St. John Passion There Is So Much We Could Say About J

j.s. bach St. John Passion There is so much we could say about J. S. collaborative, organic, and historically Bach’s St. John Passion. It was his first large- informed music-making. scale work—and it was among the first of its Like all of Bach’s musical output, the kind, which must have made for a startling St. John Passion is characterized by density— Good Friday experience for his congregation. of melody, of harmony, of counterpoint, of Unusual for Bach, he made four substantial meaning. Its richness is almost too much to revisions to the work, plus an additional, handle. It is the closest Bach ever came to unfinished one—each revision a window opera. into Bach’s experimental mind as he tried For Bach, this music was no intellectual different valid, convincing approaches to the exercise, no abstract artistic statement nor Johann Sebastian Bach (1685–1750) dramatic arc of the story. mere entertainment. His only imagined The libretto comes not from a single “performance” would have been during a source (as in the St. Matthew Passion), but The Passion according to St. John includes words directly from the Gospel of solemn Good Friday service with an hour- St. John in Martin Luther’s translation with long sermon between its two parts. He poetic responses by Brockes, Weise, Postel, believed that this is the story of our salvation, and possibly others. John’s literal words in and that it was his responsibility to manifest recitative are interspersed with emotional that truth and move people with it. arias, masterful chorales—whose words So what, then, is our responsibility as and tunes would have been very familiar to musicians and music-lovers in 2017? his listeners—, and dramatic turbae (crowd For some, it undoubtedly holds some of choruses). The numerous turbae in particular, the same spiritual meaning that it did for help to unify the text through recurring those in Bach’s time. Being raised Jewish musical motifs and theatrical impulses. The myself, my experiences of Christianity have theological implications of the text, includ- been entirely musical—Passions and cantatas, ing the work’s problematic treatment of “the masses and Messiahs. Since performing my Jews,” have filled many books. first Bach Passion as an undergraduate, I’ve Here is what I can say about the perfor- struggled to come to terms with this story mance of the St. John Passion that you will and my place in it. hear tonight: it represents a year-long col- Really, though, I don’t want to answer laborative effort between TENET and the that question for you. The St. John Passion Sebastians and is only happening because of is a work that inspires dialogue. You get to the support of many musicians, donors, and decide what it means to you. audience members. This is truly our “dream All I know is that when the clock strikes production,” and you are helping make that dream a reality just by being here tonight. seven and we begin “Herr, unser Herrscher,” Part of that dream was to perform we musicians will be doing what we love without a conductor—to remove a barrier most: living in the moment of the music, between you and Bach’s thrilling work. sharing our experience of this magnificent We have worked to balance an intimate piece with you, relishing the electric “chamber music” approach with the gran- exchange of energy between us, and trying deur the music demands. Leading this to forget everything we’ve learned—the process from the organ, my goal has been density, the history, the too-muchness of it to create a musical atmosphere that fosters all—so that Bach can speak for himself.

— Jeffrey Grossman

2 Johann Sebastian Bach (1685–1750) The Passion according to St. John 1724, rev. 1725–49 bwv 245

Evangelist Violin I Aaron Sheehan Daniel Lee, Nicholas DiEugenio, and Edson Scheid Soprano soloists Jolle Greenleaf Violin II Molly Quinn Beth Wenstrom, Chloe Fedor, and Francis Liu

Alto soloists Viola Luthien Brackett Jessica Troy and Kyle Miller Reginald Mobley Cello Tenor soloists Ezra Seltzer Owen McIntosh Jason McStoots Viola da gamba Shirley Hunt

Bass soloists Violone Mischa Bouvier (Jesus) Nathaniel Chase Sumner Thompson (Pilate) Oboe, Oboe d’amore, Oboe da caccia Ripieno chorus Priscilla Herreid and Meg Owens Anna Lenti (Maid), Tim Keeler, Donald Meineke (Servant), Traverso and Andrew Padgett (Peter) David Ross and Immanuel Davis Bassoon Nate Helgeson

Music Director Archlute Jeffrey Grossman Hank Heijink

Artistic Director Organ Jolle Greenleaf Jeffrey Grossman

3 TEXTS & TRANSLATIONS

Erster Teil Part One 1. Chor 1. Chorus Herr, unser Herrscher, dessen Ruhm Lord, our ruler, Whose fame In allen Landen herrlich ist! In every land is glorious! Zeig uns durch deine Passion, Show us, through Your passion, Daß du, der wahre Gottessohn, That You, the true Son of God, Zu aller Zeit, Through all time, Auch in der größten Niedrigkeit, Even in the greatest humiliation, Verherrlicht worden bist! Have been glorified! 2. Evangelist 2. Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, Jesus went with His disciples over the brook Cedron, da war ein Garten, darein ging Jesus und seine Jünger. where there was a garden, into which Jesus entered Judas aber, der ihn verriet, wußte den Ort auch, denn with His disciples. Judas, however, who betrayed Jesus versammlete sich oft daselbst mit seinen Jüngern. Him, also knew the place, for Jesus often met there Da nun Judas zu sich hatte genommen die Schar und with His disciples. Now Judas, having gathered a der Hohenpriester und Pharisäer Diener, kommt er band of servants of the high priests and Pharisees, dahin mit Fackeln, Lampen und mit Waffen. Als nun came there with torches, lamps, and weapons. Now Jesus wußte alles, was ihm begegnen sollte, ging er hin- Jesus, knowing all that would happen to Him, went aus und sprach zu ihnen: out and said to them: Jesus Jesus Wen suchet ihr? Whom do you seek? Evangelist Evangelist Sie antworteten ihm: They answered Him: Chor Chorus Jesum von Nazareth. Jesus of Nazareth. Evangelist Evangelist Jesus spricht zu ihnen: Jesus said to them: Jesus Jesus Ich bin’s. I am He. Evangelist Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als Judas, however, who betrayed Him, stood also with nun Jesus zu ihnen sprach: Ich bin’s, wichen sie zurücke them. Now when Jesus said to them: I am He, they und fielen zu Boden. Da fragete er sie abermal: drew back and fell to the ground. Then He asked them again: Jesus Jesus Wen suchet ihr? Whom do you seek? Evangelist Evangelist Sie aber sprachen: They said, however: Chor Chorus Jesum von Nazareth. Jesus of Nazareth. Evangelist Evangelist Jesus antwortete: Jesus answered:

4 Jesus Jesus Ich hab’s euch gesagt, daß ich’s sei, suchet ihr denn I have told you, that I am He, if you seek Me, then let mich, so lasset diese gehen! these go! 3. Choral 3. Chorale O große Lieb, o Lieb ohn alle Maße, O great love, o love beyond measure, Die dich gebracht auf diese Marterstraße! that brought You to this path of martyrdom! Ich lebte mit der Welt in Lust und Freuden, I lived with the world in delight and joy, Und du mußt leiden. and You had to suffer. 4. Evangelist 4. Evangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich So that the word might be fulfilled, which He spoke: habe der keine verloren, die du mir gegeben hast. Da “I have lost none that You have given to me.” Then hatte Simon Petrus ein Schwert und zog es aus und Simon Peter, who had a sword, drew it out and struck schlug nach des Hohenpriesters Knecht und hieb ihm at the servant of the high priest and cut off his right sein recht Ohr ab; und der Knecht hieß Malchus. Da ear; and the servant’s name was Malchus. Then Jesus sprach Jesus zu Petro: said to Peter: Jesus Jesus Stecke dein Schwert in die Scheide! Soll ich den Kelch Put your sword in its sheath! Shall I not drink the nicht trinken, den mir mein Vater gegeben hat? cup, which My Father has given to Me? 5. Choral 5. Chorale Dein Will gescheh, Herr Gott, zugleich Your will be done, Lord God, likewise Auf Erden wie im Himmelreich. on earth as in heaven. Gib uns Geduld in Leidenszeit, Grant us patience in time of sorrow, Gehorsam sein in Lieb und Leid; to be obedient in love and suffering; Wehr und steur allem Fleisch und Blut, check and guide all flesh and blood Das wider deinen Willen tut! that acts contrary to Your will! 6. Evangelist 6. Evangelist Die Schar aber und der Oberhauptmann und die Diener The band, however, and the captain and the servants der Jüden nahmen Jesum und bunden ihn und führeten of the Jews took Jesus and bound Him and led Him ihn aufs erste zu Hannas, der was Kaiphas Schwäher, first to Annas, who was the father-in-law of Caia- welcher des Jahres Hoherpriester war. Es war aber Kai- phas, the high priest that year. It was Caiaphas, how- phas, der den Juden riet, es wäre gut, daß ein Mensch ever, who counselled the Jews, that it would be good würde umbracht für das Volk. for one man to be destroyed for the people. 7. Arie 7. Aria Ms. Brackett Von den Stricken meiner Sünden To untie me Mich zu entbinden, from the knots of my sins, Wird mein Heil gebunden. my Savior is bound. Mich von allen Lasterbeulen To completely heal me Völlig zu heilen, of all blasphemous sores, Läßt er sich verwunden. He allows Himself to be wounded. 8. Evangelist 8. Evangelist Simon Petrus aber folgete Jesu nach und ein ander Simon Peter however followed after Jesus with an- Jünger. other disciple. 9. Arie 9. Aria Ms. Quinn Ich folge dir gleichfalls mit freudigen Schritten I follow You likewise with happy steps Und lasse dich nicht, and do not leave You, Mein Leben, mein Licht. my Life, my Light. Befördre den Lauf, Pursue your journey, Und höre nicht auf, and don’t stop, Selbst an mir zu ziehen, zu schieben, zu bitten. continue to draw me on, to push me, to urge me. 5 10. Evangelist 10. Evangelist Derselbige Jünger war dem Hohenpriester bekannt This same disciple was known to the high priest and und ging mit Jesu hinein in des Hohenpriesters Palast. went inside with Jesus in the high priest’s palace. Petrus aber stund draußen für der Tür. Da ging der Peter however stood outside at the door. Then the andere Jünger, der dem Hohenpriester bekannt war, other disciple, who was known to the high priest, hinaus und redete mit der Türhüterin und führete went outside and spoke with the girl guarding the Petrum hinein. Da sprach die Magd, die Türhüterin, zu door and brought Peter inside. Then the maid, the Petro: doorkeeper, said to Peter: Magd Maid Bist du nicht dieses Menschen Jünger einer? Aren’t you one of this man’s disciples? Evangelist Evangelist Er sprach: He said: Petrus Peter Ich bin’s nicht. I am not. Evangelist Evangelist Es stunden aber die Knechte und Diener und hatten However the soldiers and servants stood around ein Kohlfeu’r gemacht (denn es war kalt) und wärmeten and they had made a coal fire (for it was cold) and sich. Petrus aber stund bei ihnen und wärmete sich. warmed themselves. Peter however stood with them Aber der Hohepriester fragte Jesum um seine Jünger and warmed himself. But the high priest questioned und um seine Lehre. Jesus antwortete ihm: Jesus about His disciples and about His teachings. Jesus answered him: Jesus Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe I have freely and openly spoken before the world. I allezeit gelehret in der Schule und in dem Tempel, da have taught all the time in the synagogue and in the alle Juden zusammenkommen, und habe nichts im temple, where all Jews gather, and I have said noth- Verborgnen geredt. Was fragest du mich darum? Frage ing in secret. Why do you ask me about this? Ask die darum, die gehöret haben, was ich zu ihnen geredet those about it, who have heard what I said to them! habe! Siehe, dieselbigen wissen, was ich gesaget habe. Behold, these same people know what I have said. Evangelist Evangelist Als er aber solches redete, gab der Diener einer, die As He was saying this, however, one of the servants dabeistunden, Jesu einen Backenstreich und sprach: who stood by gave Jesus a blow on his cheek and said: Diener Servant Solltest du dem Hohenpriester also antworten? Is this how You answer the high priest? Evangelist Evangelist Jesus aber antwortete: Jesus however answered: Jesus Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab If I have spoken ill, then make it known that it is ill ich aber recht geredt, was schlägest du mich? spoken; however if I spoke rightly, why do you strike Me? 11. Choral 11. Chorale Wer hat dich so geschlagen, Who has struck you thus, Mein Heil, und dich mit Plagen my Savior, and with torments So übel zugericht’? so evilly used You? Du bist ja nicht ein Sünder You are not at all a sinner Wie wir und unsre Kinder, like us and our children, Von Missetaten weißt du nicht. You know nothing of transgressions.

6 Ich, ich und meine Sünden, I, I and my sins, Die sich wie Körnlein finden that can be found like the grains Des Sandes an dem Meer, of sand by the sea, Die haben dir erreget these have brought Das Elend, das dich schläget, You this misery that assails Und das betrübte Marterheer. You, and this tormenting martyrdom. 12. Evangelist 12. Evangelist Und Hannas sandte ihn gebunden zu dem Hohenprie- And Hannas send Him bound to the high priest ster Kaiphas. Simon Petrus stund und wärmete sich, da Caiaphas. Simon Peter stood and warmed himself, sprachen sie zu ihm: when they said to him: Chor Chorus Bist du nicht seiner Jünger einer? Aren’t you one of His disciples? Evangelist Evangelist Er leugnete aber und sprach: He denied it however and said: Petrus Peter Ich bin’s nicht. I am not. Evangelist Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Ge- One of the high priest’s servants, a friend of the man freundter des, dem Petrus das Ohr abgehauen hatte: whose ear Peter had cut off, said: Knecht Servant Sahe ich dich nicht im Garten bei ihm? Didn’t I see you in the garden with Him? Evangelist Evangelist Da verleugenete Petrus abermal, und alsobald krähete Then Peter denied it again, and just then the cock der Hahn. crew. Da gedachte Petrus an die Worte Jesu und ging hinaus Then Peter recalled Jesus’ words and went out and und weinete bitterlich. wept bitterly. 13. Arie 13. Aria Mr. McIntosh Ach, mein Sinn, Alas, my soul, Wo willt du endlich hin, where will you flee at last, Wo soll ich mich erquicken? where shall I find refreshment? Bleib ich hier, Should I stay here, Oder wünsch ich mir or do I desire Berg und Hügel auf den Rücken? mountain and hill at my back? Bei der Welt ist gar kein Rat, In all the world there is no counsel, Und im Herzen and in my heart Stehn die Schmerzen remains the pain Meiner Missetat, of my misdeed, Weil der Knecht den Herrn verleugnet hat. since the servant has denied the Lord. 14. Choral 14. Chorale Petrus, der nicht denkt zurück, Peter, who did not recollect, Seinen Gott verneinet, denied his God, Der doch auf ein’ ernsten Blick who yet after a serious glance Bitterlichen weinet. wept bitterly. Jesu, blicke mich auch an, Jesus, look upon me also, Wenn ich nicht will büßen; when I will not repent; Wenn ich Böses hab getan, when I have done evil, Rühre mein Gewissen! stir my conscience!

7 Zweiter Teil Part Two 15. Choral 15. Chorale Christus, der uns selig macht, Christ, who makes us blessed, Kein Bös’ hat begangen, committed no evil deed, for us Der ward für uns in der Nacht He was taken in the night Als ein Dieb gefangen, like a thief, Geführt für gottlose Leut led before godless people Und fälschlich verklaget, and falsely accused, Verlacht, verhöhnt und verspeit, scorned, shamed, and spat upon, Wie denn die Schrift saget. as the Scripture says. 16. Evangelist 16. Evangelist Da führeten sie Jesum von Kaiphas vor das Richthaus, Then they led Jesus before Caiaphas in front of the und es war frühe. Und sie gingen nicht in das Richt- judgment hall, and it was early. And they did not haus, auf daß sie nicht unrein würden, sondern Ostern go into the judgment hall, so that they would not essen möchten. Da ging Pilatus zu ihnen heraus und become unclean; rather that they could partake of sprach: Passover. Then Pilate came outside to them and said: Pilatus Pilate Was bringet ihr für Klage wider diesen Menschen? What charge do you bring against this Man? Evangelist Evangelist Sie antworteten und sprachen zu ihm: They answered and said to him: Chor Chorus Wäre dieser nicht ein Übeltäter, wir hätten dir ihn If this man were not an evil-doer, we wouldn’t have nicht überantwortet. turned Him over to you. Evangelist Evangelist Da sprach Pilatus zu ihnen: Then Pilate said to them: Pilatus Pilate So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze! Then take Him away and judge Him after your law! Evangelist Evangelist Da sprachen die Jüden zu ihm: Then the Jews said to him: Chor Chorus Wir dürfen niemand töten. We may not put anyone to death. Evangelist Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, So that the word of Jesus might be fulfilled, which da er deutete, welches Todes er sterben würde. Da ging He spoke, where He indicated what death He would Pilatus wieder hinein in das Richthaus und rief Jesu und die. Then Pilate went back into the judgment hall sprach zu ihm: and called Jesus and said to Him: Pilatus Pilate Bist du der Jüden König? Are You the King of the Jews? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Redest du das von dir selbst, oder haben’s dir andere Do you say this of yourself, or have others said this of von mir gesagt? Me? Evangelist Evangelist Pilatus antwortete: Pilate answered:

8 Pilatus Pilate Bin ich ein Jüde? Dein Volk und die Hohenpriester Am I a Jew? Your people and the high priests have haben dich mir überantwortet; was hast du getan? delivered You to me; what have You done? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Mein Reich ist nicht von dieser Welt; wäre mein Reich My Kingdom is not of this world; if my Kingdom von dieser Welt, meine Diener würden darob kämpfen, were of this world, my servants would fight over this, daß ich den Jüden nicht überantwortet würde; aber nun so that I would not be handed over to the Jews; now ist mein Reich nicht von dannen. however my Kingdom is not from here. 17. Choral 17. Chorale Ach großer König, groß zu allen Zeiten, Ah great King, great for all times, Wie kann ich gnugsam diese Treu ausbreiten? how can I sufficiently proclaim this love? Keins Menschen Herze mag indes ausdenken, No human’s heart, however, can conceive Was dir zu schenken. of a fit offering to You. Ich kann’s mit meinen Sinnen nicht erreichen, I cannot grasp with my mind, Womit doch dein Erbarmen zu vergleichen. how to imitate Your mercy. Wie kann ich dir denn deine Liebestaten How can I then repay Your deeds of love Im Werk erstatten? with my actions? 18. Evangelist 18. Evangelist Da sprach Pilatus zu ihm: Then Pilate said to Him: Pilatus Pilate So bist du dennoch ein König? Then You are a King? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Du sagst’s, ich bin ein König. Ich bin dazu geboren und You say I am a King. I was born for this, and came in die Welt kommen, daß ich die Wahrheit zeugen soll. into the world, that I might bear witness to the Wer aus der Wahrheit ist, der höret meine Stimme. Truth. Whoever is of the truth hears My voice. Evangelist Evangelist Spricht Pilatus zu ihm: Pilate said to Him: Pilatus Pilate Was ist Wahrheit? What is truth? Evangelist Evangelist Und da er das gesaget, ging er wieder hinaus zu den And when he had said this, he went out again to the Jüden und spricht zu ihnen: Jews and said to them: Pilatus Pilate Ich finde keine Schuld an ihm. Ihr habt aber eine I find no fault in Him. However, you have a custom, Gewohnheit, daß ich euch einen losgebe; wollt ihr nun, that I release someone to you; do you wish now, that daß ich euch der Jüden König losgebe? I release the King of the Jews to you? Evangelist Evangelist Da schrieen sie wieder allesamt und sprachen: Then they all cried out together and said: Chor Chorus Nicht diesen, sondern Barrabam! Not this one, but Barrabas! Evangelist Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum Barrabas however was a murderer. Then Pilate took und geißelte ihn. Jesus and scourged Him. 9 19. Arioso 19. Arioso Mr. Bouvier Betrachte, meine Seel, mit ängstlichem Vergnügen, Contemplate, my soul, with anxious pleasure, Mit bittrer Lust und halb beklemmtem Herzen with bitter joy and half-constricted heart, Dein höchstes Gut in Jesu Schmerzen, your highest Good in Jesus’ suffering, Wie dir auf Dornen, so ihn stechen, how for you, out of the thorns that pierce Him, Die Himmelsschlüsselblumen blühn! the tiny ‘keys of Heaven’ bloom! Du kannst viel süße Frucht von seiner Wermut brechen You can pluck much sweet fruit from his wormwood; Drum sieh ohn Unterlass auf ihn! therefore gaze without pause upon Him! 20. Arie 20. Aria Mr. McStoots Erwäge, wie sein blutgefärbter Rücken Consider, how His blood-stained back In allen Stücken in every aspect Dem Himmel gleiche geht, is like Heaven, Daran, nachdem die Wasserwogen in which, after the watery deluge Von unsrer Sündflut sich verzogen, was released upon our flood of sins, Der allerschönste Regenbogen the most beautiful rainbow Als Gottes Gnadenzeichen steht! as God’s sign of grace was placed! 21. Evangelist 21. Evangelist Und die Kriegsknechte flochten eine Krone von Dor- And the soldiers wove a crown of thorns and set it nen und satzten sie auf sein Haupt und legten ihm ein upon His head, and laid a purple mantel on Him, and Purpurkleid an und sprachen: said: Chor Chorus Sei gegrüßet, lieber Jüdenkönig! Hail to You, dear King of the Jews! Evangelist Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder And gave Him blows on the cheek. Then Pilate went heraus und sprach zu ihnen: back outside and spoke to them: Pilatus Pilate Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, Behold, I bring Him out to you, so that you recog- daß ich keine Schuld an ihm finde. nize, that I find no fault in Him. Evangelist Evangelist Also ging Jesus heraus und trug eine Dornenkrone und Then Jesus went out and wore a crown of thorns and Purpurkleid. Und er sprach zu ihnen: a purple mantle. And Pilate said to them: Pilatus Pilate Sehet, welch ein Mensch! Behold, what a Man! Evangelist Evangelist Da ihn die Hohenpriester und die Diener sahen, schrie- When the high priests and servants saw Him, they en sie und sprachen: screamed and said: Chor Chorus Kreuzige, kreuzige! Crucify, crucify! Evangelist Evangelist Pilatus sprach zu ihnen: Pilate said to them: Pilatus Pilate Nehmet ihr ihn hin und kreuziget ihn; denn ich finde You take Him away and crucify Him; for I find no keine Schuld an ihm! fault in Him! Evangelist Evangelist Die Jüden antworteten ihm: The Jews answered him: Chor Chorus Wir haben ein Gesetz, und nach dem Gesetz soll er ster- We have a law, and according to that law He should ben; denn er hat sich selbst zu Gottes Sohn gemacht. die; for He has made Himself into God’s Son. 10 Evangelist Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr When Pilate heard this, he became more afraid and und ging wieder hinein in das Richthaus und spricht zu went back inside to the judgment hall and said to Jesu: Jesus: Pilatus Pilate Von wannen bist du? Where do You come from? Evangelist Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus But Jesus gave him no answer. Then Pilate said to zu ihm: Him: Pilatus Pilate Redest du nicht mit mir? Weißest du nicht daß ich Macht You don’t speak to me? Don’t You know that I have habe, dich zu kreuzigen, und Macht habe, dich loszugeben? the power to crucify You, and the power to release You? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Du hättest keine Macht über micht, wenn sie dir nicht You would have no power over Me, if it were not wäre von oben herab gegeben; darum, der mich dir given to you from above; therefore, he who has deliv- überantwortet hat, der hat’s größ’re Sünde. ered Me to you has the greater sin. Evangelist Evangelist Von dem an trachtete Pilatus, wie er ihn losließe. From then on Pilate considered how he might release Him. 22. Choral 22. Chorale Durch dein Gefängnis, Gottes Sohn, Through Your prison, Son of God, Muß uns die Freiheit kommen; must freedom come to us; Dein Kerker ist der Gnadenthron, Your cell is the throne of grace, Die Freistatt aller Frommen; the sanctuary of all the righteous; Denn gingst du nicht die Knechtschaft ein, for if you had not undergone servitude, Müßt unsre Knechtschaft ewig sein. our slavery would have been eternal. 23. Evangelist 23. Evangelist Die Jüden aber schrieen und sprachen: The Jews, however, screamed and said: Chor Chorus Lässest du diesen los, so bist du des Kaisers Freund If you let this man go, you are not a friend of Caesar; nicht; denn wer sich zum Könige machet, der ist wider for whoever makes himself a king is against Caesar. den Kaiser. Evangelist Evangelist Da Pilatus da Wort hörete, führete er Jesum heraus When Pilate heard this, he brought Jesus outside and und satzte sich auf den Richtstuhl, an der Stätte, die da sat upon the judgment seat, at the place that is called heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es High Pavement, in Hebrew however: Gabbatha. But war aber der Rüsttag in Ostern um die sechste Stunde, it was the Sabbath-day at Passover at the sixth hour, und er spricht zu den Jüden: and he said to the Jews: Pilatus Pilate Sehet, das ist euer König! Behold, this is your King! Evangelist Evangelist Sie schrieen aber: But they shrieked: Chor Chorus Weg, weg mit dem, kreuzige ihn! Away, away with Him, crucify Him!

11 Evangelist Evangelist Spricht Pilatus zu ihnen: Pilate said to them: Pilatus Pilate Soll ich euren König kreuzigen? Shall I crucify your King? Evangelist Evangelist Die Hohenpriester antworteten: The high priests answered: Chor Chorus Wir haben keinen König denn den Kaiser. We have no King but Caesar. Evangelist Evangelist Da überantwortete er ihn daß er gekreuziget würde. Sie Then he delivered Him to be crucified. They took Je- nahmen aber Jesum und führeten ihn hin. Und er trug sus and led him away. And He carried His Cross, and sein Kreuz und ging hinaus zur Stätte, die da heißet went up to the place that is called the Place of the Schädelstätt, welche heißet auf Ebräisch: Golgatha. Skull, which is called in Hebrew: Golgatha. 24. Arie und Chor 24. Aria and Chorus Mr. Bouvier Eilt, ihr angefochtnen Seelen, Hurry, you tempted souls, Geht aus euren Marterhöhlen, come out of your caves of torment, Eilt — Wohin? — nach Golgatha! hurry — where? — to Golgatha! Nehmet an des Glaubens Flügel, Take up the wings of faith, Flieht — Wohin? — zum Kreuzeshügel, fly — where? — to the Hill of the Cross, Eure Wohlfahrt blüht allda! Your salvation blooms there! 25. Evangelist 25. Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere There they crucified Him, and two others with Him zu beiden Seiten, Jesum aber mitten inne. Pilatus aber on either side, Jesus however in the middle. Pilate schrieb eine Überschrift und satzte sie auf das Kreuz, however wrote a signpost and set it upon the Cross, und war geschrieben: “Jesus von Nazareth, der Jüden and there was written on it: “Jesus of Nazareth, the König.” Diese Überschrift lasen viel Jüden, denn die King of the Jews.” This signpost was read by many Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Jews, for the place where Jesus was crucified was near Und es war geschrieben auf ebräische, griechische und the city. And it was written in the Hebrew, Greek lateinische Sprache. Da sprachen die Hohenpriester der and Latin languages. Then the high priests of the Jüden zu Pilato: Jews said to Pilate: Chor Chorus Schreibe nicht: der Jüden König, sondern daß er gesaget Do not write: The King of the Jews, rather that He habe: Ich bin der Jüden König. said: I am the King of the Jews. Evangelist Evangelist Pilatus antwortet: Pilate answered: Pilatus Pilate Was ich geschrieben habe, das habe ich geschrieben. What I have written, I have written. 26. Choral 26. Chorale In meines Herzens Grunde In the bottom of my heart Dein Nam und Kreuz allein Your name and Cross alone Funkelt all Zeit und Stunde, sparkles at all times and hours, Drauf kann ich fröhlich sein. for which I can be joyful. Erschein mir in dem Bilde Shine forth for me in that image Zu Trost in meiner Not, as comfort in my need, Wie du, Herr Christ, so milde how You, Lord Christ, so gently Dich hast geblut’ zu Tod! bled to death!

12 27. Evangelist 27. Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget The soldiers however, that had crucified Jesus, took hatten, nahmen seine Kleider und machten vier Teile, His clothing and made four parts, one part for each einem jeglichen Kriegesknechte sein Teil, dazu auch soldier, the same also with His robe. The robe, how- den Rock. Der Rock aber war ungenähet, von oben an ever, had no seam, being woven from top to bottom. gewürket durch und durch. Da sprachen sie untereinan- Then they said to each other: der: Chor Chorus Lasset uns den nicht zerteilen, sondern darum losen, Let’s not divide this, rather let’s toss for it, to see wes er sein soll. whose it will be. Evangelist Evangelist Auf daß erfüllet würde die Schrift, die da saget: “Sie So that the Scripture might be fulfilled, which says: haben meine Kleider unter sich geteilet und haben über “They have divided my clothing among themselves meinen Rock das Los geworfen.” Solches taten die Krie- and have cast lots over my robe.” These things the gesknechte. Es stund aber bei dem Kreuze Jesu seine soldiers did. However there stood by Jesus’ Cross Mutter und seiner Mutter Schwester, Maria, Kleophas His mother and His mother’s sister, Mary, the wife Weib, und Maria Magdalena. Da nun Jesus seine Mut- of Cleophas, and Mary Magdalene. Now when Jesus ter sahe und den Jünger dabei stehen, den er lieb hatte, saw His mother and the disciple standing near, whom spricht er zu seiner Mutter: He loved, He said to His mother: Jesus Jesus Weib, siehe, das ist dein Sohn! Woman, behold, this is your son! Evangelist Evangelist Darnach spricht er zu dem Jünger: Afterwards He said to the disciple: Jesus Jesus Siehe, das ist deine Mutter! Behold, this is your mother! 28. Choral 28. Chorale Er nahm alles wohl in acht He took good care of everything In der letzten Stunde, in the last hour, Seine Mutter noch bedacht, still thinking of His mother, Setzt ihr ein’ Vormunde. He provided a guardian for her. O Mensch, mache Richtigkeit, O mankind, do justice, Gott und Menschen liebe, love God and humanity, Stirb darauf ohn alles Leid, die without any sorrow, Und dich nicht betrübe! and do not be troubled! 29. Evangelist 29. Evangelist Und von Stund an nahm sie der Jünger zu sich. Dar- And from that hour the disciple took her to himself. nach, als Jesus wußte, daß schon alles vollbracht war, Afterwards, when Jesus knew that everything was daß die Schrift erfüllet würde, spricht er: already accomplished, so that the Scripture might be fulfilled, He said: Jesus Jesus Mich dürstet! I thirst! Evangelist Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen There was a vessel full of vinegar. They filled a Schwamm mit Essig und legten ihn um einen Isopen, sponge with vinegar and placed it on a hyssop, and und heilten es ihm dar zum Munde. Da nun Jesus den held it directly to His mouth. Now when Jesus had Essig genommen hatte, sprach er: taken the vinegar, He said: Jesus Jesus Es ist vollbracht! It is finished!

13 30. Arie 30. Aria Mr. Mobley Es ist vollbracht! It is finished! O Trost vor die gekränkten Seelen! O comfort for the ailing soul! Die Trauernacht The night of sorrow Läßt nun die letzte Stunde zählen. now measures out its last hour. Der Held aus Juda siegt mit Macht The hero out of Judah conquers with might Und schließt den Kampf. and concludes the battle. Es ist vollbracht! It is finished! 31. Evangelist 31. Evangelist Und neiget das Haupt und verschied. And bowed His head and departed. 32. Arie und Chor 32. Aria and Chorus Mr. Thompson Mein teurer Heiland, laß dich fragen, My precious Savior, let me ask, Da du nunmehr ans Kreuz geschlagen Now that you have been nailed to the Cross Und selbst gesagt: Es ist vollbracht, and have said yourself: It is finished, Bin ich vom Sterben frei gemacht? Am I made free from death? Kann ich durch deine Pein und Sterben Can I, through your pain and death Das Himmelreich ererben? inherit the kingdom of heaven? Ist aller Welt Erlösung da? Has the redemption of the whole world arrived? Du kannst vor Schmerzen zwar nichts sagen; You cannot say a single thing out of pain; Doch neigest du das Haupt yet you bow Your head Und sprichst stillschweigend: ja. and say silently: yes. Jesu, der du warest tot, Jesus, You, who were dead, Lebest nun ohn Ende, live now unendingly, In der letzten Todesnot in the last pangs of death Nirgend mich hinwende I will turn nowhere else Als zu dir, der mich versühnt, but to You, who has absolved me, O du lieber Herre! O beloved Lord! Gib mir nur, was du verdient, Only give me what You earned, Mehr ich nicht begehre! more I do not desire! 33. Evangelist 33. Evangelist Und siehe da, der Vorhang im Tempel zerriß in zwei And behold, the curtain in the temple was torn in Stück von oben an bis unten aus. Und die Erde erbebe- two pieces from top to bottom. And the earth shook, te, und die Felsen zerrissen, und die Gräber täten sich and the cliffs were rent, and the graves opened up, auf, und stunden auf viel Leiber der Heiligen. and many bodies of saints arose. 34. Arioso 34. Arioso Mr. McIntosh Mein Herz, in dem die ganze Welt My heart—while the entire world Bei Jesu Leiden gleichfalls leidet, with Jesus’ suffering likewise suffers; Die Sonne sich in Trauer kleidet, the sun drapes itself in mourning, Der Vorhang reißt, der Fels zerfällt, the curtain is rent, the crag crumbles, Die Erde bebt, die Gräber spalten, the earth trembles, the graves split open, Weil sie den Schöpfer sehn erkalten, since they behold the Creator growing cold; Was willst du deines Ortes tun? —how shall you react from your depths? 35. Aria 35. Aria Ms. Greenleaf Zerfließe, mein Herze, in Fluten der Zähren Dissolve, my heart, in floods of tears Dem Höchsten zu Ehren! to honor the Highest! Erzähle der Welt und dem Himmel die Not: Tell the world and heaven the anguish: Dein Jesus ist tot! Your Jesus is dead!

14 36. Evangelist 36. Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht The Jews however, since it was the Sabbath day, so die Leichname am Kreuze blieben den Sabbat über that the corpses would not remain on their crosses (denn desselbigen Sabbats Tag war sehr groß), baten over the Sabbath (for this particular Sabbath day sie Pilatum, daß ihre Beine gebrochen und sie abge- was very great), asked Pilate for their bones to be nommen würden. Da kamen die Kriegsknechte und broken and that they be taken away. So the soldiers brachen dem ersten die Beine und dem andern, der mit came and broke the bones of the first and the other ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie one, who had been crucified with Him. But when sahen, daß er schon gestorben war, brachen sie ihm die they came to Jesus, and they saw that He was already Beine nicht; sondern der Kriegsknechte einer eröffne- dead, they did not break His bones; instead one of te seine Seite mit einem Speer, und alsobald ging Blut the soldiers opened His side with a spear, and im- und Wasser heraus. Und der das gesehen hat, der hat mediately blood and water came out. And he that saw es bezeuget, und sein Zeugnis ist wahr, und derselbige this, bore witness to it, and his testimony is true, and weiß, daß er die Wahrheit saget, auf daß ihr gläubet. this same knows that he speaks the truth so that you Denn solches ist geschehen, auf daß die Schrift erfül- believe. For all this has happened in order that the let würde: “Ihr sollet ihm kein Bein zerbrechen.” Und Scripture might be fulfilled: “You shall break none of abermal spricht eine andere Schrift: “Sie werden sehen, His bones.” And in addition another Scripture says: in welchen sie gestochen haben.” “They will behold what they have pierced.” 37. Choral 37. Chorale O hilf, Christe, Gottes Sohn, O help, Christ, Son of God, Durch dein bitter Leiden, through Your bitter Passion, Daß wir dir stets untertan that we, being always obedient to You, All Untugend meiden, might shun all vice, Deinen Tod und sein Ursach Your death and its cause Fruchtbarlich bedenken, consider fruitfully, Dafür, wiewohl arm und schwach, so that, although poor and weak, Dir Dankopfer schenken! we might offer you thanksgiving! 38. Evangelist 38. Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Afterwards Joseph from Arimathia, who was one Jünger Jesu war (doch heimlich aus Furcht vor den of Jesus’ disciples (though secretly out of fear of the Jüden), daß er möchte abnehmen den Leichnam Jesu. Jews), asked Pilate whether he might take away Jesus’ Und Pilatus erlaubete es. Derowegen kam er und nahm body. And Pilate permitted it. Therefore he came den Leichnam Jesu herab. Es kam aber auch Nikode- and took the body of Jesus away. But Nicodemus also mus, der vormals bei der Nacht zu Jesu kommen war, came, who previously had come to Jesus in the night, und brachte Myrrhen und Aloen untereinander, bei and brought myrrh and aloe with him in hundred- hundert Pfunden. Da nahmen sie den Leichnam Jesu weights. Then they took the body of Jesus and und bunden ihn in leine Tücher mit Spezereien, wie die wrapped it in linen cloths with spices, as is the Jewish Jüden pflegen zu begraben. Es war aber an der Stätte, custom of burial. However, there was a garden near da er gekreuziget war, ein Garten, und im Garten ein the place where He was crucified, and in this garden neu Grab, in welches niemand je geleget war. Daselbst a new grave, in which no one had ever been laid. In hin legten sie Jesum, um des Rüsttags willen der Jüden, that same grave they laid Jesus, according to the Sab- dieweil das Grab nahe war. bath wishes of the Jews, since the grave was nearby. 39. Chor 39. Chorus Ruht wohl, ihr heiligen Gebeine, Rest well, you blessed limbs, Die ich nun weiter nicht beweine, now I will no longer mourn you, Ruht wohl und bringt auch mich zur Ruh! rest well and bring me also to peace! Das Grab, so euch bestimmet ist The grave that is allotted to you Und ferner keine Not umschließt, and encloses no further suffering, Macht mir den Himmel auf und schließt die Hölle zu. opens heaven for me and closes off Hell.

15 40. Choral 40. Chorale Ach Herr, lass dein lieb Engelein Ah, Lord, let Your dear little angel, Am letzten End die Seele mein at my final end, take my soul In Abrahams Schoß tragen, to Abraham’s bosom. Den Leib in seim Schlafkämmerlein Let my body, in its little sleeping chamber, Gar sanft ohn eigne Qual und Pein absolutely softly, without any anguish or pain, Ruhn bis am jüngsten Tage! rest until the last day! Alsdenn vom Tod erwecke mich, At that day wake me from death, Dass meine Augen sehen dich so that my eyes may see You In aller Freud, o Gottes Sohn, in all joy, o Son of God, Mein Heiland und Genadenthron! my Savior and Throne of grace! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear me, Ich will dich preisen ewiglich! I will praise You eternally! English translation © Pamela Dellal

about the performers

Admired for his “sooth- appealing alto” and “silky tone among all with the Mimesis Ensemble and on the ing, cavernous baritone registers,” she specializes in music of the New England Conservatory Composers’ that can soar to heights Renaissance and baroque. Luthien Series. He is a graduate of the New of lyric beauty” (Opera appears regularly with distinguished England Conservatory and was a winner News), and “remarkable professional vocal ensembles including of the 2010 Yale School of Music technical facility and The Choir of Trinity Wall Street, TE- Woolsey Hall Concerto Competition. precision,” (San Francisco Classical Voice), NET, The Clarion Society, and Seraphic Immanuel Davis is one Mischa Bouvier continues to impact Fire. Recent solo appearances include of the most versatile audiences with his keen musicality and Bach’s St. Matthew Passion with the flutists of his genera- remarkable communicative powers. In Baldwin-Wallace Bach Festival and tion. Equally at home addition to his work with TENET this Handel’s Messiah with the Charlotte on the modern and season, Mischa will continue his collabo- Symphony Orchestra. Among her baroque flutes, Imman- ration with the Mirror Visions Ensem- numerous commercial recordings are uel has performed as a soloist and ble in NYC and Paris, and the Interna- two GRAMMY®-nominated albums: chamber musician throughout the tional Musical Festival of Taipei, and Handel’s Israel in Egypt (Musica Omnia) United States and abroad. In 2005 he looks forward to return engagements and Julia Wolfe’s Anthracite Fields received a Fulbright Fellowship to study with the American Bach Soloists, Bach (Cantaloupe). She lives in Brooklyn with baroque flute with Wilbert Hazelzet at Collegium San Diego and the Atlanta her incorrigible cats, Bella and Bartok. the Koninklijk Conservatorium in The Baroque Orchestra. Mischa has ap- Bassist Nathaniel Hague. Since then he has performed as peared with many leading orchestras Chase, a graduate of soloist and chamber player with such and ensembles including Orchestra of St. the Yale School of early music ensembles as Early Music Luke’s, The Knights, Alabama Sympho- Music, is active as a New York, ARTEK, Lyra Baroque and ny, Musica Sacra, Princeton Glee Club, freelancer throughout the Bach Society of Minnesota and Mark Morris Dance Group, New York the tri-state area. His Mercury Orchestra of Houston. He has Festival of Song, Boston Symphony and performances range from early music also had the pleasure of performing on the Helicon Ensemble. and the standard orchestral repertoire NPR’s “Performance Today” and in mischabouvier.com with Ensemble 212 and the Metro recitals with baroque flute luminaries Born in California to Chamber Orchestra, to chamber and Barthold Kuijken and Wilbert Hazelzet. parents who loved to contemporary music with the Lucerne Recently, Immanuel released his second read, Luthien Brackett Festival and the Mimesis Ensemble. Mr. CD, On a Clear Morning, a program of was named after a Chase is the conductor of the Really works by Philippe Gaubert performed character in J.R.R. Terrible Orchestra of Westchester, a on period French instruments—a 19th Tolkien’s legendarium. White Plains based community orches- century Louis Lot flute and an Erard Praised by the press for her “easy, tra, and has appeared as a conductor grand piano. Immanuel has been the

16 flute professor at the University of Festival, where she played J. S. Bach’s harpsichord soloist in Bach’s Branden- Minnesota since 2001. He is also an Concerto for Two Violins as soloist burg Concerti with the St. Paul Chamber AmSAT-certified teacher of the Alexan- alongside Monica Huggett last season. Orchestra, and conducts Handel’s der Technique. Other highlights include participation Agrippina with Juilliard Opera. He serves in Dans les Jardins de William Christie as artistic director of the acclaimed Praised for his “invigo- in Thiré, France and Festival Oude baroque ensemble the Sebastians. This rating, silken” playing Muziek in Utrecht, Netherlands. Chloe year he also performs with the Green and “mysterious has also performed with ACRONYM, Mountain Project, Spire Chamber atmosphere” (Cleveland Concert Royal at St. Thomas, Opera Ensemble, Quodlibet, Music in the Plain Dealer) and as an Lafayette, and Princeton Pro Musica, Somerset Hills, and the Bach Players of “evocative” violinist (The among others. Holy Trinity. Jeffrey can be heard on the New York Times), Nicholas DiEugenio Avie, Gothic, Naxos, Albany, Sound- leads a versatile life in music from Biber Soprano Jolle Green- spells, Métier, and MSR Classics record to Carter and beyond. Nicholas and leaf is one of today’s labels. A native of Detroit, Michigan, he pianist Mimi Solomon perform in the foremost figures in the holds degrees from Harvard College, the US and abroad. He has played concerts field of early music. Juilliard School, and Carnegie Mellon in St. Petersburg’s Glinka Hall, Merkin Balancing a career as a University. www.jeffreygrossman.com Hall, at the CMS of Lincoln Center, and leading soloist and an at Carnegie’s Weill Hall. Recordings of innovative impressaria, she is in great Lutenist Hank Heijink the complete Schumann violin sonatas demand as a guest artist and is Artistic (pronounced Hey-ink) with fortepiano (Musica Omnia), as well Director of the New York City-based has played all over the as with the Sebastians and the Quodli- early music ensemble TENET. Ms. world with leading bet Ensemble, will be released this year. Greenleaf has been hailed by The New ensembles such as the Upcoming recordings include works for York Times as a “golden soprano” and “a Amsterdam Baroque violin and piano of Steven Stucky and major force in the New York early Orchestra, European Union Baroque Robert Palmer. A passionate teacher, music-scene.” She is a celebrated Orchestra, Orchestre d’Auvergne, Nicholas is Assistant Professor of Violin interpreter of the music of Bach, Buxte- TENET, Mark Morris Dance Group and at UNC Chapel Hill, and was previously hude, Handel, Purcell and, most notably, the Wooster Group, among others. He violin professor at the Ithaca College Claudio Monteverdi. Her “crisp, sensu- is in high demand as an accompanist on School of Music. He holds degrees from ous voice” (The New Yorker) has been theorbo, lute and guitar, and his playing CIM and the Yale School of Music, praised for its “purity and beguiling has been described as “eloquent” (The where he earned a DMA. naturalness” (The Oregonian) and “in- Wall Street Journal) and “deft and sensi- www.nicholasdieugenio.com triguing beauty” (Boston Globe). As tive” (The New York Times). He can be Artistic Director of TENET since 2009, heard on TENET’s recent CD A Feast Transcending her Ms. Greenleaf has sung and directed the for the Senses and on Green Mountain humble musical begin- ensemble in repertoire spanning the Project’s live recording of Claudio nings involving a Middle Ages to the present day. Her flair Monteverdi’sVespers of 1610. Mr. Heijink macaroni box disguised for imaginative programming has been holds a performance degree from The as a violin, Chloe Fedor lauded by The New York Times as “smart, Hague’s Royal Conservatory (the has since received varied and not entirely early.” Notably, Netherlands), as well as a degree in critical acclaim by The New York Times she spearheaded TENET’s Green computer science, and a PhD in social for her “lovely, plush, seductive tone” Mountain Project, whose annual perfor- sciences. When not playing lute, he and has performed throughout America, mances of Monteverdi’s Vespers of 1610 writes software for the iPhone. Asia, and Europe. An avid gut-string have been universally acclaimed. enthusiast, she is a recent recipient of a Nate Helgeson is in second Master of Music Degree in the Conductor and key- demand in the United Juilliard School’s Historical Performance boardist Jeffrey States and abroad as a Program, during which she performed as Grossman specializes modern and historical soloist for Beethoven’s Romance in F in vital, engaging bassoonist. He is a major and served as concertmaster for performances of music founding member of performances of J. S. Bach’s St. Matthew of the past, through period instrument ensembles on both Passion and Handel’s La Rezurrezione. processes that are intensely collabora- coasts, including SacroProfano, Grand Chloe performs with Clarion Music tive and historically informed. This Harmonie, and New Vintage Baroque. Society, New York Baroque Incorpo- season, in addition to leading these Nate also appears regularly with many of rated, the Sebastians and Trinity Ba- performances of Bach’s St. John Passion North America’s premier period roque Orchestra, and as part of the Bach from the organ with the Sebastians and ensembles, such as the Tafelmusik Society of Charleston and Oregon Bach TENET, he performs as featured Baroque Orchestra, Portland Baroque

17 Orchestra, Mercury Baroque, and the Museum of Jurassic Technology, where Anna Lenti is a free- Trinity Baroque Orchestra. On the she is an artist in residence. Early Music lance choral conductor modern instrument, he has performed America calls Ms. Hunt’s recent CD, J. S. and soprano, whose throughout the country with a diverse Bach Suites & Sonatas Volume One, “a fine work embraces a variety range of ensembles, including the debut and one with promise for future of genres and styles. A Oregon Bach Festival Orchestra, the projects.” Facts & Arts noted her “soulful native of Rochester, NY, Boston Philharmonic, and renditions,” “high-wire interpretations,” Anna received her BM in Vocal Perfor- Callithumpian Consort. Nate is a and “resonant, singing tone that stays in mance from the Eastman School of graduate of the Historical Performance the mind.” Originally from Portland, Music in 2011, and her MM in Choral program at the Juilliard School, and Oregon, Ms. Hunt was born into a Conducting from Westminster Choir holds degrees in modern bassoon musical family and is the younger sister College in 2013. An avid lover of ensem- performance from the University of of the late mezzo-soprano Lorraine ble performance, Anna has appeared Oregon and the New England Conserva- Hunt Lieberson. www.shirleyhunt.net with numerous professional ensembles tory of Music. throughout the US, including the Holy Countertenor and Trinity Bach Choir (NYC), Apollo’s Fire Priscilla Herreid plays conductor Tim Keeler (Cleveland), Ensemble VIII (Austin), all manner of early wind is sought after as both a and the Clarion Society (NYC). She is instruments with performer and an also the Artistic Director for a project- Piffaro, the Waverly educator. He is a based choral ensemble called Amper- Consort, Hesperus, and member of the Choir of sand, which she co-founded with Ex Umbris. She has the Trinity Wall Street and has per- soprano Madeline Apple Healey in 2014. played early oboes and recorder with formed with some of New York City’s In 2015, she was appointed the new Trinity Baroque Orchestra (NYC), most celebrated vocal ensembles, includ- Assistant Conductor of the Oratorio Handel + Haydn, Philharmonia Baroque, ing the St. Thomas Choir of Men and Society of New York. In addition to her Portland Baroque, Venice Baroque (IT), Boys, Bach Vespers at Holy Trinity freelance work, Anna is a full-time music Juilliard Baroque, the Sebastians, Lutheran Church, Ekmeles, TENET, teacher at an all-girls high school in New Mercury, and Tempesta di Mare. Herreid and New York Polyphony. He teaches Jersey. recently played for the Shakespeare on music theory at the Special Music Broadway productions of Twelfth Night School in Manhattan, works as a vocal With an inclination for and Richard III, and made her fourth coach with the Young People’s Chorus eclectic projects, appearance at the annual Festival Dans of New York City, and directs the choir Francis Liu specializes les Jardins de William Christie. She at Juilliard’s Summer Performing Arts in exploring period directed the Early Music Ensemble at program in Geneva, Switzerland. He interpretations of Temple University for two years, and has holds degrees from Princeton, Cam- baroque and classical taught classes on early winds and Renais- bridge, and the University of Michigan. repertoire. Based in New York City, he is sance sacred polyphony at the Madison an active member of the Sebastians, Period violinist Daniel (WI) Early Music Festival. Herreid is a New York Baroque Incorporated, the S. Lee enjoys a varied graduate of Temple University and the Bach Players of Holy Trinity, and the career as a soloist, Juilliard School. Trinity Baroque Orchestra. He has also chamber musician, performed with the Smithsonian Praised by The Strad as concertmaster, and Chamber Players, Les Arts Florissants “stylish and accom- teacher. Praised for his (Festival Dans les Jardins de William plished,” Shirley Hunt “ravishing vehemence” (The New York Christie), and has toured with the brings fierce imagina- Times), he has appeared as a soloist and baroque ensemble Musica Angelica and tion and integrity to the guest leader with Early Music New York, the actor John Malkovich in two music of the Renais- New York Baroque Incorporated, productions: “The Infernal Comedy” sance, baroque, and contemporary eras Quodlibet Ensemble, San Francisco and “The Giacomo Variations.” An on the baroque cello and viola da gamba. Bach Choir, TENET, Trinity Baroque active chamber musician, he performs Ms. Hunt has performed and recorded Orchestra, and Yale Schola Cantorum. regularly with Quartet Resound, and the with the nation’s leading period instru- He founded and co-directs the Sebas- square piano trio, Broadwood Junction. ment ensembles including Handel and tians, a period ensemble lauded for its Francis is currently on faculty at Point Haydn Society, Boston Baroque, Phil- “stylistic authority and rhythmic verve” CounterPoint Music Festival and harmonia Baroque Orchestra, American (The New York Times). A graduate of the maintains a private teaching studio in Bach Soloists, Musica Angelica, Port- Juilliard School and Yale School of New York City. He holds degrees from land Baroque Orchestra, Bach Colle- Music, he is currently on the violin, viola Rice University, the University of gium San Diego, and Mercury (Hous- and chamber music faculty at Connecti- Maryland, and the Juilliard Historical ton). She performs regularly at the cut College and the University of Performance Program. Metropolitan Museum of Art and the Bridgeport. www.danielslee.com

18 Acclaimed as a “lovely, BEMF (CPO), Fischer Vespers (Toccata Countertenor Reginald tender high tenor” by Classics), and Awakenings with Coro Mobley fully intended The New York Times, Allegro (Navona). to speak his art through Owen McIntosh has watercolors and oil Donald R. Meineke enjoyed a diverse career pastels until circum- serves as Associate of chamber music and stance demanded that Director of Music and solo performance ranging from blue- his own voice should speak for itself. Organist at The grass to reggae, heavy metal to art song, Since reducing his visual color palette to Evangelical Lutheran and opera to oratorio. A native of the black and white of a score, he has Church of the Holy remote Northern California, Mr. endeavored to open a wider spectrum Trinity, home of Bach Vespers. Before McIntosh has shared the stage with the on stage. Particularly noted for his moving to New York, Donald studied country’s finest ensembles including “crystalline diction and pure, evenly choral conducting at the University of Apollo’s Fire, Blue Heron, Boston produced tone” (Miami Herald), as well Texas at Austin, served as Director of Baroque, Carmel Bach Festival, Les as “elaborate and inventive ornamenta- Music at First English Lutheran, and was Canards Chantants, New Vintage tion” (South Florida Classical Review), the co-founder of Ensemble VIII. Donald Baroque, Staunton Music Festival, “Barn-burning, [...]phenomenal” (Knox- held the post of Director of Music and TENET, Trident Ensemble, True ville Metro Pulse) Reggie is rapidly Organist at Trinity Church (Lutheran) in Concord, San Diego Bach Collegium making a name for himself in baroque, Worcester, Massachusetts, for 6 years and the GRAMMY® nominated Choir classical, and modern repertoire. His where he conducted the Choirs of of Trinity Wall Street. Recent solo natural and preferred habitat is within Trinity Church and was founder and engagements include Mozart’s Die the works of Bach, Handel, Purcell, as Artistic Director of Vox Triniti. He has Zauberflöte with Boston Baroque, well as other known baroque mainstays. served as assistant chorus master for Haydn’s chamber opera L’isola disabitata Not to be undone by a strict diet of the Helmuth Rilling, preparing Mozart’s with the American Classical Orchestra, baroque, Reggie finds himself equally Mass in C minor in multiple cities the Monteverdi Vespers of 1610 with comfortable in other periods and genres. throughout Venezuela and Bach’s Mass in Apollo’s Fire and Green Mountain Not just in Medieval and Renaissance, B minor and Passions in Germany and Project, Bach’s St. Matthew Passion with but also a literacy in jazz, gospel, musical Italy. Donald also holds a degree in organ Grand Rapids Symphony, Il ritorno theatre, and barbershop singing. from Indiana University. d’Ulisse in patria with Opera Omnia and Meg Owens owns eight Boston Baroque, and Evangelist in Violist Kyle Miller oboes of various shapes Bach’s St. John Passion with Tucson made his concerto and sizes and enjoys Chamber Artists. debut in 2005 with the playing all of them. She Reading Symphony Reviewers describe performs with many Orchestra (PA) as “the Jason McStoots as Washington, DC area dog” in P. D. Q. Bach’s having an “alluring tenor orchestras and local chamber music Canine Cantata, Wachet Arf! Since that voice” (ArtsFuse) and as series. In demand as a performer on day, Kyle has gone on to study at the “the consummate artist, historical oboes, Dr. Owens appears New England Conservatory, the East- wielding not just a sweet regularly with some of North America’s man School of Music, and the Juilliard tone but also incredible technique and major baroque orchestras, including School, the last at which he earned impeccable pronunciation” (Cleveland Tafelmusik, American Bach Soloists, master’s degrees in both viola perfor- Plain Dealer). In 2015 he won a GRAM- Opera Lafayette, Rebel, Tempesta di mance and historical performance. MY® with the Boston Early Music Mare, National Cathedral Baroque Kyle’s home base is New York City, and Festival (BEMF) for the music of Orchestra, Mercury Baroque, Modern he freelances both in the Big Apple and Charpentier. Solo appearances include Musick, and the Magnolia and Amherst abroad. A founding member of ACRO- Les plaisir de Versailles (Charpentier), Baroque Festivals. She has collaborated NYM, Diderot String Quartet, and New Orfeo, Il ritorno d’Ulisse, Vespers of 1610 in chamber music recitals with Harmo- York Baroque Incorporated, Kyle also (Monteverdi), Abduction from the Seraglio nious Blacksmith, Chatham Baroque, has appeared in concert with Apollo’s (Mozart), Christmas Oratorio, St. Mark and the Berkshire Bach Society. She has Fire, the Bach Players of Holy Trinity, Passion (Bach), Dido and Aeneas (Purcell) recorded for the Naxos, Koch Interna- Clarion Orchestra, the English Concert, and Messiah (Handel) with groups such tional Classics, and Eclectra labels. Her House of Time, Quodlibet Ensemble, as Boston Lyric Opera, Emmanuel scholarly pursuits center around the the Sebastians, Tafelmusik Baroque Music, Pacific MusicWorks, San Juan oboe band tradition at the courts and Orchestra, and Trinity Baroque Orches- Symphony, Bach Ensemble, Seattle Early chateaux of Louis XIV, leading to tra. Kyle was recently selected to be an Music Guild, Tragicomedia, Tanglewood recreations of, and lectures about, the English Concert American Fellow, and Music Center, and Blue Heron. Record- music of the Philidor family of wind he has performed at the Carmel Bach ing credits include Lully’s Pysché, players. Festival. In his spare time, Kyle enjoys Handel’s Acis and Galatea, Blow’s Venus eating freshly baked cookies. and Adonis and Charpentier’s Acteon with 19 Praised for his “power- tic Consort and El Fuego Ensemble, and School. He remains dedicated to explor- ful baritone and return appearances with Apollo’s Fire, and ing and expanding the possibilities of impressive vocal range” at Saint Thomas Fifth Avenue. Miss historical flutes, prioritizing creativity and (Boston Music Intelligenc- Quinn has been a soloist with many noted spontaneity in his approach to making er), bass-baritone and orchestras and ensembles including The music. Knights NYC, Clarion Music Society, hurdy-gurdyist Andrew Edson Scheid has been Choir of Trinity Wall Street, Carmel Bach Padgett is an accomplished interpreter praised for his “polished Festival, Folger Consort, and Quicksilver. of both baroque and medieval vocal and playing” (The Strad) and Ms. Quinn holds both the Bachelor of instrumental music. He has collaborated for being “both musically Music and Master of Music in Vocal with early music luminaries such as and technically one of Performance from University of Cincinna- Masaaki Suzuki, Nicholas McGegan, the most assured and ti-College Conservatory of Music and and Benjamin Bagby, and has been accomplished of today’s younger period currently resides in Chapel Hill, NC. featured as a soloist in concert venues violinists” (The Boston Musical Intelligencer). worldwide, including Alice Tully Hall at Praised by The New York A native of Brazil, Edson has performed Lincoln Center and the Esplanade Times for the “limpid with such ensembles as Les Arts Floris- Concert Hall in his hometown, Singa- sweetness” of his sants, Il Pomo d’Oro, the Trinity Baroque pore. Andrew holds a B.S. in physics and baroque flute playing, Orchestra, Juilliard415, the Orchestra of an M.M. in voice from U.C. Santa David Ross is one of the St. Luke’s, the Aston Magna Music Barbara, and an M.M. in early music, leading professional Festival, Orchester Wiener Akademie, oratorio, and chamber ensemble from historical flutists in North America. He is and the Aspen Festival Orchestra. Edson’s Yale University’s Institute of Sacred the principal flutist with the period many performances of Paganini’s 24 Music. He is based in New York City, instrument orchestra Mercury in Hous- Caprices, on both period and modern where he sings with the Saint Thomas ton, TX, and performs with ensembles violins, have been received with enthusi- Choir of Men and Boys under the including Tafelmusik, the Clarion Society, asm around the world. He has performed direction of Daniel Hyde. Early Music New York, Rebel, and Lyra. the Caprices in cities in Europe, North Last summer David was featured in and South America, and Asia, and has Molly Quinn has Minneapolis on Bach’s Orchestral Suite been featured live in-studio on In Tune from captivated audiences No. 2, performed two Fringe Concerts at BBC Radio 3. Edson holds degrees from the with her “radiant” the Berkeley Early Music Festival, and Universität Mozarteum Salzburg, the Yale soprano, possessing an attended the Berwick Academy at the School of Music and the Juilliard School, “arresting sweetness and Oregon Bach Festival. He teaches privately where he was the recipient of a Kovner simplicity” (The New from his home in Inwood, offering Fellowship. York Times) in diverse repertoire ranging supplemental lessons to flute majors at from Monteverdi to the Rolling Stones. In NYU and the Mannes School of Music. Lauded for his “beauty of addition to her work with TENET, this David began his training as a modern tone and keenness of season she goes on tour with The Bang on flutist at the Cleveland Institute of Music musicianship” (Opera Ezra a Can All-Stars performing Julia Wolfe’s and went on to earn historical perfor- Britannia), cellist Seltzer Steel Hammer, makes debut appearances mance degrees from the Royal Conserva- is a founding with The Helicon Society, The Catacous- tory of The Hague and the Juilliard member and principal cellist of the Sebastians, and has per-

about the ensembles Preeminent New York City-based early music ensemble TENET celebrates its eighth season in 2016–17. TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day. Their distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston Globe). TENET sponsors the highly praised Green Mountain Project, giving annual performances of Claudio Monteverdi’s Vespers of 1610, as well as other, newly reconstructed Vespers. Performances of modern-day fare have included Arvo Pärt’s Passio at Carnegie Hall in 2014, and a new Becky Oehlers Photography commission by Caroline Shaw in 2015. Their latest recording The Secret Lover was released in March 2016. Jolle Greenleaf, Artistic Director 20 formed as guest principal cellist of the St. Hailed as “the real thing” David Letterman Show. A member of the Paul Chamber Orchestra, Musica Angeli- (Cleveland Plain Dealer) Orchestra of St. Luke’s, the New York ca, Orchester Wiener Akademie, and the and praised for his City Opera Orchestra, and the Westches- Trinity Wall Street Baroque Orchestra. He “elegant style” (Boston ter and Brooklyn Philharmonics, she has also been a soloist and principal cellist Globe), Sumner Thomp- performs frequently with many other area at the Boulder Bach Festival, and is the son is one of the most ensembles, including the Mostly Mozart associate principal cellist at the Carmel sought-after young baritones singing today. Festival Orchestra and NOVUS NY. She Bach Festival. With the vocal ensemble His appearances on the operatic stage has recorded quartet parts for Lou Reed TENET, he has performed at the Festival include the title role in Monteverdi’s and Ani DiFranco, performed on TV with Casals de Puerto Rico as well as at L’Orfeo (Contemporary Opera Denmark Whitney Houston, and on film with Berkshire Bach in Massachusetts. Last in Copenhagen), Uberto in La Serva David Byrne. A participant at many season he also appeared with the Portland Padrona (Apollo’s Fire), the Traveller in illustrious music festivals, including Baroque Orchestra, Chicago’s Baroque Britten’s Curlew River (Britten-Pears Tanglewood, Spoleto, and Marlboro, she Band, and New York Baroque Incorpo- School and Aldeburgh Festival, UK), can be heard on Marlboro’s 50th anniver- rated. He attended Yale University, where Schaunard in La Bohème (Granite State sary CD in György Kurtág’s Microludes he received his Bachelor of Arts in history Opera), and the Count in Mozart’s Le for string quartet, which she prepared and Master of Music in cello, and gradu- Nozze di Figaro (Commonwealth Opera). with the composer. ated from the inaugural class of Juilliard’s Mr. Thompson’s appearances in Chicago Beth Wenstrom is a historical performance program. Opera Theatre’s productions of Britten’s violin performer and Death in Venice and Rossini’s Il Viaggio a Grammy Award winning pedagogue based in New Reims were also highly praised. A favorite tenor Aaron Sheehan York City. Her perfor- in top-tier early music circles, he has has established himself mances have been appeared at the Boston Early Music as a first-rate singer in described by The New Festival as the Satir in its recent produc- many styles ranging from Yorker as “elegant and sensual, stylishly tion of Conradi’s Ariadne. oratorio and chamber wild.” Her “easy grace and light bravura” music to the opera stage. He regularly per- Jessica Troy, viola, wears graces stages from Memphis, Tennessee forms in the United States, South Ameri- a variety of freelance to Brattleboro, Vermont to Phoenix, ca, and Europe. His singing has taken him hats. Since 1998 she has Arizona and Thiré, France. Beth is a to festival and venues including Tangle- toured extensively with founding member of Wayward Sisters, wood, Concertgebouw, Théatre des the Mark Morris Dance winner of the 2011 Early Music America/ Champs-Élysées, Lincoln Center, the Group Music Ensemble, Naxos Competition and performs Kennedy Center, Boston Early Music from San Juan to Sydney, and appeared regularly with many groups throughout Festival, the Metropolitan Museum of Art, with Yo-Yo Ma across the US and Japan. the country and abroad. A graduate of the Washington National Cathedral, and On baroque viola, ensembles she per- Oberlin Conservatory and the Juilliard the early music festivals of Boston, NYC, forms frequently with include: the School, Beth has taught at Oberlin San Francisco, Vancouver, Houston, Sebastians, Trinity Baroque Orchestra, Conservatory and SUNY Stony Brook Tucson, Washington DC, and Madison, as Opera Lafayette, Concert Royal, Helicon, and coached baroque ensembles at both well as the Regensburg Tage Alter Musik. and the 4 Nations Ensemble; she has Rutgers University and SUNY Stony He is on the voice faculty of Boston guested with Anima Eterna Brugge, and Brook. University. appeared with Renée Fleming on the

The Sebastians (www.sebastians.org) are a dynamic and vital musical ensemble specializing in music of the baroque and classical eras. Lauded as “everywhere sharp-edged and engaging” (The New York Times), the Sebastians have also been praised for their “well-thought- out articulation and phrasing” (Early Music Review) and “elegant string playing… immaculate in tuning and balance” (Early Music Today). I Care If You Listen praised the ensemble’s “beautifully-nuanced playing and thoughtful expressivity” in their début album, calling the recording a “technical and timbral tour-de-force.” This season, in addition to performances in Massachusetts, New Jersey, and Seattle, the Sebastians present a year-long celebration of their namesake, J. S. Bach. Daniel S. Lee, Founding Director Jeffrey Grossman, Artistic Director 21 tenet would like to thank

TENET is truly grateful to the following for their generous support of our 2016–17 concert series, which would not otherwise be possible.

SERIES UNDERWRITERS Stephen Paschke Robert Cornfield Wallace and Barbara Dailey Catherine Coates Jennifer Shotwell Jay Crane Kate Debold Martha Fleischman Winfried R. Dallmayr Kate Ellis $1,000+ Claude Ghez Barbara Friedland Hans Gesell Dan and Sidnie Crawford Gregory Gilmartin Bruce Garetz William Graves Maura Fitzpatrick Martin Kaminer Guiseppe Gerbino Nancy Grilikhes William and Jane Greenlaw Deborah Malamud Susan Hannah Cynthia Guile Dorothy Haase Stephen Paschke Brett Karlin Joshua Haberman Christopher Rothko Lianna Levine Reisner Mary Jane Kelsey Paul Hecht Donald Steinman Jennifer Shotwell Drs. Nancy and Robert Klein Barbara B. Heyman Deborah Swiderski Donald Steinman Carol G Maclennan Lisa N. Husseini Deborah Swiderski $250+ Jean-Louis and Ellen Maserati Carol Stevens Kner Anne Matthews Karen Krueger $10,000+ George and Judith Beraka Karen McLaughlin Lawrence LaFevre The Gladys Krieble Austin and Sarah Bramwell Sharon Moore Christian Lane Delmas Foundation Beatriz Clewell David Patterson Corey Masanto The Fan Fox and Leslie R. Mary Draper and Erik Ryding and Dr. and Mrs. Scott McNutt Samuels Foundation Jeffrey Feltman Rebecca Pechefsky Robert E Meditz Claude Ghez Sean and Candace Fitzpatrick Tom and Lys McLaughlin Pike Meryl Moritz Florence Gould Foundation William and Helen Garrison Sheila Hafter Gray Marion Rosen Richard Penn $5,000+ Steven and Jessica Honigberg Naemi Stilman and Edmee B. Reit Philip H. Davis Arthur Leonard Nathaniel T. Rudykoff Dr. and Mrs. Robert Schmalz Google, Inc. Deborah Mintz Jason Rylander Jerome and Elizabeth Hank Heijink and Richard and Lois Pace Marsha Sayer Schneewind Jolle Greenleaf Michael Rigsby Dr. and Mrs. Alan N. Schechter Arthur Shippee Lianna Levine Reisner James Rosenfield Socrates and Evelyn Triantafillou David Patrick Stearns James Rothman Ann Marie Sundra $2,500+ up to $100 Margo Schab Lisa Terry Catherine Coates Tiago Wolff Beckert Michelle Whitehead and Mr. and Mrs. Paul Wharton Consolidated Edison Nicole Berejkoff Delmar Greenleaf Richard White Martha Fleischman Susan Bianconi Nancy Wilson Bart Ziegler Gregory Gilmartin Jesse Blumberg The Dubose and Dorothy $100+ Giuliana Carugati Contributions for our 2016–17 Heyward Memorial Fund Qais Al-Awqati Ruth Chapman season as of March 16, 2017. We apologize for any omissions or Martin Kaminer Marc Aubort Ginnine Cocuzza errors to this list. Deborah Malamud Marilyn Brus Dennis Costa

Jolle Greenleaf would like to thank to TENET’s Board of Directors and Board of Advisors for their generous support, intelligent ideas, kindness, sense of humor, and tenacity on behalf of the organization.

BOARD OF DIRECTORS BOARD OF ADVISORS This program is supported, in part, Lianna Levine Reisner, president Martha Fleischman by public funds from the New York Maura Fitzpatrick, treasurer Giuseppe Gerbino City Department of Cultural Affairs Nevin Brown, secretary Leslie Ogan in partnership with the city council. Jim Clarke Margo Schab Philip H. Davis Anne Stone TENET is grateful to ConEdison Adam Harris Craig Zeichner for their generous support of our Richard Steinman in memoriam 2016-17 concert series.

Special thanks to Jim Clarke and Wines of South Africa for their delicious contributions to events throughout TENET’s 2016–17 season.

22 the sebastians would like to thank

Thank you to the generous donors who have supported the Sebastians 2016–17 concert series. We couldn’t do it without you!

$5,000+ $100+ Robert Kenet Mary Johnson Michelle Chang Peggy & Johnny Bishop Seung H. Lee & Claire Jolivet Ryan Brandau Eun Mi Ham Edward Katkin $1,000+ Sarah Carta Deborah Maylath Cheonae Kim The Applebaum Foundation Yvonne Chang Alan Murchie Adrienne Kim Beth & Jeffrey Davidson Katharine Dain Rita Murray Paul Ross Dorothy Haase Irene David Sheila Rao Erik Ryding & Brad & Christine Hinze Dianne Epplein & Barbara & Robert Rebecca Pechefsky William Seltzer John Patton Sanderman Arthur Shippee & $500+ Michael Esposito Eleanor Sims Mary Porterfield Donna Firer & Jackie Spycher Carson Cooman $25+ Brian McLaughlin Alanna Stone Joyce & Jamshid Javid Adrienne & Ian Davidson Martha Fleischman Nancy Tepper Heela Kim Rachel Albanese Jolle Greenleaf & Rebecca Tesich Clifford La Fontaine Awet Andemicael Hank Heijink Joseph Tigner Robert Schulman Hannah Collins John Herzog Madeline Wething Betsy Dain $250+ Adrian Iosifescu & Elaine Edelman Stephen Paschke Susan Rosenbaum Carolyn Enger * as of 3/16/2017 Barbara & Robert Marin Jean Lorin Fries Please excuse any Sanderman Michele Jerison Grant & Priscilla Herreid omissions or errors. Ani Kavafian

The Sebastians would like to thank our donors and subscribers for their steadfast support. Thanks to our board of directors, especially Rachel Hauser, Neal Matticks, Christine Firer Hinze, Caroline Giassi, and managing director Karl Hinze. TENET and the Sebastians 2016-17 We are grateful to our generous artist hosts for this week: Deborah concerts are made possible, in part, by the Malamud and Neal Plotkin, Donald Meineke, Ope Bukola, Caroline New York State Council on the Arts with Thompson, Peter Kupfer, and Nina Stern. the support of Governor Andrew Cuomo and the New York State Legislature. We wish to thank St. Paul’s Evangelical Lutheran Church for their warm welcome in hosting tonight’s performance.

help keep music alive in nyc

TENET and the Sebastians are both 501(c)3 non-profit organizations. The challenges of producing live classical music in New York City are myriad, and we are so grateful to the individuals and organizations mentioned here for helping us continue that work. With your support, we work to breathe new life into these musical masterpieces.

All donations made tonight online or at our box office will go towards the cost of presenting this concert. Thank you very much for your continued support and generosity.

23 up next April 24, the Sebastians The Complete Bach for Solo Violin www.sebastians.org

May 5, TENET The Next Generation www.tenet.nyc

MAY 13, the Sebastians The Musical Offering