from the Opera House in London, Opera King's Singers and the launch of Purple House in Barcelona, Metropolitan Opera, Vocals: Perform and Engage, Paul's coaching , and Deutsch e Oper in and engagement consultancy. Berlin. He has been employed by the Metro­ His work continues to take him around politan Opera to teach in their Linde mann the world, as soloist, spea ker, presenter, Young Artists progra m, and two stud ents vocal and per formance coach. have recorded for Decca and Deutsche Paul lives in Cambridge, England with his Gramrnaphon, with one of the recordin gs wife, Helena and two teenage sons, William being nominat ed for a Gramm y awa rd in and Edwa rd . 2015. GUEST PERFORMERS

After two summers Holly Sorensen is as an apprentice at known for her rich, the Santa Fe Opera, colorful, and expres ­ the career of Sopra no sive . A gifted Celena Shafer was actress with launched to critical great versati lity, Ms. as Ismene in Sorensen was de­ Mozar t's Mitridate, scribed as having, "a Re di Ponto. Since grand time!, dispensing that break through attitude with relish and debut, Ms. Shafer has garnere d acclaim for producing some impressively chilling tones" - her silvery voice, fearlessly committed act­ Opera News. Some of her other stage credits ing and pheno menal techn ique. She spend s includ e, the title role in Carmen, The Mother much of her time on the concert stage and - Hansel and Gretel, Suzuki - Madama Butter­ has appeared with the in New fly, La Prima Donna - Salieri's Prima la Musi­ York, Chicago , Philadelphi a, San Francisco, ca poi le Parole, Pitti Sing - The Mikado, The and Los Angeles . Secretary - The Consul, Sorceress - Dido and A beloved artist in her home state of Aeneas , Prince Orlcisky - Die Fledermaus, The

Utah, Ms. Shafer has a long relationship Princess Aunt - Suor Angelicn0 Other high­ with the Utah Symphony Utah Opera where lights includ e Isabella - L 'ltaliana in Algeri, during the 2014/2015 season she was Artist­ Augusta - Ballad of Baby Doe, Mrs. Lovett - in-Residence with the Symphony and re­ Sweeney Todd, and Mrs. Grose - The Turn of turn s this season for Beethoven Symphony the Screw. No. 9, a New Year's gala concert, and Mahler Ms. Sorensen has been laud ed for her Symphony No. 8 all led by music dira:tor Their-­ concert and wo rk, as a mezzo w ith ry Fischer. "luscious tones" - Greenwich Times and Since first appearing with the USUO as a "glamorous and beautiful to see and hear" - high school stud ent, Ms. Shafer has per­ Greenwich Citizen. She most recently sang formed ope ratic roles there includin g Con­ as mezzo soloist in Beethoven 's Missa Sol­ stanze in The Abduction from the Seraglio, emnis with the Helena Syrnphooy. She returned Rosina in // Barbiere Di Siviglia, Gilda in to A very Fisher Hall singing as mezzo solo­ Rigoletto, Norina in Don Pasquale, Llsette in La ist in Handel's the Mozart Rondine, Tytania in A Midsummer Night's and Durufle Requiem with DCINY; where Dream, and Adele in Die Fledermaus. Concert she was hailed as, "radiant" by the New repertoire with the USUO has includ ed York Conce rt Review. Ms. Sorense n per­ Mahler Symphonies 2 and 4, the Big 5 tour formed the Mozart Requiem and Vivaldi of Utah's great sta te parks, the Brahms Ger­ Gloria in Venice, Italy with Dicapo Orera, and man Requiem, the Bach Maginicat and ~g was the featured mezzo soloist with the Salt cant ata Jauchzet Gott in Allen Landen, Vi­ Lake Chora l Artists in performances includ­ valdi Gloria, Poulenc Gloria and severa l ing the Bach , and The Armed concerts of chamber mu sic with condu ctors Man by Karl Jenkins. such as Bernard Labadie , Raymond Lep­ She has performed frequently with the pard , and former music director Keith Lock­ Greenwich Choral Society and Greenwich hart. Sym phony in Connecticut, the Allentow n She completed her und ergra duat e at the Symph ony and Norwa lk Symphony. Ms. and received a master's Sorensen was the first place female winner degree from the Univers ity of Missouri­ of the Nico Caste l vocal competition in Car­ Kansas City Conservatory of Music and negie Hall. Dance. GU EST PE RFORM ERS

Tenor Robert Breault Baritone John Buffett :enjoys an internation­ is excited to return al career that featur es to Utah to sing with an extraord inary brea­ the American dth of repertoire. His Festival Chorus after wa rm, flexible voice success-ful and superb artistic perfo rmances of sensibilities combine Robert Cundi ck's to make him a con- The Redeemer, and summ ate singing Bach's B Minor Mass actor. and St. Matthew Passion. Robert Breault 's concert career highlights Praised by the Salt Lake Tribun e for his includ e performances with major orchestras "wa rm tone and ringing top notes," he has such as the , Cleve­ sung with the Symph onies of Utah, San land Symph ony, St. Louis Symph ony, Mil­ Antonio, an d Syracuse, the Rochester wa ukee Symph ony, Toronto Mendelssohn Philharmonic, Apollo's Fire, the Ma rk Choir, Atlanta Symph ony, Orchestre Philhar­ Morris Dance Group, Seraphic Fire, The moniqu e de Monte-Carlo, London Philhar­ Santa Fe Desert Chorale, Bach Collegium monia Orchestra, Na tional Symph ony of San Diego, and Ars Lyrica. Recent Taiwan, Jerusalem Symph ony, Mormon Tab­ engage ments includ e both Bach passions, ernacle Choir, San Francisco Symph ony, Bach's B Minor Mass and 153, Detroit Symph ony, San Diego Symph ony, the Monteve rdi 's Vespers of 1610, the Moza rt Mi.inchner Rundfunk orchester and the Utah and Faur e Requi ems, Handel's Messiah, Symph ony, to name but a few. and Charpentier's Petite Pastoral and Te Robert' s opera career featur es a wide array Oeum. Equally as comfortable rn the c:µTatic of repertoire and compani es. With nearly 90 stage, he has sung with the Opera roles to his credit, highlights of his career Compani es of Utah , Sarasota, and includ e appearances with New York City Memphi s, Utah Festival Opera, the Ohio Opera in Carmen, La Traviata, and Semele, Light Op era and Eastman Opera Theater, for which he was awa rded the compan y's singing the roles of Dandini in "La "Kolozsvar Awa rd". He has performed nu­ Cenerentola", Be/core in "L'e lisir d'amore", merous times w ith Utah Opera, Opera Or­ Marullo in "Rigoletto", Wagner in "Faust'' chestra of New York, Atlant a Opera, and and Figaro in "Le Nozze di Figaro." Arizona Opera. Robert has also app eared John has worked with condu ctors with compani es such as Portland Opera, includin g Robert Tweten, Patr ick Dupr e Edm onton Opera, Opera New Orleans, Flor­ Quigley, Josh Habe rmann , Jeann ette Sorrell, entin e Opera, and num erous critically ac­ Craig Jessop, Victor DeRenzi, Barbara Day claimed performances with Chautauqu a Turn er, and Paul O'Dette. Other career Op era. highlights includ e app earances at the Robert has served as Professor of Music Tanglewoo d , the Boston and Director of Opera at the University of Festival, and the Most ly Utah since 1992. He was award ed the College Mozart Festival at Lincoln Center. of Fine Arts distinguished teaching awa rd in Mr. Buffett, currently on faculty at CSU 2003. Long Beach, received bachelor's and He and his wife, Julia, live with their 8 master's degrees from the Eastman School mini dachshund s in Salt Lake City. of Music. Upcoming engage ments includ e performan ces with Seraphic Fire, the Oregon and the Sant a Fe Desert Chorale. GUEST PERFORMERS

Mark Oshida's ca­ Meredith Camp­ reer was launched bell has been in 2003, following guest soloist for his Carnegie Hall the Intermountain debut as concert­ Chamber Orches­ master under the tra, America West of Michael Symphony, and Tilson Thomas. the weekly broad­ Since then, Mr. cast of the Mor­ Oshida has performed with many of the mon Tabernacle Choir's Music and the world's leading ensembles, including Spoken Word. She re-fa-med Vaughn Wil­ the Academy of St. Martin in the Fields, liams' Lark Ascending with theOrche3tra the Royal Philharmonic Orchestra, and at Temple Square and received glow­ the Handel & Haydn Society. ing reviews. Recent highlights include perfor­ In addition to classical repertoire , mances at the BBC Proms (UK), her solo performances have included Menuhin (Switzerland), Schleswig­ works by Kurt Bestor at the 2002 Win­ Holstein (Germany), Enescu (Romania), ter Olympic Games. In Beijing, during Perth (Australia), and Tanglewood November 2003, Meredith performed (USA) music festivals. Mr. Oshida also the world premier of Journey from performed at the 90th birthday celebra­ Harbin, celebrating the gold mooal tion of Sir Neville Marriner at the Royal victories of Chinese speed skate, Yang Albert Hall. Yang. Mr. Oshida is a member of the A former first violinist with the Utah Gstaad Festival Orchestra and a former Symphony Orchestra , Meredith was member of Boston's Emmanuel Music, of the DuPont Play­ an ensemble dedicated to performing house Orchestra , and Associate Con­ Bach's complete cantata cycle as part of certmaster of the Delaware Symphony . Sabbath worship services. His experi­ She has been a faculty member of the ence with Emmanuel Music formalised Wilmington School of music and has his love of performing Bach, which re­ taught at Brigham Young University . mains his primary passion today. Meredith is currently Concertmaster Mr. Oshida has worked with many of of the Orchestra at Temple Square the preeminent conductors of his day, which accompanies the Mormon Tab­ including Sir Neville Marriner, Charles ernacle Choir. Mrs. Campbell teaches Dutoit, Christoph von Dohnanyi , and private students in addition to her Neeme Jarvi. busy recording schedu le, where her A graduate of Harvard University violin music appears in movies, televi­ (MBA), the Royal Academy of Music sion and on over 50 CDs. (MA), and Brigha m Young University Meredith and her husband, Clarke , (BS), Mr. Oshida resides in London and are the parents of seven children and plays on a late 17th century violin by their spouses and 22 grandchildren. G.B. Rogeri. GUEST PERFORMERS

i:::raig Trompeter Phillip Rukavina performs in concert has performed and over the air­ nationally and waves with Hay­ internationally as market Opera Com­ a lute and vihuela pany, Second City soloist, ensemble Musick, Music of performer, and as the Baroque, the a continuo lute­ Chicago Symphony, nist. He has ap­ Lyric Opera of Chicago, Chicago Opera peared at many Theater, the Cal Players, and the Ober­ including the Utrecht Early Music Fes­ lin Consort of Viols. tival (2013) and the Boston Early Mu­ He has appeared at the Metropolitan sic Festival (2015). Museum of Art, the Art Institute of Chi­ Phillip is a founding member of the cago, the Glimmerglass Festival, the Venere Lute and has per­ Brooklyn Academy of Music, and the formed with many prominent ensem­ Valletta International Baroque Festival bles and individuals, including the in Malta. He has appeared as soloist at Newberry Consort, the Rose Ensem­ the Ravinia Festival, the annual confer­ ble, the Texas Early Music Project, ence of the American , with Dame and the Chicago Symphony Orchestra, and Ellen Hargis, and many others. with Music of the Baroque. For many years, Phillip has served Trompeter has recorded works of on the faculty and directed the Lute Mozart, Biber, Boismortier, Marais, Society of America's Summer Semi­ Handel, Greene, Henry Eccles, and a nars at Case Western Reserve Univer­ potpourri of Elizabethan com posers on sity in Cleveland and the Lute Pro­ the Harmonia Mundi, Cedille, and Cen­ gram at the Amherst Early Music Fes­ taur labels. tival. As a modern cellist, Trompeter was a Phillip studied lute with Patrick founding member of the Fry Street O'Brien while attending Sarah Law­ . He has taught master rence College in New York and with classes at his alma mater, the Cleveland Hopkinson Smith at the Academie Institute of Music, Grinnell College, and Musical in Villecroze, France and in the Chicago Musical College. Basel Switzerland. In addition to his In 2003 he founded the Feldenkrais® many ensemble recordings, Phillip has Center of Chicago where he teaches three highly acclaimed solo recordings Awareness Through Movement® and to his credit, including his Studio395 Functional Integration ®. Craig has giv­ release, Music from the Casteliono en Feldenkrais workshops throughout Lute Book 1536 (2010) andhisma;t rwnt the nation in universities, music con­ release Italian Lute Music 1508-1517 servatories, and dance studios. (2015). Phillip also serves as the cur­ He is the general director of the Hay­ rent President of the Lute Society of market Opera Company. America. PERFORMERS Craig Jessop, Director

Paul Phoenix, Tenor (Evangelist) Holly Sorensen, Mezzo-Soprano Darrell Babidge, Baritone (Jesus) Robert Breault, Tenor Celena Shafer, Soprano John Buffett, Bass

AMERICAN FESTIVAL SINGERS USU CHAMBER SINGERS*

CHOIR I CHOIR II SOPRANO SOPRANO Natalie Baer Abby Benninghoff Julie Benjamin Danielle Burgess Stacy Ferris Kathryn Burtenshaw Leah Kennedy (Maid I) Brooklynn Dyer* Sara Low* Megan Quitberg Brenda Poulsen Ashley Tolman (Pilate's Wife) ALTO ALTO Suzanne Bingham Emily Cottam* (Maid II) Lisa Budge Emily Floyd Mary Olsen Helen Jeppsen Elaine Olson Gayla Johnson Lisa Sheffer Camille McClurg Kaylee Simmons* (False Witness I) Sybil Perks Karen Willie Cait Wellbaum TENOR TENOR Grant Baer Coltan Bohman Paul Farrell* Dale Olsen Jaron Putnam (Pilate) Bruce Snow Luke Shepherd (Peter) Dan Tate Jared Sterzer Dennis Tolman Kahle von Bose Jordan Tolman Casey Wood (False Witness II) BASS Benjamin Burt BASS Larry Cannon Jeremy Baer Ben Fore Harry Heap Scott Hunsaker Dallin Lewis Sam Meredith* (Judas) David Oliver Russ Price Justin Sanders (High Priest II) Jason Swasey Brad Summers* (High Priest I) Shon Vella Randy Wellbaum USU WOMEN 'S CHOIR Luke Shepherd, Director

Kristin Adamson Rachael Gulbrandsen Camilla Mortimer Becky Barker McKay Hadley Sarina Mountcastle Lindsay Baxter Ciera Heinig Mariah Norton Cassie Bovee Rachel Hulse Kaitlyn Prasek Emma Boynton Katelin Huppe Amanda Proudfit Clara Braegger Alesha Hurst Kelci Santy Megan Brower ' Cortney Kinder Audrey Sorenson Jessica Brown Abigail Kosiak Asia Syndergaard Madison Clawson Kathryn Loosle Bobbi Tolman Bailey Edmondson Emma Lundahl Monica Wilson Mikayla Findlay Monique Manley Bri Wright Mayumi Griswold Analisa McKay Megan Wright

ORCHESTRA Mark Emile, Manager

CONTINUO Craig Trompeter, VIOLA DA GAMBA* Kevin Olson, PORTATIVE ORGAN Phillip Rukavina, LUTE*

ORCHESTRA I ORCHESTRA II FLUTE Jeannine Goeckeritz Tina Castellanos Anna Lisa Davidson Leslie Timmons

OBOE OBOE / ENGLISH HORN Adam De Sorgo* Bonnie Schroeder Susan Swidnicki Miekan Stonhill

BASSOON BASSOON Joseph Jones* Dennis Hirst

VIOLIN I VIOLINS I Mark Oshida, Concertmaster* Meredith Campbell, Concertmaster Brett McAllister Carolynn Larson Hannah Garrett Jason Findlay

VIOLIN II VIOLIN II Rosemary Hatch Claire Cardon John Knudson Jesse Massey Nicole Tolson Sharon Kline

VIOLA VIOLA Janene Holmberg Candi Wagner Jayme Dunn Katie Bradford

CELLO CELLO Joel Cardon John Findlay

BASS BASS Joshua Skinner Richard Kline *Visiting Artists The American Festival Chorus and Orche stra is celebratin g its eighth season. As a non-profit orga nization we are dedicated to providing a culture of musical excellence that edifies, enter­ tains, and educates. Please help us continu e a program of excellence by donating to our or­ ganizat ion. Visit our website. www.americanfestivalchorus.org for more inform ation . Upcoming Concerts An Evening with Jay Richards April 16, 2016, 7:30PM, Ellen Eccles Theatre Celebrate the Fourth with the American Festival Chorus & USU Alumni Band July 3, 7PM, USU Quad Bach's BWV 232 with Utah Festival Opera Orchestra · August 2, 7:30PM, Ellen Eccles Theatre Mahler Symphony #3 in D Minor with Sun Valley Symphony August 18, 6PM, Sun Valley Pavilion , Sun Valley, Idah o Family Pops Concert October 29, 2PM & 7:30PM, Ellen Eccles Theatre Veterans Day Memorial November 11, 7PM, Ellen Eccles Theatre Christmas From the Ellen Eccles Theatre with Gentri December 2, 7:30PM December 3, 2PM & 7:30PM

Visit www.americanfestivalchorus .org for ticket information.

We would like to thank the following contribut ors who made this producti on possible: Tanner Charitable Trust Cory Evans, AFC Associate Director Luke Sheph erd, USU Women's Choir Director Elaine Olson, Managing Director for AFCO Special thank s to Daron Bradford for the use of his oboe d'amore Tim North , Technical Director CCA Production Services Cache Valley Center for the Arts

C A I N E MMlll< i~au , COLLEGE FESTIVALW of theARTS CHORUS UtahStataUn iversity AND ORCHESTRA ™

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