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Home , Christmas Oratorio, Edith Jane Miller, Evangelist (Bach), Mass in B minor, Oratorio, St John Passion

WASHINGTON BACH CONSORT Dana Marsh, Artistic Director

Christmas Weihnachts-Oratorium, BWV 248 (1685–1750) Nine virtual programs offer some of the finest works in the and oratorio repertory. You’ll ORATORIO enjoy the Washington Bach Consort as you’ve never Weihnachts-Oratorium, BWV 248 heard them before, but you’ll also gain revelations Johann Sebastian Bach (1685–1750) and insights into the itself coming from our Dana Marsh, Artistic Director two resident Bach scholars, Michael Marissen and Daniel R. Melamed. Supported in part by grants Part I: The First Day of Christmas from the National Endowment for the Humanities Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I and the J. Reilly Lewis Legacy Fund, Bach Friday, 12.25.20 at 8 p.m. YouTube & Facebook Interactions is a new digital concert experience offering the expressive heights of Bach’s musical Part II: The Second Day of Christmas language as well as the story behind its creation. Und es waren Hirten in derselben Gegend, BWV 248II The series features three renowned , Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook Wachet auf, ruft uns die Stimme, BWV 140, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm, Part III: The Third Day of Christmas der Heiden Heiland, BWV 61, followed by all six parts Herrscher des Himmels, erhöre das Lallen, BWV 248III of Bach’s beloved , BWV 248. Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook Each part will be presented on its intended day of liturgical observance, over the twelve days of Part IV: New Year’s Day Christmas to the Feast of the (January 6). Fallt mit Danken, fallt mit Loben, BWV 248IV Thursday, Thursday, 1.21.21 at 8 p.m. on & Bach Interactions is supported by gifts from the YouTube Facebook and the J. Reilly Lewis Legacy Fund National Part V: The Sunday After New Year’s Day Endowment for the Humanities. Ehre sei dir, Gott, gesungen, BWV 248V Thursday, 1.28.21 at 8 p.m on YouTube & Facebook OUR MISSION Part VI: The Feast of the Epiphany Founded in 1977 by the late Dr. J. Reilly Lewis, the Herr, wenn die stolzen Feinde schnauben, BWV 248VI Washington Bach Consort is a professional choral Thursday, 2.4.21 at 8 p.m. on YouTube & Facebook and orchestral ensemble based in Washington, DC that is committed to ensuring that current and future audiences experience the music of Johann Sebastian Bach and his contemporaries, by: CLICK HERE 1. performing the music of Bach and his To Donate Online Now contemporaries to the highest artistic standards, 2. sharing the joy of Bach’s music by broadening audiences in the nation’s capital, 3. nurturing the appreciation of Bach’s music through education and community outreach activities, and 4. interpreting the music of Bach for audiences of today, thereby ensuring his legacy. 2 PART I PRESENTERS Michael Marissen Daniel R. Melamed

CHORUS

SOPRANO ALTO TENOR BASS Amy Nicole Broadbent Sarah Davis Issaelkhoury, Jacob Perry, Jr. Steven Combs, soloist Margot Rood soloist Gregório Taniguchi, Jason Widney Roger O. Isaacs soloist ()

ORCHESTRA

VIOLIN Andrew Fouts, Jessica Powell Eig Anna Marsh Leon Schelhase concertmaster Tatiana Chulochnikova ORGAN Colin St-Martin Josh Cohen, soloist Adam Pearl Kathryn Roth Joelle Monroe Risa Browder Dennis Anthony Ferry , OBOE D’AMORE VIOLONCELLO Geoffrey Burgess John Moran Margaret Owens Michelle Humphreys

TEXT & TRANSLATION

ORATORIUM welches die heilige Weyhnacht ORATORIO that was performed musically over über in beyden Haupt-Kirchen zu the Christmas season in the two principal musiciret wurde. Anno 1734. churches in Leipzig. 1734. Am 1sten Heil. Weyhnacht-Feyertage, frühe zu On the first day of Christmas, early at St. St. Nicolai und nachmittage zu St. Thomæ. Nicholas and in the afternoon at St. Thomas. Tutti All Jauchzet, frohlocket, auf, preiset die Tage, Shout, exult, arise, praise the days [of Christmas], Rühmet, was heute der Höchste getan! Glorify what the Most High this day has done! Lasset das Zagen, verbannet die Klage, Leave off faintheartedness, ban lamenting; Stimmet voll Jauchzen und Fröhlichkeit an! Break forth into , full of shouting and Dienet dem Höchsten mit herrlichen Chören, rejoicing! Laßt uns den Namen des Herrschers verehren! Serve the Most High with glorious ; Let us revere the ruler’s name!

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3 TEXT & TRANSLATION (cont’d.)

Evangelist Evangelist Es begab sich aber zu der Zeit, daß ein Gebot von dem But it happened at that time that a commandment went Kaiser Augusto ausging, daß alle Welt geschätzet würde. out from the emperor Augustus that all the [Roman] Und jedermann ging, daß er sich schätzen ließe, ein world be appraised. And everyone [from Judea] went, jeglicher in seine Stadt. Da machte sich auch auf Joseph that he might have himself appraised, each one to his aus Galiläa, aus der Stadt Nazareth, in das jüdische Land [ancestral] city. Then Joseph too made out to go up zur Stadt , die da heißet Bethlehem; darum, daß er from Galilee, from the city of Nazareth, into the Jewish von dem Hause und Geschlechte David war, auf daß er region to the city of David, which is called Bethlehem, sich schätzen ließe mit Maria, seinem vertrauten Weibe, this, because he was of the house and lineage of David, die war schwanger. Und als sie daselbst waren, kam die so that he might have himself appraised with Mary, his Zeit, daß sie gebären sollte. betrothed wife, who was pregnant. And while they were there, the time came that she should give birth. Recitativ Nun wird mein liebster Bräutigam, Now will my most beloved bridegroom, Nun wird der Held aus Stamm Now will the champion from the tribe of David— Zum Trost, zum Heil der Erden For the consolation, for the salvation of the Einmal geboren werden. earth— Nun wird der Stern aus Jakob scheinen, At last be born. Sein Strahl bricht schon hervor. Now will the star out of Jacob shine; Auf, Zion, und verlasse nun das Weinen, Its stream of light is already breaking forth. Dein Wohl steigt hoch empor! Arise, Zion, and forsake weeping now; Your well-being lifts on high! ARIA Bereite dich, Zion, mit zärtlichen Trieben, Make yourself ready, Zion, with tender desires, Den Schönsten, den Liebsten bald bei dir zu To see the Most Handsome, the Most Beloved, sehn! Soon at your side! This day your cheeks Deine Wangen Must sparkle much lovelier; Müssen heut viel schöner prangen, Hurry on, to love the Bridegroom most ardently! Eile, den Bräutigam sehnlichst zu lieben! Choral Chorale Wie soll ich dich empfangen How shall I receive you, Und wie begegn’ ich dir, And how shall I meet you, O aller Welt Verlangen, O desire of all the world, O meiner Seelen Zier? O decoration of my soul? O Jesu, Jesu, setze O ; Jesus, set Mir selbst die Fackel bei, The torch next to me yourself, Damit, was dich ergötze, So that whatever brings you enjoyment Mir kund und wissend sei. May be manifest and known to me. Evangelist Evangelist Und sie gebar ihren ersten Sohn und wickelte ihn in And she gave birth to her firstborn son and wrapped Windeln und legte ihn in eine Krippen, denn sie hatten him in bands of cloth and laid him in a manger, for they sonst keinen Raum in der Herberge. otherwise had no space in the lodgings.

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4 TEXT & TRANSLATION (cont’d.)

Choral und Recitativ Chorale and recitative Er ist auf Erden kommen arm, He has come on earth poor, Wer will die Liebe recht erhöhn, Who will properly extol the love Die unser Heiland vor uns hegt? That our Savior feels for us? Daß er unser sich erbarm, That he might have mercy on us, Ja, wer vermag es einzusehen, Indeed, who is capable of perceiving it, Wie ihn der Menschen Leid bewegt? How human suffering moves him? Und in dem Himmel mache reich, And might make [us] rich, in heaven, Des Höchsten Sohn kömmt in die Welt, The Son of the Most High comes into the world Weil ihm ihr Heil so wohl gefällt, Because its salvation pleases him so well Und seinen lieben Engeln gleich. And [might make us] equal to his dear angels. So will er selbst als Mensch geboren werden. That he himself wants to be born as man. Kyrieleis. Lord have mercy. ARIA ARIA Großer Herr, o starker König, Great Lord, o mighty King, Liebster Heiland, o wie wenig Most beloved Savior, o how little Achtest du der Erden Pracht! Do you regard the earth’s splendor! Der die ganze Welt erhält, He, who upholds the entire world, Ihre Pracht und Zier erschaffen, [Who] has created its splendor and decoration, Muß in harten Krippen schlafen. Must sleep in harsh mangers. Choral Chorale Ach mein herzliebes Jesulein, Oh my beloved little Jesus, Mach dir ein rein sanft Bettelein, Make for yourself a perfectly soft little bed, Zu ruhn in meines Herzens Schrein, To rest in the shrine of my heart, Daß ich nimmer vergesse dein! That I may never forget you! (transl. Daniel R. Melamed and Michael Marissen)

5 PART II PRESENTER Daniel R. Melamed

CHORUS

SOPRANO ALTO TENOR BASS Katelyn Aungst Reginald Mobley, soloist Matthew Hill Steven Combs Laura Choi Stuart, soloist Kristen Dubenion-Smith Jacob Perry, Jr., David Rugger, soloist soloist (Evangelist)

ORCHESTRA VIOLONCELLO OBOE D’AMORE HARPSICHORD Andrew Fouts, John Moran Margaret Owens Leon Schelhase concertmaster Fatma Daglar Tatiana Chulochnikova VIOLONE ORGAN Jessica Powell Eig Adam Pearl VIOLA Geoffrey Burgess Risa Browder FLUTE Sarah Huebsch Colin St-Martin, soloist Kathryn Roth

TEXT & TRANSLATION

Am 2. Heil. Weyhnachts-Feyertage. Frühe zu St. On the second day of Christmas. Early at St. Thomæ. Nachmittage zu St. Nicolai. Thomas. In the afternoon at St. Nicholas. Sinfonia Evangelist Evangelist Und es waren Hirten in derselben Gegend auf dem Felde And there were in the same vicinity shepherds in the bei den Hürden, die hüteten des Nachts ihre Herde. Und field, by the live-stock pens; they guarded their flocks by siehe, des Herren Engel trat zu ihnen, und die Klarheit night. And look, the Angel of the Lord approached them, des Herren leuchtet’ um sie, und sie furchten sich sehr. and the radiance of the Lord lit up around them, and they were very afraid. Choral Chorale Brich an, o schönes Morgenlicht, Break out, o lovely morning light, Und laß den Himmel tagen! And let heaven dawn! Du Hirtenvolk, erschrecke nicht, You shepherd folk, do not be alarmed; Weil dir die Engel sagen, For the angels tell you Daß dieses schwache Knäbelein That this weak little boy Soll unser Trost und Freude sein, Shall be our comfort and joy, Dazu den Satan zwingen [Shall] vanquish Satan, too, Und letztlich Friede bringen! And finally bring peace!

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6 TEXT & TRANSLATION (cont’d.) Evangelist Evangelist Und der Engel sprach zu ihnen And the angel said to them: Engel Angel Fürchtet euch nicht! Siehe, ich verkündige euch große Fear not! Look, I announce to you great joy, which will come Freude, die allem Volke widerfahren wird; denn euch to all people; for to you this day is born in the city of David ist heute der Heiland geboren, welcher ist , the Savior, who is Christ, the Lord. der Herr, in der Stadt David. Recitativ Recitative Was Gott dem Abraham verheißen, What God had pledged to Abraham, Das läßt er nun dem Hirtenchor He now lets be shown to the chorus of shepherds Erfüllt erweisen. As fulfilled. Ein Hirt hat alles das zuvor About all of this a shepherd [Abraham] Von Gott erfahren müssen; Had to hear from God beforehand; and now also a Und nun muß auch ein Hirt die Tat, Shepherd has to be the first to come to know the Was er damals versprochen hat, deed— Zuerst erfüllet wissen. What he [God] at that time had promised— As fulfilled. ARIA ARIA Frohe Hirten, eilt, ach eilet, Joyful shepherds, hurry, oh hurry, Eh ihr euch zu lang verweilet, Before you tarry too long; Eilt, das holde Kind zu sehn! Hurry, to see the pleasing child! Geht, die Freude heißt zu schön, Go, the joy is all too lovely; Sucht die Anmut zu gewinnen, Seek to gain the refinement [of this child]; Geht und labet Herz und Sinnen! Go and refresh your hearts and minds! Evangelist Evangelist Und das habt zum Zeichen: Ihr werdet finden das Kind And take this for a sign: you will find the child wrapped in in Windeln gewickelt und in einer Krippe liegen. bands of cloth and lying in a manger. Choral Chorale Schaut hin, dort liegt im finstern Stall, Look there, yonder in the dark stall lies he whose Des Herrschaft gehet überall. Lordship ranges all over [to the ends of the Da Speise vormals sucht ein Rind, earth]. Da ruhet itzt der Jungfrau’n Kind. Where once an ox sought food, There now rests the Virgin’s child. Recitativ Recitative So geht denn hin, ihr Hirten, geht, So go forth, then, you shepherds; go, Daß ihr das Wunder seht! That you may see the marvel! Und findet ihr des Höchsten Sohn And should you find the Son of the Most High In einer harten Krippe liegen, Lying in a harsh manger, So singet ihm bei seiner Wiegen Then sing for him by his cradle Aus einem süßen Ton —In a sweet tone Und mit gesamtem Chor And with united — Dies Lied zur Ruhe vor: This lullaby: ARIA ARIA Schlafe, mein Liebster, genieße der Ruh, Sleep, my Most Beloved, enjoy your rest, Wache nach diesem vor aller Gedeihen! Awake after this for the flourishing of all! Labe die Brust, Refresh your breast, Empfinde die Lust, Feel the delight Wo wir unser Herz erfreuen! [There, in your rest], where we gladden our hearts!

7 TEXT & TRANSLATION (cont’d.) Evangelist Evangelist Und alsobald war da bei dem Engel die Menge der And immediately there was with the angel the himmlischen Heerscharen, die lobten Gott und sprachen: multitude of the heavenly legions, lauding God and saying: Chor der Engel Chorus of angels Ehre sei Gott in der Höhe und Friede auf Erden und den May honor be to God on high, and peace on earth, and Menschen ein Wohlgefallen. to humankind [God’s] great pleasure. Recitativ Recitative So recht, ihr Engel, jauchzt und singet, Quite right, you angels: shout and sing Daß es uns heut so schön gelinget! That for us this day has prospered so beautifully! Auf denn! Wir stimmen mit euch ein; Arise then! We will join with you in song; Uns kann es so wie euch erfreun. It can gladden us just like you. Choral Chorale Wir singen dir in deinem Heer We sing to you, amid your host, Aus aller Kraft Lob, Preis und Ehr, With all our power, “laud, praise, and honor,” Daß du, o lang gewünschter Gast, That you, o long desired guest, Dich nunmehr eingestellet hast. Have now presented yourself.

8 PART III PRESENTER Michael Marissen CHORUS SOPRANO ALTO TENOR BASS McCormack Roger O. Isaacs Matthew Loyal Smith Steven Combs Margot Rood, soloist Reginald Mobley, soloist Gregório Taniguchi, Jonathan Woody, soloist soloist (Evangelist)

ORCHESTRA VIOLIN VIOLONCELLO OBOE, OBOE D’AMORE TIMPANI Andrew Fouts, John Moran Margaret Owens Michelle Humphreys concertmaster, soloist Geoffrey Burgess Tatiana Chulochnikova VIOLONE HARPSICHORD Jessica Powell Eig TRUMPET Leon Schelhase VIOLA Josh Cohen Risa Browder FLUTE Joelle Monroe ORGAN Colin St-Martin Dennis Anthony Ferry Adam Pearl Kathryn Roth TEXT & TRANSLATION

Am 3. Heil. Weyhnachts-Feyertage. Zu St. On the third day of Christmas. At St. Nicholas. Nicolai. Tutti All Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, give heed to our babble, Laß dir die matten Gesänge gefallen, let our feeble please you, Wenn dich dein Zion mit Psalmen erhöht! when your Zion extols you with psalms! Höre der Herzen frohlockendes Preisen, Hear the exultant praises of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, when we now show you reverence Weil unsre Wohlfahrt befestiget steht! because our welfare stands fast! Evangelist Evangelist Und da die Engel von ihnen gen Himmel fuhren, sprachen And when the angels went away from them into heaven, die Hirten untereinander: the shepherds said to one another: Chorus Chorus Lasset uns nun gehen gen Bethlehem und die Geschichte Let’s go, now, into Bethlehem and see what the story sehen, die da geschehen ist, die uns der Herr kundgetan is that’s taking place there, which the Lord has made hat. known to us.

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9 TEXT & TRANSLATION (cont’d.) Recitativ Recitative Er hat sein Volk getröst’, He has comforted his people, Er hat sein Israel erlöst, he has redeemed his Israel, Die Hülf aus Zion hergesendet sent salvation out of Zion, Und unser Leid geendet. and ended our suffering. Seht, Hirten, dies hat er getan; Look, shepherds, this he has done; Geht, dieses trefft ihr an! go, you will come upon this! Choral Chorale Dies hat er alles uns getan, All this he has done for us Sein groß Lieb zu zeigen an; to show his great love; Des freu sich alle Christenheit for this let all of Christendom be glad Und dank ihm des in Ewigkeit. and thank him for this in eternity. Kyrieleis! Lord have mercy! ARIA ARIA Herr, dein Mitleid, dein Erbarmen Lord, your compassion, your mercy Tröstet uns und macht uns frei. comforts us and makes us free. Deine holde Gunst und Liebe, Your pleasing favor and love, Deine wundersamen Triebe your wondrous desires, Machen deine Vatertreu make your Fatherly faithfulness Wieder neu. new again. Evangelist Evangelist Und sie kamen eilend und funden beide, Mariam und And they came in a hurry and found both Mariam and Joseph, dazu das Kind in der Krippe liegen. Da sie es aber Joseph, and also the child lying in the manger. But when gesehen hatten, breiteten sie das Wort aus, welches they had seen it, they spread the word that had been zu ihnen von diesem Kind gesaget war. Und alle, für die told to them of this child. And all who met with it were es kam, wunderten sich der Rede, die ihnen die Hirten surprised at the account that the shepherds had told gesaget hatten. Maria aber behielt alle diese Worte und them. But Mary kept all these words and tossed them bewegte sie in ihrem Herzen. about within her heart. ARIA ARIA Schließe, mein Herze, dies selige Wunder My heart, include this blessed marvel Fest in deinem Glauben ein! steadfastly in your faith! Lasse dies Wunder, die göttlichen Werke, Let this marvel, [let all] the Godly deeds, Immer zur Stärke be ever at hand for the strengthening Deines schwachen Glaubens sein! of your weak faith! Recitativ Recitative Ja, ja, mein Herz soll es bewahren, Yes, yes, my heart should safeguard Was es an dieser holden Zeit what it at this pleasing time, Zu seiner Seligkeit for its [eternal] blessedness, Für sicheren Beweis erfahren. has experienced as sure proof.

10 TEXT & TRANSLATION (cont’d.) Choral Chorale Ich will dich mit Fleiß bewahren, I will safeguard you [in my heart Ich will dir and memory] with diligence; Leben hier, I will here [in this life] live to you; Dir will ich abfahren, to you will I retreat; Mit dir will ich endlich schweben with you will I at last hover, Voller Freud full of joy, Ohne Zeit time no longer, Dort im andern Leben. there in the afterlife Evangelist Evangelist Und die Hirten kehrten wieder um, preiseten und lobten And the shepherds went back again, praising and lauding Gott um alles, das sie gesehen und gehöret hatten, wie God for all that they had seen and heard, just as had denn zu ihnen gesaget war. been told to them.

Choral Chorale Seid froh dieweil, Be joyful meanwhile, Seid froh dieweil, be joyful meanwhile, Daß euer Heil that your Salvation Ist hie ein Gott und auch ein Mensch geboren, has been born here [on earth] as God and Der, welcher ist also as man—he who is Der Herr und Christ the Lord and Christ, In Davids Stadt, von vielen auserkoren. in the city of David, chosen of many [cities]. [Tutti] [All] [Herrscher des Himmels, erhöre das Lallen . . .] [Ruler of heaven, give heed to our babble . . .]

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11 DANA MARSH, ARTISTIC DIRECTOR Bach Studies (co-author Daniel R. Melamed; Oxford, 1998), Bach’s (Oxford, 2008), Tainted Glory Dana Marsh began his musical training as a boy chorister at St. in Handel’s (Yale, 2014), Bach & God (Oxford, Thomas Choir School 2016), and essays in Harvard Theological Review, The in and at Salisbury Huffington Post, Lutheran Quarterly, and The New York Cathedral in . He earned Times. his undergraduate degree in organ Daniel R. Melamed is professor at performance at the Eastman School the Indiana University Jacobs School of Music and received masters and doctoral degrees of Music, and serves as president in historical musicology from the University of Oxford. of the American and Praised by The Los Angeles Times as an “energetic and director of the Bloomington Bach persuasive conductor,” and by The Washington Post as Cantata Project. His books Hearing “a superb choral conductor, energetic and precise,” Bach’s and Listening to Bach: Marsh has entered into fruitful collaborations with the in and Christmas Oratorio, for general the Mozart Players, Studio de musique readers, are available from . ancienne de Montréal, the Choir of St. Thomas Church Fifth Avenue, the Portland Baroque Orchestra, and the Musica Angelica Baroque Orchestra, among MEET THE ARTISTS others. As an acclaimed countertenor soloist and With a voice that “shimmers” (DC consort singer (1992-2008), he performed with the Metro Theater Arts), Washington, American Bach Soloists, Concert Royal of New York, DC-based soprano Amy Nicole New York Collegium, Seattle Baroque Orchestra, Broadbent has garnered and the Academy of Ancient Music. As a singer/ recognition as a versatile and soloist with the Choir of New College Oxford while dynamic performer. An advocate undertaking his D.Phil. research, he toured frequently for new music, in 2016 Broadbent with the Academy of Ancient Music, Orchestra of was selected by Robert Kyr as a soloist for the Age of Enlightenment, and the European Union the world premiere of his cantata Song of the Beloved. Baroque Orchestra, recording 15 discs with New Professional achievements include winning first- College Choir, one of which won the Gramophone place in the 2015 National Society of Arts and Letters’ award in early music in 2008. Marsh was Assistant Winston Voice Competition, first place at local and Director of Music and Director of Chapel Music at regional levels of NATS competitions, and prizewinner Girton College Cambridge, and he currently serves as for the New York Oratorio Society Competition at Director of the Historical Performance Institute at the Carnegie Hall, the Annapolis Competition, Indiana University Jacobs School of Music. the Bethlehem Bach Competition, and the Franco- American Grand Concours Vocal Competition. As an MEET THE PRESENTERS ensemble musician, Amy has performed with many of the nation’s top professional choirs. She is currently a Michael Marissen is Daniel vocalist in the United States Navy Band Sea Chanters Underhill Professor Emeritus of Chorus, with the rank of Musician First Class. Amy Music at Swarthmore College, holds degrees from the University of Maryland, where he taught from 1989 to College Park. 2014. He has also been a visiting A native of the Washington, DC professor on the graduate faculties area, Baroque trumpeter Josh at Princeton University and Cohen is greatly sought after the University of Pennsylvania. His publications by many leading early music include The Social and Religious Designs of J. S. Bach’s ensembles throughout North Brandenburg Concertos (Princeton, 1995), Creative America. For the past ten seasons, Responses to Bach from Mozart to Hindemith (editor; he has been principal Baroque Nebraska, 1998), , anti-, and Bach’s trumpet with the Washington Bach Consort. He St. John Passion (Oxford, 1998), An Introduction to has also performed as principal and solo baroque 12 trumpet for ensembles such as Studio de musique Metropolitan Opera, the Florentine Opera, and the ancienne de Montréal, Arion (Montreal), Bach Sinfonia Boston Lyric Opera. (Washington, DC), Aston Magna (Boston), Musica Maris (Rhode Island), Houston Bach Society, and Steven holds a Bachelor’s and Master’s degree in Ensemble Telemann (Montreal), and has participated vocal performance and is a past national winner of in festivals such as the Indiana Festival of Early Music, the Metropolitan Opera National Council Auditions. International Festival of at Lameque Violinist Andrew Fouts is honored (New Brunswick, Canada) and the Bach Festival of to have served as a concertmaster Montreal. with the Washington Bach Consort Mr. Cohen has recorded some of the most famous since 2010. The Washington Post and demanding works for baroque trumpet. Most has praised his performances with recently, he has recorded J.S. Bach’s Brandenburg the Consort as being “exemplary on Concerto no. 2 with Montreal-based Ensemble the highest part, playing with clean Caprice. He can be heard on the Washington Bach intonation and radiant tone.” Other mentions by the Consort’s recording of Bach’s Jauchzet Gott in allen Post have praised his “deeply expressive solos” and Landen, BWV 51, with soprano Elizabeth Futral. He “mellifluous sound and sensitive style.” has participated in two recordings with prominent Hailing from Northern California, Andrew resides in Canadian ensembles, which were both nominated Pittsburgh and is a member of the city’s acclaimed for the 2009 Juno Awards: Let the Bright Seraphim early music ensemble, Chatham Baroque. The with soprano Karina Gauvin and Tempo Rubato, and ensemble maintains a robust concert season, Vivaldi’s Gloria with Ensemble Caprice, the latter of averaging 80 performances a year, comprising its which won the Juno award for Best Album of the Year Concert Series, Peanut Butter & Jam Sessions for in the vocal category. kids, work in early childhood centers of the Pittsburgh Mr. Cohen received a M.M. from McGill University and Public Schools, touring across North and South a B.M. from the New England Conservatory of Music. America, and collaborations with other Pittsburgh He currently plays on a Baroque trumpet made by arts organizations including the Pittsburgh Opera, Matt Martin of Norwich Natural after an Pittsburgh Festival Opera, Pittsburgh Camerata, original by Kodisch 1710. Quantum , Carnegie Mellon, and the Pittsburgh Symphony Orchestra. As a Bach specialist, Steven Combs has performed the bass in the The 17/18 Season includes appearances with Apollo’s B Minor Mass and the arias and roles Fire, the Four Nations Ensemble, and in recital with in Bach’s St. John and St. Matthew Seattle harpsichordist Byron Schenkman. Passions with many groups including In 2008 Andrew won first prize at the American Bach the Washington Bach Consort, Soloists’ International Baroque Violin Competition. the National Cathedral and the He has taught at the Madison Early Music Festival and Washington Choral Arts Society. the Oficina de Música de Curitiba, Brazil, and can be As a concert artist he has sung in acclaimed heard on recordings with Chatham Baroque, American performances of Orff’sCarmina Burana with both Bach Soloists, Philharmonia Baroque, Apollo’s Fire, the Washington Ballet and the Master Chorale of Musik Ekklesia, and Alarm Will Sound. His principal Washington. He also performed Poulenc’s Le Bal teachers were Charles Castleman at the Eastman masqué and Mahler’s Des Knaben Wunderhorn lieder School of Music, and Stanley Ritchie at Indiana with orchestra. University Jacobs School of Music. On the opera stage, Steven made his Metropolitan Opera debut in the world premiere of John Corigliano’s The Ghosts of Versailles and also sang the title role in Colin Graham’s first staging of Britten’s Billy Budd at the Opera Theatre of St. Louis. He has performed other principal roles with the 13 Matthew Hill, tenor, from Laurel, Patrick Kilbride received degrees Maryland, enjoys a varied career from Northwestern University, as a soloist and ensemble singer, University of Maryland Opera based in Washington, DC. Past solo Studio, and fellowships from the concert work includes Handel’s Aspen Opera Theater Center and and Messiah, Mozart’s Tanglewood Music Festival. He , Rachmaninoff’sAll-Night made his U.S. debut in Monteverdi’s Vigil, Bach’s , and the Evangelist in Il Ritorno d’Ulisse in patria with the Boston Early Music Bach’s St. Matthew and St. John Passions. He also Festival. Winning the 24th International Concours performs regularly with the American Bach Soloists, de Chant in Clermont-Ferrand, France, he made his Washington Bach Consort, and Washington National European debut in a French national tour of Handel’s Cathedral Choirs. As a choral musician, Matthew Acis and Galatea in 2015-2016. He has sung roles with sings weekly at Christ Church Georgetown and is a Festival Aix-en-Provence, the Britten-Pears Aldeburgh member of the United States Air Force Band Singing Festival, Opera Lafayette and Heartbeat Opera, Sergeants. Recent opera credits include his debut debuting at the Opéra royal de Versailles, Théâtre with Washington National Opera as Older brother Gérard Philippe, Paris, Grand Théâtre Luxembourg, in Dead Man Walking, Patre in Gounod’s Sapho with Snape Maltings Concert Hall, the Kennedy Center, Washington Concert Opera, Parpignol in La Bohème and the Brooklyn Academy of Music. Upcoming with Wolf Trap Opera, Tamino in Die Zauberflöte and performances include a new production of John Don Ottavio in Don Giovanni with the Maryland Opera Blow’s Venus and Adonis with Opera Lafayette, Studio, and Damon in Acis and Galatea with New appearances with the Washington Bach Consort, Dominion Chorale. Matthew has won 2nd place in the Cathedral Choral Society, and his debut at the Teatro National Society of Arts and Letters Dorothy Lincoln- Nacional de São Carlos, Lisbon, Portugal. Smith Competition, won the Choralis Young Artist www.PatrickKilbride.com Competition, 4th place in the Oratorio Society of New York Competition, 2nd place in Vocal Arts DC Art Particularly noted for his Song Competition, and 3rd place at the Metropolitan “crystalline diction and pure, evenly Opera National Council Middle Atlantic Regional produced tone” (Miami Herald), Competition. Matthew received both his Master and countertenor Reginald Mobley is Bachelor of Music degrees from the University of highly sought after for Baroque, Maryland. Classical and modern repertoire. Recent highlights include an Sarah Issaelkhoury is a teaching extensive tour of sixteen concerts around Europe artist, instructor of voice, and singing Bach’s Matthäus-Passion with the Monteverdi primary-level music educator in the Choir and English Baroque Soloists led by Sir John Washington, D.C. area. Her voice Eliot Gardiner; an ensemble to which he returned has been praised as, “…outstanding, for a further European tour, where international tossing off coloratura with clarity reviews commented on his “purity of timbre” and and ease,” (The Washington Post), “homogeneity of tone.” He also performed concerts and her singing career spans from medieval chant of Händel’s Messiah with the Royal Scottish National to contemporary music, including a wide range of Orchestra, Purcell’s King Arthur with the Academy compositional styles. As a guest soloist, Sarah has of Ancient Music in London, and Mozart’s Requiem appeared with the Capitol Hill Chorale (Handel with Orkiestra Historyczna in Poland. Further Messiah), The Virginia Consort (BachMagnificat ), highlights include tours of Germany with Freiburg the Oratorio Society of Virginia (Handel Coronation Barockorchester, and Balthasar-Neumann Choir und ), Cathedral Choral Society (Einhorn Voices Ensemble, performing at prestigious venues across of Light), Fairfax Choral Society (Haydn Lord Nelson Germany, the Netherlands, and Belgium. Mass), Charlottesville Symphony (Poulenc’s Gloria), Cathedral Choral Society (Mozart Requiem), and more.

14 Jacob Perry Jr. is an avid chamber new music. She made her Carnegie Hall debut in the and solo tenor based in the world premiere of Shawn Jaeger’s Letters Made with Washington metro area. Gaining Gold. Recent and upcoming solo appearances also attention as a young soloist, he include the Cleveland Orchestra (Stravinsky Threni), receives praise for his “gorgeous Boston Symphony (Benjamin Dream of the Song), New and stylish” interpretations of World Symphony (Reich The Desert Music), and A Far Renaissance and Baroque tenor Cry (Golijov Three Songs). repertoire (ClevelandClassical.com). Jacob can be heard singing with such ensembles as the Les Canards Notable recording releases include Blue Heron’s Chantants, Art of Early Keyboard, the Clarion Choir, Ockeghem Songs, Vol. 1, La Renommée in Lalande’s Yale Choral Artists, Cathedra, Washington Bach Les Fontaines de Versailles and La Paix in Charpentier’s Consort, New Consort, and the Thirteen. He has Les Arts Florissants with Boston Early Music Festival been featured as a soloist with the City Choir of (CPO), and the role of Emily Webb on Monadnock Washington, Handel Choir of Baltimore, Mountainside Music’s recording of Ned Rorem’s Our Town (New Baroque, Tempesta di Mare, and Apollo’s Fire. He has World Records). She has recorded repertoire from performed solo and chamber works by contemporary the medieval to the 21st-century on the Coro, Albany with Third Practice, hexaCollective, Great Records, Blue Heron, BMOP Sound, Toccata Classics, Noise Ensemble, and as an Artistic Director of Bridge, and Sono Luminus labels. Her solo recording with a chamber vocal ensemble based on Washington, DC. composer Heather Gilligan, Living in Light, is now Jacob was born and raised in Silver Spring, Maryland. available. She can also be heard on Blue Heron’s He earned a B.A. in Vocal Performance at the Music from the Peterhouse Partbooks Vol. 5, which University of Maryland, Baltimore County. won the Gramophone Award for Early Music in 2018. Margot Rood, hailed for her Possessed of a keen interest in “colorful and vital” singing by seventeenth- and eighteenth The Washington Post, performs a century culture from a young age, wide range of repertoire, and is in Colin St. Martin began playing the demand as a soloist with conductors traverso at the age of fourteen. including Harry Christophers, Scott He began his formal studies at Metcalfe, Patrick Dupré Quigley, the Royal Conservatory of Music Stephen Stubbs, Franz Welser-Möst, and Beth Willer. (Brussels, Belgium) receiving a First Prize under the tutelage of the renowned master, Bart Kuijken. St. Recognized particularly for her commitment to early Martin continued his studies with graduate work music, Margot is a former Lorraine Hunt Lieberson at Indiana University where he was the traverso Fellow at Emmanuel Music, where she is often instructor. From 1993 to 2010, St. Martin served as featured on Emmanuel’s nationally-known Bach the early-flute professor at Peabody Conservatory. cantata series. She is frequently booked for Bach He continues to maintain a private studio, in addition performances with the likes of Edinburgh’s Dunedin to giving numerous masterclasses and performances Consort, South Florida’s Enlightenment Festival, throughout the USA. Mr St Martin is currently the Handel + Haydn Society, Philharmonia Baroque traverso professor at Indiana University’s Jacobs Orchestra, and the Washington Bach Consort. School of Music. Handel’s Messiah is a signature piece, which she has performed with Toronto’s Tafelmusik Baroque As a performer, St. Martin has appeared with many of Orchestra, TENET Vocal Artists, Seraphic Fire, Bach North America’s finest period-instrument ensembles, Collegium San Diego, Rhode Island Philharmonic, and including Arcanum, Washington Bach Consort, New Jersey Symphony. Other appearances include Tafelmusik, American Bach Soloists, North Carolina Charlotte Symphony Orchestra and annual concerts Baroque Orchestra, Tempesta di Mare, Four Nations, as well as tours and recordings with acclaimed Rebel Baroque Ensemble, Folger Consort, National renaissance ensemble Blue Heron. Cathedral Baroque Orchestra and Opera Lafayette. Colin is also an active soloist in his home state of Margot is a recent recipient of the St. Botolph Club Texas, where he is the principal traverso player for Foundation’s Emerging Artist Award for her work in Ars Lyrica Houston and the Houston Bach Society, in 15 addition to occasionally performing with the Mercury Santa Fe Desert Chorale, Clarion Vocal Ensemble, Ensemble. St. Martin’s extensive recording catalogue Seraphic Fire, Cantus, Washington Bach Consort, contains a wide variety of repertoire on such labels as Oregon Bach Festival, and Staunton Music Festival. Centaur, ASI Gaudeamus, Lyrichord, Naxos, Focus and Newport Classic labels. Gregório is passionate about being an active part of the community of artists, supporting composers in Hailed as “a lyric soprano of recording new works as a studio singer and in faith ravishing quality” by the Boston communities as a choral scholar. He also serves as a Globe, Laura Choi Stuart has language coach, especially in his native Portuguese. appeared in mainstage roles Bass-baritone Jonathan Woody is with Boston Lyric Opera, Opera a sought-after performer of early Boston, Annapolis Opera, Lake and new music in New York and George Opera, the In Series, and across North America. He has been Opera North as Musetta, Adina, Gilda, Pamina, and featured with historically-informed Frasquita. Equally comfortable in early music, recital such as Apollo’s Fire, and concert settings, she was one of the 2009 Art Boston Early Music Festival, Song Discovery Series winners for the Vocal Arts Tafelmusik Baroque Orchestra, Bach Collegium San Society and 2nd prize winner at both the 2010 and Diego, Portland Baroque Orchestra and New York 2012 National Association of Teachers of Singing Baroque Incorporated, earning praise as “charismatic,” Artist Awards. Laura received her training at The “riveting,” and “wonderfully dramatic.” Jonathan is Santa Fe Opera Apprentice Program for Singers, also committed to ensemble singing at the highest level and has performed with the Choir of Trinity Wall Opera North, and Berkshire Opera, as well as The Street, TENET, the Clarion Music Society and New New England Conservatory and Dartmouth College. York Polyphony, among others. An avid performer of Gregório Taniguchi crafts new music, Jonathan has premiered works including compelling performances that move Ellen Reid’s p r i s m (2019 Pulitzer Prize winner), Ted audiences. His dedication to rhetoric Hearne’s The Source, Missy Mazzoli’s Breaking the in music draws listeners to hear Waves (NYC premiere), and Du Yun’s Angel’s Bone historical works as a dynamic and (2017 Pulitzer Prize winner). He has appeared with living part of our musical culture, Staunton Music Festival, Aldeburgh Festival, Portland illuminating classics for a modern Bach Festival, Carmel Bach Festival, Oregon Bach audience. Contemporary vocal music and new works Festival, Opera Lafayette, Gotham Chamber Opera, by emerging composers likewise come alive through and Beth Morrison Projects. Jonathan has recorded his communicative artistry. with the Choir of Trinity Wall Street (Musica Omnia), Boston Early Music Festival (RadioBremen), and New Gregório has empowered narratives with an intuitive York Polyphony (BIS Records). Jonathan’s musical sense for storytelling as the Evangelist in Bach’s pursuits extend beyond his voice and he has been St. John Passion and Christmas Oratorio, Æneas in commissioned as a composer for groups including Cavalli’s La Didone, Miles Zegner in Missy Mazzoli’s Lorelei Ensemble, the Handel + Haydn Society, and Proving Up, and Septimius in Handel’s Theodora. He the Uncommon Music Festival. Currently based in has toured Ecuador with the emerging ensemble Brooklyn, NY, Jonathan holds degrees from McGill Las Aves and presented historically-informed 17th- University and the University of Maryland, College century Italian and Spanish sacred repertoire in the Park, and is represented by Miguel Rodriguez of cathedrals of Quito during Holy Week. He advocates Athlone Artists. for the intimate connections created by chamber www.athloneartists.com/artists/jonathan-woody/ music and regularly presents recitals of classic and contemporary art song. He has worked closely with pioneers of the early music movement as well as the next generation, including Paul Elliott, Scott Allen Jarrett, Jeffrey Thomas, and . As one of the nation’s finest choral artists, he has appeared with 16 CHRISTMAS ORATORIO Part I: The First Day of Christmas Jauchzet, frohlocket, auf, preiset die Tage, BWV 248I Friday, 12.25.20 at 8 p.m. YouTube & Facebook Part II: The Second Day of Christmas Und es waren Hirten in derselben Gegend, BWV 248II Thursday, 1.7.21 at 8 p.m. on YouTube & Facebook Part III: The Third Day of Christmas Herrscher des Himmels, erhöre das Lallen, BWV 248III Thursday, 1.14.21 at 8 p.m. on YouTube & Facebook Part IV: New Year’s Day Fallt mit Danken, fallt mit Loben, BWV 248IV Thursday, 1.21.21 at 8 p.m. on YouTube & Facebook Part V: The Sunday After New Year’s Day Ehre sei dir, Gott, gesungen, BWV 248V Thursday, 1.28.21 at 8 p.m. on YouTube & Facebook Part VI: The Feast of the Epiphany

Herr, wenn die stolzen Feinde schnauben, BWV 248VI Thursday, 2.4.21 at 8 p.m. on YouTube & Facebook

6 ABOUT THE MUSIC: HOW SHALL I RECEIVE passions and with the style they expected from their composer. The oratorio, in contrast to the YOU? passions, was sunny and smiling, simple, and galant—even to the point of suggesting of doubt Modern interest in J. S. Bach as a composer of about Bach’s authorship. (Carl Philipp Emanuel church music owes a great deal to one celebrated Bach was suggested as a possible compiler, for moment: the Berlin performance of a version of example.) Its lighter style, aligning better with his St. Matthew Passion in 1829 under the musical secular music, was a source of puzzlement. direction of . The context And then they discovered the origin of was a concert, not a liturgy; and the performing much of the Christmas Oratorio in actual secular organization was the Berlin Sing-Akademie, a compositions—that Bach had reused music bourgeois amateur society that had been founded composed for other non-liturgical purposes, fitted in the late eighteenth century to promote the with new texts. This created multiple problems, if private study of great music from the past for the not a crisis. Not only was there the musical style of artistic and moral edification of its middle-class the oratorio to deal with, there was also the issue members. The effect was sensational, beginning the of originality, closely associated in the nineteenth restoration of Bach’s large-scale concerted vocal century with the concept of genius, and the music to the repertory. apparent clash of the solemn purpose of Bach’s To the concert repertory, that is—this music had sacred music with its frivolous secular origins. become largely unsuited to its original liturgical The complete edition of Bach’s works begun in purposes not long after Bach’s death. This was 1850 was forced to confront this in the preface only partly a matter of the notes; it was the text to its 1856 publication of the Christmas Oratorio. that created problems. Tastes in religious poetry The strategy of the editor, Wilhelm Rust, was to changed rapidly, making the wild and graphic emphasize the role of , which were both imagery of the Passion’s and arias dated sacred and original to the composition, and to and perhaps tasteless. Even the chorales became declare that the apparent secular origin of the outdated; the second half of the eighteenth century music was essentially a red herring. Bach knew all saw almost every hymn text revised to suit modern, along, he suggested, that the music he composed more rationalistic tastes. for those secular occasions would find use in By the 1820s, Bach’s passions and other concerted sacred works. Several problems disappeared with church music was historical, and it is no accident this assertion because the notes became sacred by that its revival was in concert performances their nature, conceived that way from the start and connected with cultural edification, with reverence remaining so whether used in a secular work or a for the past, and with a sense of that past as a sacred one. The originality problem was inherently foundation of German nationhood. The passions solved, too, because this explanation let Bach off came to stand alongside the preludes and the hook; if he had been planning to use this music of the Well-Tempered Clavier and a few organ in a sacred composition all along then there was works in representing Bach. They were regarded as no lack of imaginative genius anywhere in the serious and weighty, full of labyrinthine harmonies process. and contrapuntal complexities, as well as tragic, For commentators, there remained the lamenting, dramatic and morally uplifting. fundamental problem of the Christmas Oratorio’s Against this background, the Christmas Oratorio apparent lack of seriousness and weight was the last of Bach’s major vocal-instrumental compared to Bach’s passions, and for this there works to be rediscovered. As writers on Bach’s was an interpretive solution that dated from music encountered the Christmas Oratorio they the earliest critical writings on the work dating found it difficult to square with the music of the from the 1840s. The musical antiquarian Carl von 18 Winterfeld argued that Bach’s use of certain chorale melodies deepened the theological seriousness of the Christmas Oratorio, in particular by drawing the work closer to his passion settings. His principal example is the first chorale in the work, “Wie soll ich dich empfangen?” The text is a verse of an hymn that asks of Jesus, “How shall I receive you?” Bach set this chorale stanza to a melody that students of his music will certainly recognize, but the way Winterfeld identified it was essential. He called the melody “O Haupt voll Blut und Wunden,” familiar to many today in its English- language version, “O sacred head now wounded.” This text is closely associated with the passion story and indeed is a chorale for Holy Week; it was part of a series of hymns that each reflected on a different body part of Jesus. This was Winterfeld’s opening and he charged through it, expressing wonder at the sounding of the notes of a passion chorale in a Christmas oratorio. He then argued for the close theological relationship between Christmas and Palm Sunday, and by extension to the passion story itself. He suggested that Bach anticipated the passion (and the Passions) by juxtaposing Christmas hymns like “Gelobet seist du, Jesu Christ” and “Vom Hans Rottenhammer (1564-1625), Flower Garland Around a Painting Himmel hoch, da komm ich her” (both heard in of the Virgin and Child, 1608. the Christmas Oratorio) with a chorale melody associated with the crucifixion narrative. and again in popular and critical writings alike. There This interpretation accomplished several things. is just one problem: In eighteenth-century terms it For one it made Bach into a deep and serious is almost certainly wrong. It is true that the melody thinker about the nature of the Christmas story. Bach used for “Wie soll ich dich empfangen?” is today For another, it tempered the joyous exuberance of known as a passion chorale; in fact it is often called the Christmas Oratorio with something somber and The Passion Chorale, as if there were only one. But this presumably more fitting. Most importantly, it tied is a modern designation, and in fact one that almost the Christmas Oratorio, with its suspect lightness certainly comes from the very centrality of Bach’s and connections to secular music, firmly to Bach’s St. Matthew Passion in the repertory. In Bach’s time passions. This was particularly true because the the melody was used for numerous different texts St. Matthew Passion’s interpolated texts include no for different seasons, and tended to be identified as fewer than five verses of “O Haupt voll Blut und “Herzlich tut mich verlangen nach einem seel’gen End” Wunden” and one verse of another hymn that uses (I long in my heart for a blessed end). the same melody; in many ways this chorale tune TheChristmas Oratorio stanza “Wie soll ich dich stood for that passion setting. And of course the St. empfangen?” is the first of an Advent hymn. It was not Matthew Passion encapsulated everything that was in the Leipzig hymnal, but there was an option open valued about Bach. to Bach in setting it to music. Because hymn poetry This claim persists today—one runs across it again was regular and limited to a relatively small number 19 of metrical patterns and stanza lengths, a hymn This tipped the balance in the work towards the text could be sung to a variety of melodies. And in narrative and to the framing choruses and fact a 1736 hymnal published in Leipzig in which chorales. It inverts the emphasis of the original, in Bach had a hand suggests a tune for “Wie soll ich which commentary in the form of poetic movements dich empfangen”: “Herzlich tut mich verlangen,” the and chorales dominates. And with 200 chorus melody Bach used in the Christmas Oratorio. But it members and 50 instrumentalists, the Sing- is worth noting that the tune is not called “O Haupt Akademie’s performance of this version emphasized voll Blut und Wunden” there, and that the hymnal the powerful presentation of fully scored movements also suggests the tune for texts variously assigned performed by large forces. The result resembled to the evening, penitence, communion, Advent, the the cut-down versions of the St. Matthew Passion passion, divine sovereignty and providence, temporal presented by the organization; those performances suffering, praise and thanks, death, and the feast of also eliminated most of the work’s arias, and their the Purification. Each time it is identified not as “O overall effect was dominated by movements like Haupt voll Blut und Wunden” (the passion text) but the opening chorus and by the gospel narrative. The as “Herzlich tut mich verlangen,” a meditation on the elimination of so many of the Christmas Oratorio’s believer’s wish for death and eternal joy. To Leipzig arias helped temper aspects of the work that seemed listeners, this was not exclusively or even primarily a problematic (poetic texts and settings that called for passion melody solo vocal virtuosity) and drew the work closer to the Winterfeld made the same argument about the final form in which the St. Matthew Passion was known. chorale of part VI of the Christmas Oratorio, which The reception of theChristmas Oratorio has continued uses the same tune, this time splendidly set with to be influenced by that 1829 performance of trumpets and drums. The text, “Nun seid ihr wohl the St. Matthew Passion, which set the tone for gerochen,” is a verse of the Christmas hymn “Ihr the understanding of all of Bach’s sacred music. Christen auserkoren.” Like the first chorale in the The various strategies that appeared to bring oratorio it was not in the regular Leipzig hymnal, and the Christmas Oratorio closer to Bach’s passions its melody was probably not well known there. And succeeded in explaining a puzzling work, but they as with the first chorale, Bach chose a tune that fit established a particular perspective, inviting its the meter—the same one as he used for “Wie soll ich interpretation in relation to the passions. The dich empfangen.” Once again we are on shaky ground question posed in the Christmas Oratorio’s first in claiming that his listeners would have heard a chorale, “How shall I receive you?” is worth asking reference to the passion. We need to recognize that about the work itself. One answer is that we can this was an argument with a purpose: drawing the try to listen to it for its own merits; we do not have Christmas Oratorio closer to the Bach passions with to make Bach’s passion settings our first point of which it was implicitly and explicitly compared, and engagement with this matchless music. against which it had a hard time making a case for itself as a piece worthy of a devout composer. Daniel R. Melamed The Berlin Sing-Akademie did not perform the Daniel R. Melamed is professor at the Indiana University Jacobs Christmas Oratorio until 1857, the work’s first School of Music, and serves as president of the American Bach complete performance—Bach almost certainly never Society and director of the Bloomington Bach Cantata Project. performed the whole work himself at one stretch, The material here is adapted from his book for general readers but rather over the course of six days spanning nearly Listening to Bach: the Mass in B Minor and the Christmas Oratorio two weeks. This performance was not so complete, published by Oxford University Press. however. It traversed all six parts of the oratorio but cut 17 numbers. A few of the eliminated movements Want more? Click below to purchase Listening to Bach: the Mass in B Minor were chorale settings (but not the “passion chorale”!) and the Christmas Oratorio by Daniel R. Melamed online. and one was a passage of gospel narrative, but most of the cuts were in solo music: eight of the work’s 13 OUP AMAZON arias and four of its 10 instrumentally accompanied recitatives.

20 The Washington Bach Consort wishes to thank its generous donors: August 1, 2019–November 23, 2020 The Washington Bach Consort honors the members of the

L. Brent & Norma Bozell Dr.† & Mrs. J. Reilly Lewis Charles Reifel & Janie Kinney Margaret W. Webb David P. & Margaret Condit Mary Elizabeth Lewis James E. Rich, Jr. Dr. Elizabeth Weisburger† Shannon & Jim Davis Tamera Luzzatto Cecil “Cy” & Pearl Richardson† Sally Wells Susan Dillon Dr. Brian R. McNeill & William T. & Sally Semple John C. Wiecking Marilyn Wong Gleysteen Kathryn McKenzie Margaret Shannon Stephen C. Wright & Neil Graham Julia O’Brien Bernice & Reynold Stelloh† Thomas Woodruff Jill E. Kent & Mark E. Michael Ochs Lynn Trundle Colonel Ronald Villafranco† Solomons Bradley & Martha Olson Pierre & Claire Wagner † In memoriam Laura E. Phillips† Isabel T. Wallop

Members of the 1685 Society have made a planned gift—a gift through a will, revocable trust, retirement plan, or life insurance policy. After your lifetime, your gift will continue to support a cause that has been important to you and will extend the legacy of your interest and values. Contact us to learn more. Angels: $25,000+ Alfred S. Regnery* Norris & Miriam Keeler Anonymous (4) Mr. & Mrs. William T. Semple Charles Reifel & Janie Kinney Robert Beizer & Janet Risseeuw Joy & Jeff Spragens David A. Klaus Shannon & Jim Davis Catherine Ann Stevens In honor of Dana Marsh Reverend Elizabeth L. Carl & J. McKim & Susan Symington* Cathy & Mark Knepper Ms. Victoria Hill Sally L. Wells* Christopher Koontz DC Commission on the Arts and Humanities David & Becky Legge Tamera Luzzatto* Artists: $2,500+ Dr. & Mrs. J. Reilly Lewis* National Capital Arts and Cultural Affairs Capitol Hill Community Foundation Jan & Elizabeth Vickery Lodal Program C. John & Janet C. 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Lankford Bill & Michele Bukowski Kathleen M. Gallagher Reverend & Mrs. Wayne J. Lehrer Geoffrey L. Burkhart Edward Gardner Ms. Priscilla Little Dr. Gail Burnaford Nancy Garrison Thomas Manteuffel David G. Burwell Dr. Marjorie Ginsberg Lee & Lindsay Mataya Michael F. Butler Paula Goldman In honor of Chuck Reifel Mr. Richard Byess Margaret Gonglewski & John Heins Dr. Elizabeth H Maury Heidi Byrnes Susan Grad Dr. Helen H. McConnell Michael Calingaert Natalie Granger E. Wayne Merry Ms. Janet Hall John B. Graves Lee Monsein Michael Canning Tom & Margaret Greene Dan & Pat Moore Diana Capoluongo Roger Griffis Mr. Jeffrey Mora & Ms. Wendy Fuller-Mora Mr. Bruce Carrie Dr. Elizabeth Griffith Father Gabriel Myers Ms. Merrill Carrington Susan Grosser Barbara Negri Opper Oriana Casadei Corrado Gurgo Mark & Martha Orling Eric Chafin Anne Brooks Gwaltney Elizabeth A. Peterson Kay Chernush Mr. Karl Habermeier George Vercessi & Barbara Preston Mr. David A. Churchill James Hafner Mr. John A Purnell* Carol Clausen Eric Hager Mary D. Reed Dr. Warren Coats Donna Hamilton Raymond P. Rhinehart Douglas Cochrane Robert Harlow & Caroline Wolf Harlow Charles P. Rockefeller Karen C. Coe Dr. Judith M. Harper Ingrid Rose Ann Collier Dr. Miriam Harrington John & Linda Sibert Charles Collins Barbara Harvey Sherrod Sturrock Mr. & Mrs. Frank Correl Sheridan Harvey Mr. Brenan Swarz Marcia P. Crandall Edward & Evamaria Hawkins Mr. & Mrs. Viguen Terminassian Mrs. Celia F. Crawford Caroline Hayes Judith Tickner Maygene & Steve Daniels Lane Heard Lynn Trundle Vena Darling Kristine E. Heine Mr. Frederik van Bolhuis Paul Decker Scott Hempling Kathleen Wells Margot & David deFerranti Mr. Louis Hering J. Victoria Williamson Josephine F. de Give Hal Herzog 22 Patricia Hevner Michael Michaelis Sr Ann Imhah Schneider The Honorable Eric L. Hirschhorn Chris Miller Renee Schoof Gene Hix* Honorable Johnathan S. Miller Philip Schuler Melissa Hockstad Mr. David Miller Cate & Alan Schwartz Rebecca Hoecker Mrs. Diane Sauter Kathryn Seddon Miller Raymond Honeycutt Mr. & Mrs. Charles C. Moran Gerardo Segura In memory of Alice Fischer Tom Morante & Marianne Splitter David Seidman & Ruth Greenstein John Hood Mrs. Kathy Morgan Mark & Theresa Shaltanis John Howe William & Patricia Morgan Donald C. Shapero Joseph & Embry Howell Barbara Munford Dr. Adi Schmueli Joyce E. Howland Charitable Fund Barbara Murek Carol M. Sikkelee Richard Hunt George Murnu William Sittig Thomas Hunt Sheila A. Murphy Ellen Smith Mr. Edward Hurwitz Cathy A. Muse Gerald Smith Paul Isenman Carolyn Nagler James Smith Mr. Robert Jamroz & Reverend Dr. Bernard & Mrs. Nass Margaret F. Smith Mr. Jordan Morgenstern William & Vivian Neff Donald Snyder Mr. & Mrs. Nameer Jawdat Michael Nunn Dagobert Soergel Gabe Johnson Liam O’Brien Irene M. Solet & Adam C. Powell, III Mr. & Mrs. Clete Johnson Mark W. Olson Gwendolyn Sommer Mr. & Mrs. Douglas Rumble Karl Olsson Reverend Kate Sonderegger Dr. Kenneth Jones Theodora Ooms Dr. Marsha Spieth Ms. Grace E. Jones Prof. Julianne Owens Thomas & Diane Stanley Doris Kafka Mark & Dawn O’Brien* Ilse M. Stauffer Mr. & Mrs. Louis E. Kahn Ms. Susannah Patton Lina Steele Anna Karavangelos Peter Pavilionis Kathryn Stevens Maria Karvouni Laurence Pearl Melissa Stoll Joan Keenan B. Dwight & Suzanne Perry Dr. Jason Strudler Mary Keller Sophia Perry Douglas & Carol Stuart Francesca Kelly Marianne Pfeiffer* Rosmarie L. Stucki David & Anne Kendall Ellen Phillips Patrick J. Summers Robert H. Kessler & Swanee Busic Mrs. Patricia Pickard Kaiyu Sun David Keto & Beth Tomasello Thomas Pierce & Lu Ann Dillon Mr. John Teasdale Stephen Kitchen Dean Pineles Dr. Richard P. Tollo & Susan Knappertz Ms. Jessica Powell Eig Stacie J. Kreitman-Tollo François Kriegk David Pozorski & Anna Romanski Jane T. Udelson Richard Kuisel James Quinn Hans Vent Dominique Lallement* Paul Rabin In memory of Johannes Wicht Richard & Jeanne Lambert Mr. Charles W. Rahn Robert G. & Constanze C. Wales Deborah Lauritzen Kent Ravenscroft Joyce B Walker Mr. Bill Leahy Trent Reasons Mallory Walker In honor of Tamera Luzzatto Dr. Ivan Rebustini Isabel T. Wallop Steve & Rosalie Learned* Mary Reichhardt Mr. David Wasserman Jennifer Lewis Charles Reid Dr. Norma Wegner Martha Stecher Lewis Danna M. Reynolds Mrs. Ann Weissenborn Felice Susan Li Meredith Rice In memory of Ernest Weissenborn Ms. Frances Li Fred & Linda Richards John & Joan Westley Ms. Nina Liakos John C. Ring & Adriana van Breda John Christopher Wiecking Steve Linscheid Eleanor Roberts Elsa B. Williams Dr. Elizabeth Lloyd John Roberts JD Willson Janice Lockard Markley Roberts Edith C. Wolff Ellen Loughran Lynch Mary Ann Roberts Jacqueline Woody Margaret Colgate Love Thomas J. Roberts Linda & George Woolley Dr. Frances M. Lussier Wagner Roberts James Wright MD Thomas D. Lynch Linda & Richard Roeckelein Mary Wyrsch Mr. & Mrs. Alaster MacDonald Donald A. Roellke The Honorable Lis Young Mr. Richard Magraw Robert Rood Georgia Yuan Mr. Mark W. Mahnke Evelyn & Frederick Rooney Mr. & Mrs. Michael M. Zazanis Carol Marburger Ms. Suzanne Rooney Stephen Zilliacus Gisela Marcuse Jo Ellen & Mark Roseman Leonard & Karen Zuza Lynne Marsh Rebecca Rothey Mary Lynne Martin Helen Rothman Richard Martin Mr. & Mrs. Charles C Russell Jean & Lawrence Matthews Dr. Linda Salamon Donald H May Kim Saphire Susan McCloskey Liz Savage Mary McCutcheon Mary Lou Savage Margaret McKay Robert L. Savage Harvey Sohnen & Kathleen Meagher Patricia R. Schettino In honor of Marc Eisenberg Fred Schirrmacher Linda Mellgren Maria Schmiel *Contributed to the J. Reilly Lewis Legacy Fund 23 † In memoriam Board of Directors Richard Ayres, President Emmy Lewis Margarita Brose, Vice President Tamera Luzzatto Donald I. Baker, Secretary Robert McDowell James Rich, Treasurer Charles Reifel Robert Beizer The Honorable John D. Rockefeller IV L. Brent Bozell III Joy Spragens Shannon Davis Catherine Ann Stevens Toni Codinas Reinhard Wieck Glen S. Fukushima Stephen C. Wright

Staff Monica Daly, Patron Services Associate Marc Eisenberg, Executive Director Tim Laughlin, Artistic Administrator Janey Moskowitz, Director of External Affairs Taylor Tobak, Development Associate

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