E in memoriam welcome to the 38th annual · .<../, kalamazoo bach festival: The 1984 Bach Festival offers a wide variety of baroque music for your Avis Long Howard enjoyment: the enthusiasm of talented young artists, the informal atmos­ phere of noonday performances during Festival Week, the elegant diversity It is always difficult to memorialize of a Chamber Music Concert, a superb ensemble of guest artists, and the presentation of one of Bach's finest vocal works. one who has contributed so nobly of Once again this season we hope that you experience with us the singular herself to numerous persons and strength and beauty of the PASSION ACCORDING TO ST. JOHN. This work, causes. Her many artistic talents in­ like so many of Bach's creations, has the ability to reach across the cen­ volved her in a great number of ac­ turies that separate his time from ours, and to touch us with a special vision tivities in which she gave so freely of its composer's imaginative purity. for the benefit of others: Garden The Kalamazoo Bach Festival is one of the major Bach Festivals in the United States. It was founded in 1946 by Dr. Henry Overley, and for the past Club, Art Center, piano teacher, twenty-three years Dr. Russell A. Hammar has been its music director and church, Bach Society and many conductor. To enhance the indigenous efforts of the chorus and orchestra, more. Those of us who knew her the society has presented more than 150 artists of national and international well, have experienced a sense of renown. The Festival has endeared itself to this community and has become deep loss. We will always remember one of the high points in the cultural life of Kalamazoo. her as generous, loving friend and The principal resource of the Bach Society is the volunteer time of the Council and Chorus. Without the contributions of these people the Festival esteemed colleague; as loyal Bach could not function. However, outstanding artists, an excellent orchestra, Chorus member and co-chair of the and the management of Festival activities continue to become more expen­ financial drive. sive. We receive invaluable support from hundreds of contributors. We wish to thank our Benefactors, Patrons, and Sponsors for their gen­ We present the Motet, COME, erosity. We also invite you, if you are not already doing so, to join with them JESU, COME in memory of Avis Long so that the Bach Festival may continue to grow along with the community. Howard. Larry ten Harmsel, chair Bach Festival Council Russell A. Hammar

Illustration by Julie Schmitts greetings to our friends of bach: There is a special air of excitement this season as we prepare to celebrate the 300th anniversary of the birth of J. S. Bach, Handel and, Domenico Scar­ latti in 1985. The wider representation of Baroque era composers serves even more to focus attention upon the genius of Sebastian Bach. Your interest in and support of these programs serves as a catalyst to our Dr. Louis U. Rowland efforts as we strive to reach the deeper, intrinsic meaning of the repertoire. We trust you will be inspired by the fruits of our labors culminating from our Dr. Rowland, a former chairman of musician and devoted teacher. months of preparation necessary to make this Festival possible. Especially, I want to commend the Bach Chorus members for their devotion during the the Bach Council, under whose lead­ Those who had the good fortune to season beginning in mid-September, and the Orchestra personnel for their ership the Society was incorporated know him will remember him with sensitivity to details and support of the Chorus. in 1958, died in November at the age gratitude. Many of our Bach concert­ Russell A. Hammar of 100. He was, indeed, an inspira­ goers will recall that the 1980 Fes­ tion to hundreds of people through­ tival was dedicated to Dr. Rowland out his long career as professional on his 97th birthday. bach week noon-hour concerts Harry B. Ray Enjoy the BROWN BAG NOON-DAY CONCERTS in the lobby of Light Fine Arts Building, noon to 1 :00 P.M. on Wednesday and Thursday, March 7 and 8, featuring participants in the Young Artists' Competition and also Suzuki string players. Bring a sack lunch; coffee and tea will be available. Bring the Illustrations by Colin Alexander children! No admission charge.

2 3 .. young artists' concert participating young artists 4:00P.M. Saturday, March 3, 1984 Stetson Chapel The popular Young Artists' Auditions and Concert were introduced in 1965 as a means of recognizing the talent and dedication of young people CENTONE NO. V Samuel Scheidt who explore and perform music of the Baroque era and especially that of Canzon Aechiopican J. S. Bach and the Bach family of musicians. Today's performers received Benedicamus Domino Gall lard Battaglia the highest ratings of the twenty finalists who were adjudicated on Saturday, The SonateQuintet: January 28. Each season has witnessed intensified interest on the part of David Haglund, Tammy Moores, trumpets participants, teachers and Festival audiences. The judges for the 1984 Bruce Richards, French horn auditions were Doyle Preheim, Lon and Kathryn Sherer, Goshen College, Steven Waters, trombone Goshen, Indiana. Clifford George, tuba

II LET THE BRIGHT SERAPHIM from SAMSON George Frideric Handel The Sonate Quintet is coached by Professor Robert Whaley, at Western Michigan Kathryn Wells-Paauw, soprano University. All are students in the School of Music. They are David Haglund and Kevin Cole, harpsichord Tammy Moores, trumpet, Bruce Richards, French horn, Steven Waters, trombone and Clifford George, tuba. The group has performed widely in this area and on tour. Ill FRENCH SUITE IN E MAJOR BWV 817 J.S.Bach Kathryn Wells-Paauw, soprano, has a long list of accomplishments from solo Allemande Gavotte Gigue performances in Gilbert & Sullivan operettas to oratorio appearances with college Courante Polonaise Sarabande Bourree orchestras and numerous awards in competitions in the Midwest and Southwest Linda Kay Strouf, harpsichord She has completed her formal education at the University of Michigan and is current­ ly studying privately with Lorna Haywood in Ann Arbor. IV SUITE NO. 3 FOR CELLO J.S.Bach Linda Kay Strout of Hope College is a student of Anthony Kooiker. She was a con­ Prelude certo contest winner at Hope in 1981, and a finalist in last year's Bach Young Artist Courante Sarabande Competition. She is a member of the Hope College Orchestra, playing flute. Paul Richmond, cello Paul Richmond is a music major at Western Michigan University and plans to pursue a career in electrical engineering. He is a member of the Honors String Quartet and V LES FOLIES D'ESPANGE Marin Marais the Kalamazoo Symphony. He has also soloed in the Saint Saens Cello Concerto Theme and Variations with the Kalamazoo Junior Symphony. He is a student of Anthony Elliot Stacia Lewandowski, flute Stacia Lewandowski has performed with the Philharmonic, Wind Ensemble and the VI FUGUE IN A MINOR J.S.Bach Music Nova of Eastman School of Music. Her B.A. degree was awarded with distinc­ Martin C. Butorac, piano tion. She has given recitals in Rochester, N.Y., Chicago, Merida, Mexico and Warsau, Poland. INTERMISSION Martin C. Butorac, harpsichordist, is majoring in piano performance for a M.M. de­ gree with Curtis Curtis-Smith at W.M.U. His undergraduate degree is from Lawrence VII SUITE NO. 1 FOR VIOLONCELLO SOLO J.S.Bach University. Prelude Courante Anita Leong, a sophomore at Portage Central High School, is principal cellist of the Sarabande Kalamazoo Junior Symphony Orchestra. In 1981 she was soloist with the Kalamazoo Menuet I and II Symphony Orchestra in a Youth Concert She is a student of Mary Butler. Gigue Anita Leong, cello Corine Bessmer-O'Heran, mezzo-soprano, appeared in the 1983 Senior Concerto Concert at W.M.U. as the only vocal performer. She has sung various roles in VIII ET EXULTAVIT from MAGNIFICAT J.S.Bach W.M.U.'s opera workshop and is a student of Joyce Zastrow. Dido's Lament from DIDO AND AENEUS Henry Purcell David Rogers, guitarist, is playing his own transcription of the Partita (originally for Corine Bessmer-O'Heran, mezzo-soprano violin, BWV 1004). He is in his last year as a guitar performance major at Wayne State Robert Byrens, viola University under the tutelage of Joseph Fava. David has appeared on cable television Becky Reish and Lisa Williams, violin Marjorie Viswat, cello in the Detroit area and in a chamber music concert series sponsored by the Detroit Lori Ann Seinar, harpsichord Symphony musicians as well as recitals in Ohio and Ontario, Canada. Garree Stephan, piccolo trumpet, is a sophomore at Grand Rapids Junior College. IX PARTITA NO.2 IN D MINOR FOR VIOLIN SOLO J. S. Bach He has performed widely in the Grand Rapids area with the District 10 Honors Band, Chaconne transcribed D. Rogers Grand Rapids Youth Symphony, Jubal Brass and many other groups. Also, he was David Rogers, classical guitar principal trumpet in the Kent Philharmonic Orchestra and played in the United States Marine Corps Band from June 1979-82. His current teacher is Fred Baker. X SONATA IN D. MAJOR Henry Purcell Movements I, II, and Ill Garree M. Stephen, piccolo trumpet Christine Witten bach, harpsichord

4 5 : program notes program notes by Zaide Pixley (continued)

Francesco Geminiani was one of the most celebrated violin virtuosos of his time, a com­ Op. 3, No. 4 follows a four-movement, slow-fast-slow-fast, pattern rather than the more poser of original and expressive music, and a respected teacher, whose influence extended typically Vivaldian three-movement plan. The first two movements are grouped together in the beyond his pupils through his treatises. He was a pupil of Arcangelo Corelli in Rome and style of the then popular French overture: a slow, majestic, primarily chordal beginning fea­ brought his teacher's style to England in 1714, where it dominated taste in instrumental music turing strongly accented long-short-long rhythms, followed by a fast imitative Allegro, whose for the next forty years. driving rhythms, sequences and scale passages are immediately recognizable as hallmarks of Like Handel, Geminiani earned a living in London as a freelance artist. In 1716 he per­ Vivaldi's style. The third movement features sustained string playing in a style later used by formed at the court of George I. According to a contemporary observer, "he was accom­ Sebastian Bach in his Passions to accompany the words of Jesus. A triple time dance-like panied on the harpsichord by Mr. Handel and he acquitted himself in a manner worthy of the Allegro concludes the work. expectations that had been formed of him." His six concerti grossi, Op 3, were published in In 1717 Bach moved from Weimar to the tiny principality of Anhalt-Cothen, ruled by the 1732 or 1733 and were popular enough to be pirated on the continent. Throughout his life he music-loving Prince Leopold, to serve as his conductor and music director. The twenty-three­ was famous as a violinist. Handel's friend, the bluestocking Mrs. Delany, described a concert year-old prince was a musician Bach respected, often joining Sebastian in making chamber led by Geminiani she attended in 1760, when the composer was seventy-two years old: "The music. The composer wrote that his patron "not only loved but knew music." During his music began a half an hour after seven. I was extremely pleased with it: there is a spirit of seven happy years at Cothen Bach wrote a great deal of instrumental music and was en­ harmony and prettiness of fancy which no other music (beside our dead Handel's} has ... couraged by his patron to buy the finest instruments available and secure the best performers the sweetness and melody of the tone of his fiddle, his fine and elegant taste, and the perfec­ for his orchestra. tion of time and tune make full amends for some failure in his playing occasioned by the When Bach went to Berlin in late 1718 to pick up a harpsichord he had ordered, he played weakness of his hands." for the Margrave of Brandenburg, Christian Ludwig, who kept a small band of six musicians Geminiani was renowned for the expressiveness of his slow movements, over which he took for his private enjoyment. Bach described the occasion in a very polite letter that accompanied great pains. He wrote in his 1751 treatise, The Art of Playing the Violin, that "the Intention six concertos he sent to the Margrave on 24 March 1721: "As I had a couple of years ago of Musick is not only to please the Ear, but to express Sentiments, strike the Imagination, the pleasure of appearing before Your Royal Highness . . . and as I noticed then that Your affect the Mind, and command the Passions." Highness took some pleasure in the small talent which Heaven has given me for Music, and Handel first came to London in 1711 to produce his Italian opera Rinaldo and settled there ... as Your Highness deigned to honor me with the command to send Your Highness some permanently the following year. For the first two decades of his British career, he wrote and pieces of my Composition: I have then taken the liberty of rendering my most humble duty produced one Italian opera after another, but when the English appetite for opera in another . . . with the present Concertos, which I have adapted to several instruments." Instead of language seemed sated, he reluctantly turned to English language oratorio with Esther in composing something new for the Margrave, Bach had selected six of the concertos he had 1732. In order to increase attendance, he featured himself as soloist in organ concertos per­ already written and performed with Prince Leopold's orchestra. It is not clear whether any formed between the "acts" of his oratorios. His twelve concerti grossi, Op. 6, were written of the concertos were ever heard in the Margrave's chambers; only the fifth and sixth could in a period of intense creative activity in September and October, 1739 before the winter have been played by his own modest musical establishment without sending out for rein­ concert season began. forcements. Perhaps that was why the Margrave never thanked Bach or sent him a fee for The seventh is alone among the twelve concertos of Op. 6 in its combination of soloists the works. with ensemble- more in the manner of an orchestral suite than of a concerto. It opens with The concertos of Vivaldi, served as his model for the Brandenburg concertos. Vivaldi's a ten-measure introduction, which leads into a fugue with a subject consisting of increasingly influence is heard in the fast-slow-fast arrangements of the movements, the memorable rapid repeated notes that only Bach or Handel would have dared to tackle. The third move­ "head-motifs" that so often begin individual movements, the rhythmic exuberance, and the ment features an aria-like melody with accompaniment. A gracefully melodic Andante follows, ritornello format. Bach goes beyond the Italian concerto style in his use of more complex and a lusty English hornpipe in binary form concludes the work. Although less frequently per­ counterpoint and choice of solo instruments. His ingenuity in combining various instruments formed than Bach's Brandenburg concertos, Handel's Op. 6 is considered with them to be in solo roles is unprecedented in the concerto grosso literature; each concerto has a differ­ the apex of Baroque concerto compositions. ent grouping, from homogeneous strings to mixtures of brass, winds, strings and keyboard. Bach composed the motet, "Come, Jesu, come," for the funeral service for Maria Elisabeth In the fifth Brandenburg concerto, written for a concerti no of flute, violin and harpsichord, the Schelle (26 March 1730}, no doubt a parishioner at one of his two Leipzig churches and per­ keyboard instrument dominates. The work is considered to be the first keyboard concerto haps a descendant of one of his predecessors, Johann Schelle, cantor and cantata composer ever written. Perhaps Bach was inspired by the beautiful instrument he had just purchased for the Thomas Church in the last years of the preceding century. All eight of Bach's surviving in Berlin to write a concerto that featured the harpsichord so prominently. Bach wrote the motets date from his first years in Leipzig (1723-31}; they were apparently all written for keyboard part for himself, and his virtuosity is shown to perfection in the sixty-five-measure special occasions, one for a birthday and at least four for memorial services. For a funeral cadenza contained in the first movement. important enough to merit the composition of a special motet, Bach was allowed to supple­ Cantata No. 35, "Geist und Seele wird verwirret" ("Soul and spirit are bewildered" } was ment his choir of school boys; thus he was able to employ the double choir of eight voices first performed on the twelfth Sunday after Trinity, 26 September 1726. The Gospel for that heard in today's work. "Come, Jesu, come" is the only one of his eight motets not to use day was Mark 7:31-37, which tells the story of the healing of a deaf man. The poetry, by Biblical quotations and familiar chorales as its text. Instead it employs what one scholar calls Bach's contemporary Georg Christian Lehms, describes the soul's reaction to such a miracu­ "songbook poetry," freely composed by the German poet Paul Thymich. lous event. Thus the cantata fulfills its function as reflecting upon and amplifying the text As always, Bach takes great care in depicting the words. In the first verse, the call "come, and sermon. come" passes through all the voices as an urgent entreaty and is set antiphonally between At the time of the composition of "Geist und Seele," Bach was well into his fourth year as the two choirs for added emphasis. In a like manner, the phrase "Life's bitter path" is given Cantor for the city of Leipzig and its two most important churches and was completing the a fugal treatment, its serpentine theme imitated in all eight voices. In contrast to the lengthy third of his five complete cycles of cantatas for the church year. The cantatas in his first two and elaborate setting given to the first six lines, the second verse is set like a chorale: each cycles reflect his enthusiasm for his new role as church musician: they are typically large line of text is stated once and is richly harmonized for four voices in a predominantly chordal works with elaborate choral, orchestral and solo movements, requiring careful preparation style. and coordination of his musical forces. But by September 1726, after several memorable Antonio Vivaldi was an ordained Roman Catholic priest and was connected for most of his collisions with the Leipzig authorities, he was apparently losing interest in working so un­ life with the Seminary of the Pieta, a Venetian school for orphaned girls. Vivaldi's many solo remittingly for an unappreciative and often critical audience. As a result, and because concertos and concerti grossi were performed by the school's excellent orchestra and vir­ of the sheer pressure of his immense work load, many of the cantatas in the third cycle are tuoso soloists. A visiting Frenchman considered their performances the best in Venice and chamber works, often for a solo voice with orchestral accompaniment, and frequently con­ described what he saw there In 1739: "They sing like angels, play the violin, flute, organ, cluding with a chorale for chorus. Many feature extensive borrowing from previously com­ oboe, 'cello, bassoon - in short, no instrument is large enough to frighten them." posed instrumental works. Vivaldi's innovative and vigorous works, which soon earned their composer an international "Geist und Seele" is written for alto solo, accompanied by a small orchestra featuring a reputation, had tremendous influence in the early decades of the eighteenth century. Perhaps major organ part. Bach was especially interested in writing virtuosic organ parts for his the most influential was L'Estro Armonico, Op. 3, a set of twelve concerti grossi published in cantatas at this time (Cantata 35 is one of five such works written in late 1726}, no doubt Amsterdam in 1711 . Its publication in northern Europe Indicates the high demand for Vivaldi's because he, as the organ soloist, could partly control the quality of the performance. For music there, especially In Germany. J. S. Bach, who at the time was music director for the ltalianate Prince Johan Ernst of Weimer, transcribed five concertos of Vivaldi's Op. 3 for various instruments and Incorporated many of Vivaldi's style traits into his own. Program Notes continued on page 8

6 7 :' chamber music concert 4:00P.M. Sunday, March 4, 1984 Dr. Russell A. Hammar has been music director of the Kalamazoo Stetson Chapel Bach Festival for the past twenty­ CONCERTO GROSSO in G minor, Op. 3, No. 2 Francesco Geminiani three years. He has brought to Kala­ Largo e staccato (1687-1762) mazoo a level of performance and Allegro choral sound which has become Adagio standard for comparison, an excel­ Allegro lence which has brought him recog- CONCERTO GROSSO in B flat Major, Op. 6, No. 7 George Frideric Handel a;.a , '!....._ nit ion throughout the United States Largo (1685-1757) ·· ,and Europe. Allegro His diversified musical life has Largo e piano included concerts, radio, television Andante and recording work. He has Hornpipe also conducted numerous IN MEMORIAM: Avis Long Howard vocal and instrumental It is requested that there be no applause after the Motet. ensembles, and is the author of two re­ COME, JESU, COME (Motet No.5) BWV 299 J. S. Bach (1685-1750) am _.,. cent books- on vocal peda- Lento Come, Jesu, come, I so weary. gogy and choral procedures . This My strength declines from day to day. past year Dr. Hammar retired from I yearn for Thee, Thy realm so peaceful Life's bitter path doth me dismay. his position as Professor of Music at Kalamazoo College. However, he Vivace Come, come, to Thee, 0 Christ, I yield me. will continue to conduct the Bach Allegretto Thou art alone the Way, the Truth, the Life, the Savior. Festival through its 1985 season - Aria In faith I grasp Thy hand extended, And bid this vale of tears farewell; the 300th anniversary of J. S. Bach's My life is spent, my grief has ended, My spirit hastes in bliss to dwell. birth . My soul shall be with my Creator, For Jesus is to life the one true Way, the Savior. The Bach Chorus with Baroque Ensemble INTERMISSION CONCERTO IN E MINOR, Op. 3, No. 4 from "L'Estro Armonico" for four violins, strings and continuo Antonio Vivaldi (1675-1741) Andante ·, Allegro assai '"""' Adagio Allegro • BRANDENBURG CONCERTO No.5 in D Major BWV 1050 J. S. Bach Allegro Affettuoso Allegro Eiji Hashimoto, one of the world's foremost harpsichordists, joined the faculty of the University of Cincinnati, College - Conservatory of Music in 1968 and is currently Professor of Harpsichord and Harpsichordist-in-Residence. He is an authority on C. P. E. Bach as well as keyboard composers of the Baroque era. The Baroque Program Notes continued from page 7 Ensemble is comprised of both graduate and undergraduate students who are Cantata 35 he drew on a previously composed three-movement harpsichord concerto, proba­ selected by audition. They are instructed by Mr. Hashimoto in ensemble technique bly written during his days at Anhalt-Ciithen and now almost entirely lost. The first movement and stylistic understanding of the period. of the concerto survives as the opening sinfonia of the cantata, with the original solo harp­ sichord part transferred to the organ. Throughout the cantata the organ is given a dominant VIOLINS: Jeffrey Flaniken, Zoran Jakovcic, Karin Howell, Victoria role, not only In the two instrumental sinfonias, but also in the vocal arias, where it serves as Kehler, Cecilia Harris, Markand Thakar, Melissa Lusk, a second and almost equally important soloist. The first aria is In the full-blown da capo style so often used by Baroque composers and is most likely the lost slow movement of the Nicole Nicodemus harpsichord concerto. A recitative leads into the second aria; here the accompanying instru­ FLUTE: Mary Rutledge True ments are silent, except for the ever present organ, which imitates the vocal line and shares motifs with it. The second sinfonla of the cantata Is probably the last movement of the con­ VIOLAS: Eric Koontz, Nancy Culp certo, immediately recognizable as a concerto finale in Its binary form, triple meter, fast CELLOS: Gayle Morgan, Dominic Hradek tempo and dance-like character. The work concludes with a recitative and aria, character­ Ized by brilliant triplet figures, in which the soloist, accompanied by the whole ensemble, BASS: Jeffrey Horton expresses the longing to be In heaven already, singing a joyful Hallelujah with the angels. HARPSICHORD: Eiji Hashimoto

8 9 .. Tenor Carl Kaiser, internationally known artist, returns to Kala­ participating guest artists mazoo to sing the difficult, poignant arias of the ST. JOHN PAS­ SION. Highly acclaimed in Germany after receiving a Fulbright Soprano Rebecca Patterson has made solo appearances in scholarship, he remained there to establish his career as an Chicago with its Symphony, Civic Orchestra and String Ensem­ operatic and oratorio singer. His vast repertoire and experience ble, receiving critical acclaim for her performance of Bach's underscore his ability to utilize his powerful voice in a lyrical JAUCHZET GOTT IN ALLEN LANDEN.A specialist in Bach manner, which suits the demands of J. S. Bach's writing. interpretation, she has a wide repertoire of his cantatas and Baritone Wayne Dalton comes to Kalamazoo with an impres­ major works. l sive background which includes study of theology as well as Mezzo-soprano Shirley Love has thrilled Metropolitan Opera j music. In addition to his teaching, he has performed widely in audiences in performances of over one hundred different roles. the East as well as in the Midwest. His excellent diction and Her appearances with major orchestras in Germany, Italy, warm, flexible voice is " ... a joy to listen to." " ... musical and France and Japan as well as the United States have demon­ really lovely" in the ST. JOHN PASSION. strated her impeccable musicianship, artistic integrity and dra­ Eiji Hashimoto, one of the world's foremost harpsichordists, matic depth. This incomparable musician returns to Kalamazoo, joined the faculty of the University of Cincinnati, College­ having sung in our 1968 Festival. Conservatory of Music in 1968 and is currently Professor of Tenor Evangelist Daniel Nelson has appeared widely through­ Harpsichord and Harpsichordist-in-Residence. He is an author­ out the United States in recital, opera, oratorio and orchestral ity on C. P. E. Bach as well as keyboard composers of the appearances. His performance of the ST. JOHN PASSIONunder Baroque era. His Baroque Ensemble Strings is composed of Lucas Foss was described: "He sang with the ease of a confident outstanding students of the University. storyteller ... ", "remarkable diction."

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10 11 DANIEL N£tSOIJ .. a theological suggestion for festival finale listening to the st john passion the Passion According to St. John BWV 245 by Rev. Robert Rasmussen by Johann Sebastian Bach In the St. John Passion Bach uses the "turbo chorus" to portray the crowd in its Saturday, March 10, 1984 angry rejection of Jesus. The text often refers to this crowd as "the Jews." There is 5:00 and 8:15P.M., Stetson Chapel the danger, therefore, that the listener will arrive at the mistaken conclusion that the 6:30P.M. Intermission Dinner, Welles Hall New Testament or the composer are attempting to blame the death of Jesus on the Jews. And there is the further danger that this experience will serve to keep alive the "holocaust disease" which has infected the human scene for many centuries. THE BACH FESTIVAL CHORUS, ORCHESTRA Writing as a Christian and as a member of the chorus, I would like to suggest AND DISTINGUISHED SOLOISTS: another way of listening to the music, one which I believe is true to the New Testa­ Rebecca Patterson, soprano ment and to Bach's own understanding of the gospel. Shirley Love, mezzo-soprano The New Testament is not trying to fix the guilt for the death of Jesus on any one Daniel Nelson, tenor Evangelist particular group or person. Instead of pinpointing the Jews as the guilty ones, it Carl Kaiser, tenor broadens the matter to include all humanity (even me). Acts 4:27, 28 (written by Luke, Wayne Dalton, baritone the Gentile) sums up the matter quite succinctly as it quotes a prayer of the Christian Douglas Jeltema, Jesus believers under persecution: "Truly in this city, there were gathered together against Robert Speaker, Pilate thy holy servant Jesus, whom thou didst anoint, both Herod and Pontius Pilate, with assisted by: the Gentiles, and the people of Israel, to do whatever thy hand and thy plan had pre­ Maid: Janet Lawing, soprano destined to take place." No one is singled out. It is a general conspiracy that is 1st Servant: Larry ten Harmsel described here. The point is not that certain people were guilty and others not; the 2nd Servant: Timothy Benedict point is that everyone (Jews and Gentiles alike) is guilty. Thus Peter can say to his Peter: Michael Mueller own people: "You killed the Author of life" (Acts 3:15), but can say in the next breath, Russell A. Hammar, Music Director and Conductor "Brothers, I know that you acted in ignorance, as did also your rulers" (3:17) and call them to "repent . . . that (their) sins may be blotted out" (3:19). Paul can write GEIST UNO SEELE WIRD VERWIRRET BWV 35 J.S.Bach to the Corinthians: "None of the rulers of this age understood this; for if they had, they would not have crucified the Lord of glory" (I Corinthians 2:8). And Jesus him­ Shirley Love, mezzo-soprano self says of his crucifiers: "Father, forgive them for they know not what they do" Judith Breneman, organ (Luke 23:34). The Bach Orchestra So when some of the Jews in John's Gospel cry out, "Crucify him," they are 1. Sinfonia expressing the human condition. When Pontius Pilate, the Gentile, hands Jesus over 2. Aria Soul and spirit are bewildered when the might of God 1 see. to be crucified, he is expressing the human condition. We as human beings mightily All the wonders which he showeth which his folk rejoicing resent the interference of God in our lives of ease and comfort, getting and spending. knoweth deaf and dumb have rendered me. This is the kind of world Jesus lived in and the kind of world we also live in: a world 3. Recitative which has its own agenda and does not want Jesus and his way of life. Thus as a I stand in awe and with amazement view the wonders of creation; Bach chorus member snarling, "Crucify him," or shouting, "We have no king but When I think that thou art God's own son, Caesar," I do not see myself portraying what some people did 2,000 years ago. I see Of reason and of judgment have I none. myself speaking as a member of the human race, expressing my own rejection of God, So potent art thou, to work a miracle is but an easy task. Thy deeds and power, name and fame are such that all witnessing to my own hatred. I cannot take comfort in the fact that I was not literally agree no wonder on earth can be compared to thee. present 2,000 years ago demanding the blood of Jesus, for it was precisely my kind The deaf thou cause to hear; of rejection of God that nailed him to the cross. I can take comfort only in the good The dumb will speak when thou art minded, and what is more, news that the great and holy God, by his hand and by his plan, gave his Son to die for Thou openest with a word the eyes of persons blinded. me. And I find hope in the assurance that the same God who spoke through Joseph These all are mighty wonders and so portentous to his brothers, the sons of Israel, saying: "You meant evil against me, But God meant That not the Angel choir itself could do them justice. it for good," (Genesis 50:20) speaks also to all of us who had a part in nailing Jesus 4. Aria to the cross, saying, "You meant it for evil, but I meant it for good; repent and believe God is ever just and right, faithful, loving, kind, and true, Ever helping all each day anew. the good news." When distress and care oppress us, He will richly watch and bless us, Thus I cannot say that the Jews were innocent of the death of Jesus any more than Guard us daily by his might. God is ever just and right. I can say that the Gentiles were innocent or that I am innocent. I can only say with the 5. Sinfonia prophet: "All we like sheep have gone astray; we have turned every one to his own 6. Recitative way; and the Lord has laid on him the iniquity of us all" (Isaiah 53:6). I can say in Ah, mighty God, let thou this truth sink deep within me, the words of Chorale No. 15: That thus my soul find happiness and sweet contentment. Grant me thy sweetest Hephata my ever stubborn heart to open. Mine, mine the sins offending, These signs it was that brought Thee Ah, lay thy hands upon my ears in gracious mercy, Which are like grains unending Thy misery, and wrought Thee For otherwise I perish. Of sand upon the shore; Of martyrdom the awful store. With gracious clemency restore my tongue to me, That I and all my children's children with holiest emotion May sing thy praise in deep devotion. What I can do is to acknowledge my own guilt, refuse to fasten the guilt on any 7. Aria one group of people, and take with utmost seriousness the gracious word of Jesus, How happy I with God in heaven; 0 would I were beyond the skies, "Father, forgive them, for they know not what they do," taking "them" to mean any­ where joyful Hallelujahs rise, with ail the Angel chorus singing. one who had or has anything to do with his rejection. "For God has consigned all 0 dearest Jesus, loose for me my cruel yoke of misery. men to disobedience, that he may have mercy upon all" (Romans 11 :32). Grant me that soon thy hands extended may bear me hence my anguish ended.

12 13 .. THE PASSION ACCORDING TO ST. JOHN J. S. Bach THE SOLDIERS TORTURE JESUS 33-38. EVANGELIST, PILATE, CHORUS PART ONE The soldiers make a crown of thorns and mock Jesus; PROLOGUE the crowd demands that Jesus be crucified. 1. CHORUS PILATE SEEKS TO RELEASE JESUS Lord, Thou our Master, 39. EVANGELIST, JESUS Thou whose name in all the earth is glorified, Pilate is afraid of the crowd, yet tries to find the means of releasing Jesus. Show us how Thou in pain and woe, 40. CHORALE Through which Thou, Son of God, didst go, Our freedom, Son of God, arose, At every time wast, even in the darkest hour, forever glorified. 41-46. EVANGELIST, CHORUS, PILATE THE TREASON OF JUDAS The crowd demands relentlessly that Jesus be crucified, 2-6. EVANGELIST, JESUS, CHORUS professing to have no king but Caesar. Jesus and the disciples come to the garden. THE CRUCIFIXION 7. CHORALE 47. EVANGELIST 0 wondrous love, 0 Love all love excelling. Jesus is led away to Golgotha. 8. EVANGELIST 48. ARIA (bass} with small choir Peter cuts off the ear of the high priest's serving man. Jesus answers. Run, ye souls whom care oppresses, Go from trouble's dark recesses, 9. CHORALE Run- to Golgotha! Fly- 0 where? His cross to carry, your salvation waits you there. Thy will, 0 Lord our God, be done. 49-51. EVANGELIST, CHORUS, PILATE JESUS BEFORE CAIAPHAS There they crucify Jesus with two others, and Pilate places a title for him on the cross. 10. EVANGELIST 52. CHORALE Jesus is bound and led away. In my heart's inmost kernal, Thy Name and Cross alone Glow bright with light eternal. 11. ARIA (alto} From the tangle of my transgressions 53-54. EVANGELIST, CHORUS The soldiers divide Jesus' garments and cast lots for his seamless robe. 12. EVANGELIST Peter follows Jesus. THE WOMEN AT THE CROSS 13. ARIA (soprano} 55. EVANGELIST, JESUS I follow Thee also with joy-lightened footsteps. In his dying hour Jesus takes heed of his mother and his well-beloved disciple. 14. EVANGELIST, MAID, PETER 56. CHORALE Peter stands in the doorway and denies Jesus the first time. He of everything took heed in his hour of dying. Jesus appears before the high priest. 57. EVANGELIST, JESUS 15. CHORALE Having expressed his thirst, Jesus declares his work finished. Who was it dared to smite Thee? THE DEATH OF CHRIST PETER'S DENIAL 58-60. ALTO, EVANGELIST, BASS, CHORUS ARIA (alto} It is fulfilled. 16-18. EVANGELIST, PETER, SERVANT Jesus bows his head and dies. Jesus is bound and sent before Caiaphas. Peter denies knowing Jesus ARIA (bass} and chorus a second and third time. 0 Thou my Saviour, give me answer: Jesus, Thou who once wast dead, 19. ARIA (tenor} Since Thou upon Thy cross art crucified, and Thyself hast said: it is fulfilled, 0, my soul, where wilt thou find thy goal, and where shall comfort find me? Livest now forever. Shall I from death be ever free? 20. FRAMING CHORALE When the path of death I tread, Can I through Thy despair and Passion Peter, while his conscience slept, thrice denied his Savior. the heavenly home inherit? Is all the world redeemed today? Elsewhere than to Thee be turned, 0 beloved Saviour! End of Part I Give me but what Thou hast earned, more I do not pray for. Thou canst for pain indeed not answer, Yet bowest Thou Thy head to say in silence: Yea! INTERMISSION AFTER THE CRUCIFIXION 61. EVANGELIST Part II of this evening's concert will be presented at 8:15P.M. The council The veil of the temple is rent in two and the earth quakes. requests that personal belongings be taken with you during the Intermission 62. ARIOSO (tenor} Dinner Hour. Items inadvertently left will be removed by the ushers to the My heart! The world is shrouded In deepest mourning. Narthex for safe-keeping. Thank you. 63. ARIA (soprano} Release, 0 my spirit, thy torrents of crying. 64. EVANGELIST PART TWO Jesus' bones are not broken. From his side flow blood and water. 21. FRAMING CHORALE 65 CHORALE Christ, through whom we all are blest, Help, 0 Christ, Thou Son of God. JESUS BEFORE PILATE THE BURIAL 22-26. EVANGELIST, PILATE, CHORUS 66. EVANGELIST Jesus is led to the Judgment Hall. Pilate questions Jesus whether he Is the King of the Joseph of Arimathea lays Jesus' body in the tomb. Jews. Jesus answers that his kingdom is not of this world. 67. CHORUS 27. CHORALE Rest well, Thou holy body sleeping. 0 mighty King, almighty through all ages. EPILOGUE JESUS OR BARABBAS 68. FRAMING CHORALE Ah, Lord, thy dear sweet angels send In my last hour, my soul attend. 28-30. EVANGELIST, PILATE, CHORUS Lord Jesus Christ, 0 hear thou me Thee will I praise eternally. Pilate continues to question Jesus and finally offers the crowd the choice between Barabbas and Jesus. PLEASE NOTE: In honor of our music director and conductor, Russell A. Hammar, 31. ARIOSO (bass} Consider, 0 my soul, in agony and rapture, distinguished guest artists, and the Bach Festival Chorus and Orchestra, there will be 32. ARIA (tenor} a reception immediately following this concert in the President's Lounge, Hicks Behold then how each livid stripe succeeding, Center. The audience is cordially invited to attend.

14 15 THE BACH FESTIVAL CHORUS To update our mailing list, please fill out th is form to ind icate corrections or deletions and place in receptacle for this purpose in the Narthex. SOPRANO 1: Betsey Aldrich, Janet Claflin, Betsy Craig, Laura Floyd, Janet Lawing , Barbara Niewoonder, Edna Ortega, Rosalia Speaker, Patricia Stromsta, Bette Tuls, We would be most happy to add new names to our list. Rebecca Vanden Bosch, Nancy Van de Riet. SOPRANO II: Charlene Austin, Martha Austin, Nancy Bonnema, Maria Cowan, Mar­ Name (personal) thanne Davis, Debra Jean Dinda, Betty Evans, Maxine Haak, Donna Penning, Robin Rohloff, Harriet Slomp. (business) ALTO 1: Mary Alie, Gloria Brady, Joan Ettwein, Edna Farthing, Gayle Finder, Naomi Street address ...... Gorrell, Susanne King, Betty LeRoy, Helene Stuurwold, Cecilia Sutton, Danielle ...... Vachow. I • 0 ••• 0 0 • • • • •••••• 0 0 •• • 0 0 ••••••••••• • 0. 0. 0. 0 . 0. 0 0 0. 0 . 0 ••••••••• • 0 • •• ALTO II: Barbara Bergerson, Louise Eadie, Kay Ensfield, Mildred Hammar, Emily City State Zip Jensen, Cynthia Lunan, Julie Lyons, Dori Rey, Lucia Roberts, Anna Mae Spaniolo, L Marcia Van Allen, Eleanor Vander Linde. TENOR 1: Norma Bailey, Tim Benedict, Don Dayton, David Feiler, David Magerlein, Edwin Nelson, David Scarrow, Clarence Small. TICKET INFORMATION TENOR II: David Bierenga, Mark Doster, Norman Lyons, Larry Mantei, Mark Niewoon­ Tickets for all events may be purchased at the door and also at the Bach Office, der, Larry ten Harmsel, James Vander Roest. Room 206 Light Fine Arts Building, Kalamazoo College, on the corner of Academy BASS 1: John Bonnema, William Carter, Douglas Jeltema, James McDonald, Romeo and Thompson Streets. The Bach Office is open from noon to 4:00 P.M. Monday Phillips, Robert Speaker, John Stuurwold. through Friday, and 9:00A.M. until noon Saturdays. Telephone (616) 349-2948. BASS II: Richard Karnemaat, Carl Kasdorf, George Missias, Michael Mueller, Robert Checks may be made payable to Bach Festival. Rasmussen, D. Evor Roberts, Lester Roberts. Chamber Music Program, 4:00 P.M. Sunday, March 4 $ 7.00 Festival Finale in two parts, OFFICERS: Mark Niewoonder, president; Betsy Craig, vice-president; Harriet Slomp, at 5:00 and 8:15P.M. Saturday, March 10 $10.00 secretary; Nancy Bonnema, librarian. Student Series tickets (I.D. required) for all concerts $ 6.00 Intermission Dinner (Welles Hall) Saturday, March 10, 6:30P .M. SMALL ENSEMBLE: Deadline for purchase is 4:00P.M. Monday, March 5 $7.25 Soprano: Harriet Slomp, Rosalia Speaker, Bette Tuls Alto: Danielle Vachow, Helene Stuurwold, Cecilia Sutton BENEFACTORS, PATRONS and SPONSORS receive two complimentary tickets in the RESERVED SECTION for each of the Festival concerts. Tenor: Norman Lyons, Clarence Small, Larry ten Harmsel FEATURED ARTISTS THE BACH ORCHESTRA Robert Speaker, bass-baritone, is a former concert artist, having appeared in our own VIOLIN 1: Georgiana Smith, concertmaster, Helene Carman, Bach Festival. He was also active in radio, recordings, solo recitals and oratorio Gaston Jacqmart, Laura Bond appearances and is now a member of the Bach Chorus. VIOLIN II: Rebecca Reish, Lisa Williams, Michael Korman, Norma Jean Stremich Douglas Jeltema, baritone, is well-known as soloist in area churches. He received VIOLA: Joseph Work, Tomio Anderson critical acclaim as soloist in last year's performance of the Brahm's GERMAN REQUIEM. CELLO: Mary Butler BASS: Leo Hazen Judith Breneman, guest organist, comes to Kalamazoo from Washington, D.C. where FLUTE: Bonnietta Benn, Charles Osborne she was director of music and organist at St. Columbus' Episcopal Church. She is OBOE: Robert Humiston, Joanne Bauschke also a member of the Kalamazoo College Music Department, directing the College Singers. She is a member of the American Guild of Organists, Association of Anglican ENGLISH HORN : Frances Klooster Musicians, Royal School of Church Music in America and the American Guild of BASSOON: Debora Kozal English Handball Ringers. HARPSICHORD: Mary Beth Birch ORGAN: Marlene Bierenga Mary Butler is a member of the Kalamazoo Symphony Orchestra and teaches cello at Kalamazoo College, while also maintaining a large private class of students. One of her students, Anita Leong, is a winner of this season's Young Artists' Competition. The Bach Festival Concerts will be broadcast on WMUK-FM on the following eve­ Mrs. Butler has also been a featured artist of previous Festival Programs. nings: Mary Beth Birch is a member of the Kalamazoo College Music Department faculty 8:00P.M. Wednesday, Apri118- YOUNG ARTISTS' CONCERT teaching piano and harpsichord. She is a founder of the Chamber Music Society of 8:00P.M. Thursday, April19- CHAMBER MUSIC CONCERT Kalamazoo and has concertized with that organization, the Bach Society and other groups in the Midwest. 8:00P.M. Friday, April 20 - PASSION ACCORDING TO ST. JOHN and Cantata No. 35 Marlene Bierenga is accompanist and organist for the Bach Chorus and is organist at Trinity Reformed Church in Kalamazoo. She has also taught at Goshen College, Community Access Center will be video-taping the Festival concerts. Check ACCESS the Kalamazoo College Music Center, and maintains a large class of piano students in her home. 7 or 9 in the Kalamazoo Gazette TV Guide for broadcast times. 16 17 ACKNOWLEDGEMENTS 1984 BACH FESTIVAL SPONSORS

The Bach Society wishes to take this opportunity to express its appreciation to the Aid Association for Lutherans Mr. and Mrs. Charles Lahti following: Kalamazoo College for providing the services of the director and the Dr. Raymond and Mary Alie The John W. Lawrences Charlene and Martha Austin C. David and Georgia T. Lundquist physical facilities and Public Relations; Colleen Thor, Fine Arts Secretary; The Kala­ Barnes Printing Company Dr. and Mrs. Marshall MacDonald mazoo Gazette for feature stories, radio station WMUK for the broadcasts of the Bach Jozette and Quinn E. Benson Margaret and Arthur Manske Concerts, area news media, radio and television stations for program information; John and Nancy Bonnema Paul E. Morrison Jeweler, Inc. Nancy Bonnema, Gayle Finder, Clarence Small, Robert Speaker and Michael Mueller, Mr. and Mrs. Robert L. Borsos Miss Sylvia Muehling section rehearsal leaders; Louise Myland, Nel Van Elk, and Sidney Mueller, office; David and Heide Boutell Mr. and Mrs. Edwin A. Nelson and Tim Benedict, stage manager. David and Judy Breneman Barbara R. Niewoonder Eric and Ann Brown Mr. and Mrs. Willy Nordwind, Jr. Mr. and Mrs. William H. Burke Penny and Joe Omarzu David and Joyce Chaplin George Orban Dr. and Mrs. Daniel K. Christian Kirsten and John Peterson Clausing Corporation Dr. and Mrs. Robert H. Poe! ComericA Bank Mr. and Mrs. David K. Pyle The Bach Council wishes to recognize and thank the following businesses and citizens Commercial Waste Disposal Co. Mr. and Mrs. William Race who have graciously supported the 1983-84 Bach Festival with their contributions: Helen P. Cooper Dr. and Mrs. Harry B. Ray Mrs. Neill R. Currie Janet and Norman Richards 1984 BACH FESTIVAL BENEFACTORS Dr. and Mrs. Donald E. Daenzer Charles and Lou Ritter Drs. Clifford and Audrey Davidson Dr. and Mrs. James Rolls Mr. and Mrs. Harold N. Davidson Dr. and Mrs. Myron H. Ross Lewis and Jean Batts James and Ellen McDonald De Korne-Your Ethan Allen Galleries Dr. and Mrs. Roger A. Scholten Black Swan Inn Mrs. H. Frederick Mehaffie Durametallic Corporation Dr. and Mrs. George Slomp Clarence and Jo Broekema G. S. Missias, D.D.S. Sherwood and Hannelore Eck Dr. Lawrence R. Smith Bill and Dru Carter Dr. Henry Overley (In Memoriam) E. Rozanne Elder Charles V. and AnnaMae Spaniolo Robert and Janet Claflin Mr. and Mrs. Preston Parish Gordon Eriksen Robert and Rosalia Speaker Maynard and Gene Conrad Siegfried, Crandall, Ernst & Whinney Mr. and Mrs. Gordon Start Dorothy Dalton Foundation Vos & Lewis, CPA, PC Evans Ford Corporation Lester and Clarice Start Mr. and Mrs. Charles E. Fast Dr. and Mrs. Richard Stavig Joanna Medioli and Gunther Fonken Mrs. Fred G. Stanley Fidelity Federal Savings Richard and Maxine Stohrer Dr. and Mrs. John E. Francis Superior Typesetting Service and Loan Association Michael W. Stripp Mrs. DonaldS. Gilmore Treva Reed Music First of America Bank- Michigan Pat and Scot Stromsta Mr. Irving Gilmore The Upjohn Company First Federal Savings Dr. and Mrs. William A. Struck Avis Long Howard (In Memoriam) Adrian and Eleanor Vander Linde and Loan Association Mr. and Mrs. William T. Stuifbergen The Kalamazoo Gazette Angie and Herm Van Hamersveld Henry and Mildred Ford Superior Printing Company Rev. and Mrs. Emil Mai Russ and Barb Worden The Rev. and Mrs. Louis Grother Andrew and Irene Tang Ed and Ginnie Hessler Larry and Mieke ten Harmsel Martha and Jim Hilboldt Jim and Mary Thorne Mr. and Mrs. Harold H. Holland Mr. and Mrs. Burton H. Upjohn Mr. and Mrs. David P. Hunt Dr. and Mrs. Paul L. Van Den Brink Susan S. Huston Peter and Lilian VanderLaan 1984 BACH FESTIVAL PATRONS Johnson-Klein Construction, Inc. Dr. Roger K. Vanderlaan Dorotha Kercher John and Margaret Vander Ploeg Dr. and Mrs. Robert Kettunen Mr. and Mr. Robert W. VanPutten American National Bank Mr. and Mrs. Harrison Nelson Mr. and Mr. James C. Westin and Trust Company Fred and Louise Myland James and Susan Gilmore Smith and DeBree 1984 BACH FESTIVAL CONTRIBUTORS Peter and Lucia Hammar Paul G. Smithson Hawing Insurance Agency, Inc. Hugo and Barbara Swan AMBATI Flowers (Intermission Mr. and Mrs. Paul Todd Julie and Norman Lyons Roger and Molly Williams dinner floral arrangement) Vander Salm's Flowers (Chamber E. Lawrence and Margaret Barr Concert floral arrangement) Mr. and Mr. Robert Penning Mr. and Mrs. Garret Van Haaften Thursday Morning Musicale

We regret that contributions received after the printing deadline cannot be listed. 18 19 .; 1983-84 COUNCIL MEMBERS KALAMAZOO BACH FESTIVAL SOCIETY

RUSSELL A. HAMMAR, Music Director and Conductor DAVID BRENEMAN ELEANOR VANDER LINDE Honorary Chair Executive Secretary ADRIAN VANDER LINDE DORI REV Chair Emeritus Recording Secretary LARRY TEN HARMSEL THOMAS PONTO Chair Treasurer

COMMITTEES ARTISTS AND PROGRAM PUBLICITY Russell A. Hammar John Stuurwold Judith Breneman David Magerlein Lilian VanderLaan James McDonald Lucille Mehaffie Dori Rey Barry Ross Greta Rey Robert Speaker Edna Stanley TICKETS Russell Worden FINANCIAL DRIVE Gayanne Nelson Louise Myland Eleanor Vander Linde USHERS Fund Drive Staff: Paul Smithson Quinn Benson Barbara Niewoonder Barbara Bergerson Donna Penning YOUNG ARTISTS Nancy Bonnema Harriet Slomp Jill Christian Patricia Stromsta Lucille Mehaffie Janet Claflin Joyce Stuifbergen Joyce Chaplin Betty Evans Larry ten Harmsel Lilian VanderLaan Sylvia Muehling Angelyn Van Hamersveld Robert Nagel kirk Sidney Mueller Adrian Vander Linde Barry Ross Edwin Nelson Russell Worden Helene Stuurwold Margaret Nelson MEMBERS-AT-LARGE HOSPITALITY Mildred Hammar Penny Omarzu Lynn Hall Louise Bennink Emily Jensen Marthanne Davis Robert Rasmussen Maxine Haak Mark Niewoonder, Chorus Pres. Barbara Hoekzema Betty Race Nancy Van de Riet HISTORY AND RESEARCH Zaide Pixley

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