BCAS 11803 Mar 2020 Program Rev3 28 Pages.Indd

ANTHONY BLAKE CLARK Music Director

SUNDAY, MARCH 1, 2020 Baltimore Choral Arts Society Anthony Blake Clark 54th Season: 2019-20 Sunday, March 1, 2020 at 3 pm Shriver Hall Auditorium, The Johns Hopkins University, Homewood Campus

Monteverdi Vespers

Anthony Blake Clark, conductor Leo Wanenchak, associate conductor Baltimore Baroque Band, Peabody’s Baroque Orchestra, Dr. John Moran and Risa Browder, co-directors Peabody Renaissance Ensemble, Mark Cudek, director; Adam Pearl, choral coach Washington Cornett and Sackbutt Ensemble, Michael Holmes, director The Baltimore Choral Arts Chorus James Rouvelle and Lili Maya, artists

Vespro della Beata Vergine Claudio Monteverdi

I. Domine ad adiuvandum II. Dixit dominus III. Nigra sum IV. Laudate pueri V. Pulchra es VI. Laetatus sum VII. Duo seraphim VIII. Nisi dominus

Intermission

IX. Audi coelum X. Lauda Ierusalem XI. Sonata sopra Sancta Maria ora pro nobis XII. Ave maris stella XIII. Magniﬁcat

2 Monteverdi Vespers is generously sponsored by the William G. Baker, Jr. Memorial Fund, creator of the Baker Artists Portfolios, www.BakerArtists.org.

This performance is supported in part by the Maryland State Arts Council (msac.org). Our concerts are also made possible in part by the Citizens of Baltimore County and Mayor Jack Young and the Baltimore Ofﬁ ce of Promotion and the Arts.

Our media sponsor for this performance is

Please turn the pages quietly, and please turn off all electronic devices during the concert. The use of cameras and recording equipment is not allowed. Thanks for your cooperation.

Notice: Baltimore Choral Arts Society, Inc. has leased or rented facilities from the Johns Hopkins University. However, Baltimore Choral Arts Society, Inc. and any programs operated by Baltimore Choral Arts Society, Inc. are not related to or afﬁ liated with the Johns Hopkins University in any way. Baltimore Choral Arts Society, Inc. is an entirely separate legal entity with no connection to the Johns Hopkins University aside from the temporary use of facilities for the speciﬁ ed program.

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4 Monteverdi Program Note Excerpts written by Clifford Bartlet

Monteverdi’s 1610 Vespers is unusually the city when he had a complicated challenging for those who find their publication to see through the press. It musical experience enriched by imagining has been suggested that the 1610 print the circumstances of a work’s original was intended to impress those who performance. There have been several appointed the maestro da cappella at the theories to account for its composition, Ducal Basilica of San Marco. But the but none of them has met with universal current holder of the position, Giulio approval. It is not even agreed that Cesare Martinengo, had been appointed it is a single composition rather than soon after the death of his predecessor an anthology of separately-created Giovanni Croce in May 1609, leaving movements. There is controversy how no time for applications from as far as the music in the 1610 edition should be Mantua. Although Martinengo’s health ordered and a host of specific problems and administrative abilities were poor, it of performance practice fundamentally is unlikely that there was time for rumors affect the whole character of the work. of his deficiencies to reach Monteverdi in time to compose anything specifically Location to impress the Venetians, though one Three cities have been associated with possibility might be that the “sacred the Vespers: Mantua (where Monteverdi concertos” were added to the collection was employed from about 1591 until to show that he was familiar with current 1612), Rome and Venice. styles of small-scale motets. Rome features little in Monteverdi’s Monteverdi was appointed as a member life, apart from the dedication of the of the ten-strong choir at the Gonzaga Vespers to the Pope and his visit there court at Mantua in 1591 and became in 1610. The dedication may have been maestro da cappella in 1601. He was intended to show that he would be a responsible for the music at the family suitable candidate for a senior papal church within the palace, Santa Croce. musical position. The Mass, in a learned He probably composed a considerable and polyphonic style, was certainly amount of church music, but none appropriate for conservative Vatican survives except what was published in ecclesiastical taste. Monteverdi might 1610. have expected the psalms to win favor for the way that they showed how the Vespers traditional change formulae could be The service of Vespers began with a combined with the latest compositional versicle and response and was followed style, though his music was like nothing by five psalms, a hymn and the else sung in Rome at the time. He may Magnificat. The hundred and fifty psalms have had other reasons for the dedication. were divided among the daily service so A letter he wrote on his return shows that the whole Psalter was recited each that at least one object of the visit was to week. This pattern was broken on major secure a scholarship at a seminary for his festivals, which had their own particular son Francesco; he also reports on singers groups of psalms. The psalms, originally there, so he may also have been acting as Hebrew hymns, were made more a talent scout for the Mantuan court. appropriate for Christian worship in two ways. A doxology was added to each Venice was the center of the music of them praising the Holy Trinity, and publishing industry. Amadino was his each psalm was framed by a generally- current publisher, and it would not biblical text (an antiphon) relating the be surprising for a composer to visit

5 psalm to its place in the church year. with the antiphon texts, did not belong By ancient tradition or special papal to the cycle of antiphons for any single license, different psalms and antiphons Marian feast. So it was postulated that from those of the Roman liturgy were the antiphons were extraneous items permitted. In Mantua, Santa Barbara that were merely thrown in as chamber had its own recently-created liturgy, music. But there were still problems, since while San Marco in Venice maintained the modes of the psalm setting do not long standing local customs, despite correspond with the modes of the chant papal disapproval. But other churches in antiphons of any feast, and some editions Mantua, including Santa Croce, followed have included antiphons whose modes the standard Roman practice for the match but which would never have been allocation of psalms and antiphons. sung together at a single service. When sung entirely in chant, the tone chosen Monteverdi’s publication provides for a psalm should agree with the mode music for the opening responses, the of the antiphon. Practice may have been five Marian Psalms, the hymn and the more lax, but Monteverdi seems almost Magnificat. He also includes a series of perversely to have avoided matching his smaller-scale pieces (the “sacred songs” psalms with the mode of the antiphons for of the title page) which are placed, in any of the Marian feasts. ascending order of the number of parts, between the psalms and look as if they The order of the items in the 1610 edition might well function as antiphons. When presents some liturgical problems. The editors and performers first started to Vespers pieces are printed in order of present the Vespers in a liturgical context, performances at Vespers, but the five this caused problems. The text of these psalms are each followed by a motet: a pieces, though sometimes corresponding paraliturgical vocal piece. We tend to call

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6 any short piece of renaissance polyphony is trying to show the full range of his a motet, but from 1600 the word was capabilities. The most conservative are used for settings for soloists that could the double-choir settings of Nisi Dominus be performed more informally. Three of and Lauda Jerusalem. In both, the cantus the psalms (Dixit, Laudate pueri and Nisi firmus is hardly varied; but the other Dominus) are followed by suitable Marian voices have an extraordinary rhythmic text. Duo Seraphim, however, is in honor suppleness and vitality, and that feature of the Holy Trinity, and cannot be justified is even more noticeable elsewhere. by association with the independent Generally, the textual declamation of Trinitarian Santa Barbara. The Sonata church music was relatively staid; the sopra Sancta Maria may perhaps function model for this aspect of the Vespers was as the antiphon to the Magnificat. If not so much previous church music as instrumental pieces are required, Cima’s the more subtle word-setting of vocal Concerti ecclesiastici (also of 1610) offers a chamber music. It is noticeable that choice of four pieces in an otherwise vocal even non-specialist modern choirs sing collection of motets. Concerto is a key the Vespers with much more vigor than word: it implies music in the new, post- they sing Palestrina and without the Peri and Caccini style, with one-to-a-part ecclesiastical patina of holiness – in terms performance. of mid-19th-century English practice, Style reversing chronology, more west gallery The work calls on a wide variety of than chancel. musical styles, almost as if Monteverdi

Artists’ Notes written by Lili Maya and James Rouvelle

We're making a video project that includes to visual media, an a-rational realm of entirely original footage shot in Italy, experience and thought exemplified in Fra Spain, and the US. Some of the imagery Angelico's work. is based on, and includes excerpts from To us the spirituality of the Vespers, and works by Fra Angelico, Jan Van Eyck, Aert part of its mystery, is evoked by activities van der Neer, and The Osservanza Master. of transfiguration (we understand this is an A great inspiration to us, in addition to the Orthodox/Alchemical concept — things music, was the painting of Fra Angelico. As Monteverdi would have been familiar we did some research into Fra Angelico's with). In Vespers the sacred and secular are work we found some incisive theoretical interlaced, as are the traditional and new writing by Georges Didi-Huberman. — a radical schema in its day. The work Didi-Huberman observed what he terms begins with a quotation from Monteverdi's dissemblance and figuration in Fra Angelico’s opera Orfeo, yet, unlike the serial working work. Didi-Huberman's writing can be out of the narrative found in his great found in Fra Angelico: Dissemblance and opera, Vespers seems to present a parallel/ Figuration. These ideas resonated strongly simultaneous meditation on the essence with our concept for the project. of spirit and the sublime, where objects What is evoked, experientially, is a are formations of spirit — God is not “in” meditation on materiality, essence, and things, things are “of” God. The practice of meaning. The quantity of marks — five the artist/alchemist/priest (Monteverdi, later flowers — echo the five wounds of Christ. in life, was definitely two, and may have Figurability has to do with experiences been all three) is to evoke this revelation, evoked from visual media that are unique not through argument, but via experience.

7 Peabody Opera Theatre Presents Giacomo Puccini’s Peabody Symphony La Rondine Orchestra Thursday, March 12 Peabody Singers Friday, March 13 Peabody-Hopkins Chorus Saturday, March 14 Saturday, May 9 7:30 pm 7:30 pm Sunday, March 15 4:00 pm Edward Polochick, conductor Ludwig van Beethoven: David Grabarkewitz, Mass in C major, Op. 86 stage director Modest Mussorgsky: Antony Walker, conductor Pictures at an Exhibition Tickets available April 1

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8 Program Text

1. Domine ad adiuvandum Deus, in adjutorium meum intende: Make haste, O God, to deliver me: Domine, ad adiuvandum me festina make haste, O Lord, to help me. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever et in sæcula sæculorum. Amen. shall be, without end. Amen. Alleluja. Allelujah.

2. Dixit Dominus Dixit Dominus Domino meo: The Lord said to my Lord, Sede a dextris meis: donec ponam inimicos sit at my right hand, until I make thine tuos scabellum pedum tuorum. enemies thy footstool. Virgam virtutis tuæ emittet Dominus The Lord shall send out the rod of thy ex Sion: dominare in medio inimicorum strength from Zion: rule thou in the midst of tuorum. thine enemies.

Tecum principium in die virtutis tuæ At thy beginning in thy day of glory in splendoribus sanctorum: in the splendour of the holy places, ex utero ante luciferum genui te. before the ﬁrst light I begat thee. Juravit Dominus, et non poenitebit eum: The Lord hath sworn, and will not repent: tu es sacerdos in æternum thou art a priest for ever secundum ordinem Melchisedech. after the order of Melchisedech.

Dominus a dextris tuis The Lord at thy right hand confregit in die iræ suæ reges. shall destroy kings in the day of his wrath. Judicabit in nationibus, implebit ruinas: He shall judge among the nations, ﬁll them conquassabit capita in terra multorum. with the dead, and smash heads in many lands.

De torrente in via bibet: He shall drink of the brook in the way: propterea exaltabit caput. thus shall he raise his head. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever et in sæcula sæculorum. Amen. shall be, without end. Amen.

3. Nigra Sum Nigra sum sed formosa ﬁlia Jerusalem. I am a black but comely daughter of Jerusalem. Ideo dilexit me rex Therefore the king hath delighted in me et introduxit in cubiculum suum et dixit and brought me to his chamber and said mihi: to me: Surge, amica mea, et veni. Arise, my love, and come. Jam hiems transiit, imber abiit, et recessit. For the winter is passed, the rain is over and gone; Flores apparuerunt in terra nostra, Flowers have appeared in our land, tempus putationis advenit. The tune of pruning is at hand.

9 4. Laudate Pueri Domine Laudate, pueri, Dominum: Praise the Lord, ye servants: laudate nomen Domini. praise the name of the Lord. Sit nomen Domini benedictum, Blessed be the name of the Lord, ex hoc nunc, et usque in sæculum. from this time forth for evermore. A solis ortu usque ad occasum, From the rising to the setting of the sun, laudabile nomen Domini. the Lord’s name be praised. Excelsus super omnes gentes Dominus, The Lord is high above all nations, et super coelos gloria ejus. and his glory above the heavens. Quis sicut Dominus Deus noster, qui in Who is like the Lord our God, who altis habitat, dwelleth on high, et humilia respicit in coelo et in terra? Yet respecteth humbly what is in heaven Suscitans a terra inopem, He raiseth the simple from the dust, et de stercore erigens pauperem: and lifteth the poor from the mire. Ut collocet eum cum principibus, That he may set him with princes, cum principibus populi sui. even the princes of his people. Qui habitare facit sterilem in domo, Who maketh the barren woman to keep matrem ﬁliorum lætantem. house, a joyful mother of children. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and et in sæcula sæculorum. Amen. ever shall be, without end. Amen.

5. Pulchra Es Pulchra es, amica mea, Thou art beautiful, my love, suavis et decora ﬁlia Jerusalem. a sweet and comely daughter of Jerusalem. Pulchra es, amica mea, suavis et decora Thou art beautiful, my love, sweet and sicut comely as Jerusalem, terribilis ut castrorum acies Jerusalem, terrible as an army arrayed for ordinata. battle. Averte oculos tuos a me, Turn thine eyes from me, quia ipsi me avolare fecerunt. for they make me ﬂee away.

6. Lætatus Sum Lætatus sum in his, quæ dicta sunt mihi: I was glad when they said to me: in domum Domini ibimus. we will go into the house of the Lord. Stantes erant pedes nostri, in atriis tuis, Our feet shall stand in thy gates, O Jerusalem. Jerusalem. Jerusalem, quæ ædiﬁcatur ut civitas: Jerusalem, that is built as a city cujus participatio ejus in idipsum. that is at one with itself. Illuc enim ascenderunt tribus, For thither the tribes go up, tribus Domini testimonium Isræl the tribes of the Lord, to the testimony of ad conﬁtendum nomini Domini. Isræl, to give thanks to the name of the Lord. Quia illic sederunt sedes in judicio, For there are the seats of judgement, sedes super domum David. the thrones of the house of David.

10 Rogate quæ ad pacem sunt Jerusalem: Pray for the peace of Jerusalem: et abundantia diligentibus te. they shall prosper that love thee. Fiat pax in virtute tua: Peace be within thy walls, et abundantia in turribus tuis. and plenty within thy palaces. Propter fratres meos, et proximos meos, For my brethren, and my companions, loquebar pacem de te: I will seek peace for thee. Propter domum Domini Dei nostri, For the house of the Lord our God, quæsivi bona tibi. I will seek to do thee good. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and et in sæcula sæculorum. Amen. ever shall be, without end. Amen.

7. Duo Seraphim Duo Seraphim clamabant alter ad alterum: Two seraphim cried to one another: Sanctus, sanctus, sanctus, Dominus Deus Holy, holy, holy is the Lord God of Sabaoth. Sabaoth. Plena est omnis terra gloria ejus. The whole earth is full of his glory. Tres sunt, qui testimonium dant in coelo: There are three who bear witness in heaven: Pater, Verbum et Spiritus Sanctus: the Father, the Word, and the Holy Spirit: et hi tres unum sunt. and these three are one. Sanctus, sanctus, sanctus, Dominus Deus Holy, holy, holy is the Lord God of Sabaoth. Sabaoth. Plena est omnis terra gloria ejus. The whole earth is full of his glory.

8. Nisi Dominus Nisi Dominus ædificaverit domum, Unless the Lord built the house, in vanum laboraverunt qui ædificant eum. they labour in vain who build it. Nisi Dominus custodierit civitatem, Except the Lord keep the city, frustra vigilat qui custodit eam. he watcheth in vain who keepeth it. Vanum est vobis ante lucem surgere: It is vain for you to rise before dawn: surgite postquam sederitis, rise later, qui manducatis panem doloris. ye who have eaten the bread of sorrows; Cum dederit dilectis suis somnum: When he will give sleep to his chosen. ecce, hæreditas Domini filii: Lo, children are an heritage of the Lord; merces, fructus ventris. a reward, the fruit of the womb. Sicut sagittæ in manu potentis: As arrows in the hands of the mighty, ita filii excussorum. thus are the children of outcasts. Beatus vir qui implevit desiderium suum Blessed is the man whose quiver is full of ex ipsis: them: non confundetur cum loquetur they shall not be ashamed when they confront inimicis suis in porta. their enemies in the way. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and et in sæcula sæculorum. Amen. ever shall be, without end. Amen.

11 The Season of BAROQUE’S GREATEST HITS continues in 2020! A HAYDN AFFAIR | MARCH 1, 2020 10TH ANNUAL BACHFEST Heiligmesse, Missa Sancti Bernardi von Offi da FUNDRAISER | APRIL 5, 2020 “Surprise Symphony,” Symphony No. 94 The 10th Annual Bachfest Fundraiser in G major directly follows the Oboe Lovers’ Towson United Methodist Church Delight concert and includes a buffet 501 Hampton Lane dinner, an open bar, a raffl e, and a silent Join us for BACH’S BIRTHDAY PARTY auction. All proceeds from the raffl e and FUNDRAISER at Gertrude’s! silentauction go directly to support Bach March 19, 2020 | 5 pm – 9 pm in Baltimore. Celebrate Bach’s Birthday with fellow Bach TICKETS: $50 per person, all inclusive. lovers at a special dinner at Gertrude’s Tickets for concert and fundraiser are Chesapeake Kitchen. Up to 20% of the not sold separately. proceeds will be given directly to Bach Zion Lutheran Church | 400 E. Lexington St. in Baltimore. Give back to Bach and wish B MINOR MASS | MAY 3, 2020 the Baroque master a Happy 335! Bach’s celebrated crown jewel! Reservations are suggested. Towson United Methodist Church Call 410-889-3399. 501 Hampton Lane Gertrude’s Chesapeake Kitchen 10 Art Museum Drive SUMMER SUNSET | JUNE 7, 2020 Zelenka’s Hipocondrie à 7 Concertanti OBOE LOVERS’ DELIGHT in A major APRIL 5, 2020 Handel’s Concerto Grosso in B-fl at major Bach’s Orchestral Suite No. 1 in C major and Concerto Grosso in D major Vivaldi’s Concerto for two oboes Vivaldi’s Flute Concerto No. 1 in F major, Albinoni’s Concerto for two oboes La tempesta di mare and Concerto for Op 9, No. 9 three violins in F major Bach’s “Air on the G String” Church of the Redeemer | 5603 N. Charles St. Zion Lutheran Church | 400 E. Lexington St. All performances begin at 4:00 p.m. For tickets and information, visit BachinBaltimore.org or call 410.941.9262. Bach In Baltimore is supported by a grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Bach in Baltimore acknowledges the William G. Baker, Jr. Memorial Fund, creator of the Baker Artists Awards, BakerArtistsAwards.org. Bach in Baltimore is supported in part by grants from the Eddie C. & C. Sylvia Brown Family Foundation, Citizens of Baltimore County, Creative Baltimore Fund, Harford County Cultural Arts Board, Howard County Arts Council, Lois & Philip Macht Family Philanthropic Fund, the Peggy & Yale Gordon Trust and Venable Foundation.

12 9. Audi Coelum Audi, coelum, audi verba mea plena Hear, O heaven, hear my words full desiderio et perfusa gaudio. Audio of longing and pervaded by joy. I hear Dic, quæso, mihi: Quæ est ista Tell me, I pray, who is she quæ consurgens ut aurora rutilat, that shines like the dawn in her rising, ut benedicam? Dicam that I might bless her? I will tell Dic nam ista pulchra ut luna, Tell me, for she, beauteous as the moon, electa ut sol, replet lætitia radiant as the sun, ﬁ lls with joy the earth, terras, coelos, maria. Maria heavens and seas. Mary Maria virgo illa dulcis prædicta de Mary, that sweet virgin foretold by the prophet propheta Ezekiel, porta orientalis? Talis Ezekiel, the gateway to the East? Even she Illa sacra et felix porta per That sacred and happy portal through quam mors fuit expulsa which death was driven out introducta autem vita? Ita and life brought in? Even so Quæ semper tutum est medium She who is always a sure intermediary inter homines et Deum between men and God, pro culpis remedium? Medium the cure for our sins? The Mediator Omnes hanc ergo sequamur qua cum Let us all therefore follow her through gratia mereamur vitam æternam. whose grace we may be granted eternal life. Consequamur. Sequamur Let us go with her. Let us follow Præstet nobis Deus, Pater hoc et Filius May God help us, God the Father, and the Son, et Mater cujus nomen invocamus dulce and the Mother on whose sweet name we miseris solamen. Amen call as a comfort to the wretched. Amen Benedicta es, virgo Maria, Thou art blessed, virgin Mary, in sæculorum sæcula. for ever and ever.

13 10. Lauda Jerusalem Lauda, Jerusalem, Dominum: Praise the Lord, O Jerusalem; lauda Deum tuum, Sion. praise thy God, O Zion.

Non fecit taliter omni nationi: He hath not dealt so with any nation; et judicia sua non manifestavit eis. and his judgments he hath not made manifest.

Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever et in sæcula sæculorum. Amen. shall be, without end. Amen.

11. Sonata Sopra “Sancta Maria” Sancta Maria, ora pro nobis. Holy Mary, pray for us.

12. Ave Maris Stella Ave maris stella, Hail, star of the sea, Dei Mater alma bountiful mother of God Atque semper Virgo and ever Virgin, Felix coeli porta. happy gate of heaven. Sumens illud Ave Taking that Ave Gabrielis ore, from the mouth of Gabriel, Funda nos in pace, preserve us in peace, Mutans Evæ nomen. giving Eve a new name. Solve vincla reis, Loose the chains of the bound, Profer lumen cæcis, bring light to the blind, Mala nostra pelle, drive out our ills, Bona cuncta posce. invoke all things good. Monstra te esse matrem, Show thyself to be a mother, Sumat per te preces, may he who was born for us Qui pro nobis natus, receive our prayers through thee. Tulit esse tuus. Virgo singularis, Singular virgin, Inter omnes mitis, more gentle than all, Nos culpis solutos, absolve us from sin and Mites fac et castos. make us gentle and pure. Vitam præsta puram, Grant us a pure life, Iter para tutum, prepare a safe way, Ut videntes Jesum that in seeing Jesus Semper collætemur. we may rejoice forever. Sit laus Deo Patri, Praise be to God the Father, Summo Christo decus, glory to Christ on high, Spiritui Sancto and with the Holy Spirit Trinus honor unus. Amen. one triple honour. Amen.

14 13. Magniﬁ cat Magniﬁ cat anima mea Dominum: My soul doth magnify the Lord, et exultavit spiritus meus in Deo salutari and my spirit hath rejoiced in God my meo. saviour. Quia respexit humilitatem ancillæ suæ: For he hath regarded the lowliness of his ecce enim ex hoc handmaiden: for behold from henceforth beatam me dicent omnes generationes. all generations shall call me blessed.

Esurientes implevit bonis: He hath ﬁ lled the hungry with good things, et divites dimisit inanes. and the rich he hath sent empty away. Suscepit Isræl puerum suum, He hath sustained Isræl his servant, recordatus misericordiæ suæ. remembering his mercy. Sicut locutus est ad patres nostros, As he promised to our forefathers, Abraham et semini ejus in sæcula. Abraham and his seed forever. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever et in sæcula sæculorum. Amen. shall be, without end. Amen.

Choral Arts ON T UR! 2019-20 SEASON Astonishing Journeys | Timeless Masterpieces Baltimore Choral Arts traveled to England on Baltimore Choral Arts charts thrilling musical voyages in our 54th season, Januaryperforming 10, choral 2020, masterpieces prompted from America, by England, an Hungary,invitation Italy, to and Austria. Our tour theme also extends to our new concert home at performShriver Hall Mahler’s Auditorium and “Symphony a tour to England. of a Thousand” with the City of Birmingham Symphony Orchestra as AN AMERICAN SUITE: MONTEVERDI VESPERS partFROM of BILLINGS their 100thTO BERNSTEIN anniversarySUNDAY, celebration. MARCH 1, 2020 AT Our 3 PM chorusSUNDAY, NOVEMBER and guests 3, 2019 AT 3 traveled PM allSHRIVER throughout HALL AUDITORIUM the SHRIVER HALL AUDITORIUM Baltimore Baroque Band, country,Henry Balfour Gardiner sight-seeing Evening Hymn and absorbingPeabody’s Baroque the Orchestra, English Peabody Renaissance Ensemble, Zoltán Kodály Laudes Organi Washington Cornett and Sackbutt Ensemble, American Suite culture. Our singers also performedMaryland Institute concerts College of the Arts at the William Billings Invocation In Baltimore Choral Arts’ second collaboration StTraditional, Martin-in-the arr. Alice Parker Hark, I HearFields the Harps and the U.S. Embassy Eternal with MICA, their graduate students will add multi- Leo and Blake inSusan London LaBarr , as wellGrace Before as Sleep Mertonsensory College images to this Baroque Chapel masterpiece. in greeting us in Ēriks Ešenvalds Stars Claudio Monteverdi Vespro della Beata Vergine Beefeater attire. OxfordDavid Conte UniversityThe Compos aser a partMOZART of this REQUIEM 10-day tour. Anthony Blake Clark Higher Ground SUNDAY, MAY 17, 2020 AT 3 PM Bono, arr. Bob Chilcott MLK SHRIVER HALL AUDITORIUM Aaron Copland Stomp Your Foot Zion’s Walls Steven Soph, tenor and Philip Munds, horn Leonard Bernstein “Make our Garden Wolfgang A. Mozart Horn Concerto No. 1 Grow” from Candide in D major, K. (412+514)/386b CHRISTMAS WITH CHORAL ARTS Benjamin Britten Serenade for Tenor, Horn and Strings, Op. 31 TUESDAY, DECEMBER 3, 2019 AT 7:30 PM THE BALTIMORE BASILICA Mozart Requiem in D minor, K. 626 Holiday choral favorites in the historic and inspiring setting of The Baltimore Basilica continue a 36-year tradition.

JOIN US ON TOUR! JANUARY 1020, 2020 Baltimore Choral Arts is touring England, highlighted by a prestigious invitation to sing Mahler’s “Symphony of a Thousand” at the City of Birmingham Symphony Orchestra’s 100th anniversary celebration. The Chorus will also perform at venues in London and Oxford.

Notice: Baltimore Choral Arts Society, Inc. has leased or rented facilities from the Johns Hopkins University. However, Baltimore Choral Arts Society, Inc. and any programs operated by Baltimore Choral Arts Society, Inc. are not related to or afﬁliated with the Johns Hopkins University in any way. Baltimore Choral Arts Society, Inc. is an entirely separate legal entity with no connection to the Johns Hopkins University aside from the temporary use of facilities for the speciﬁed program. SUBSCRIPTIONS NOW ON SALE! BaltimoreChoralArts.org | 4105237070

Visit www.baltimorechoralarts.org/choralartsontour to see all the tour photos, videos, and reviews of the CBSO Mahler 8 performance, as well as a full blog describing each day of our trip. You can also see more content on our Facebook page @BaltimoreChoralArts and #ChoralArtsonTour!

15 Baltimore Choral Arts Society and Music Director Anthony Blake Clark

The Baltimore Choral Arts the music of Handel broadcast on Radio Society, now in its 54th season, is Suisse Romande. one of Maryland's premier cultural In 2010, Choral Arts released Christmas institutions. The Symphonic Chorus, at America’s First Cathedral on Gothic Chorus, and Chamber Singers perform Records, recorded at the Baltimore throughout the Mid-Atlantic region, Basilica, which includes familiar as well as in Washington, D.C., New Christmas favorites as well as premieres York, and in Europe. In his third season by Rosephanye Dunn Powell and James as Music Director, Anthony Blake Lee, III. A recording with Dave Brubeck, Clark has established new, large-scale featuring Brubeck’s oratorio, The Gates collaborative performances with of Justice, was released internationally on Maryland Institute College of Art, the NAXOS label in 2004; Choral Arts is Maryland State Boychoir, and Peabody also featured on Introducing the World of Youth Orchestra. In January of 2020, American Jewish Music on Naxos. Choral Choral Arts went on its first England Arts has two other recordings in current tour, with a prestigious invitation to release: Christmas with Choral Arts and perform with the City of Birmingham a live recording of the Rachmaninoff Symphony Orchestra. All-Night Vigil. The Baltimore Choral Arts Society Currently leading his third season provides a number of thoughtful as Music Director of the nationally and impactful music education acclaimed and Emmy Award-winning programs that serve youth in and Baltimore Choral around Baltimore. These programs Arts Society, include CoroLAB, a new partnership conductor with Overlea High School and and composer Baltimore City College's choral music Anthony Blake programs; Vocal Fellows, an expanded Clark enjoys a professional development program for reputation as one early-career singers; Student Composer of the freshest Project, a competition for high-school young voices in and college composers; and Christmas classical music. for Kids. Through these four primary educational programs, Choral Arts During his tenure with the Baltimore serves the very young to early-career Choral Arts Society, Anthony Blake adult musicians. Clark received rave reviews for their own programs, prepared them for For the past 23 years, WMAR performances with the Baltimore Television, the ABC network affiliate Symphony Orchestra , led them on an in Maryland, has featured Choral Arts enthusiastically received UK tour which in an hour-long special, Christmas with culminated in the prestigious invitation Choral Arts, which won an Emmy to perform Mahler's 8th Symphony Award in 2006. The ensemble has been with the City of Birmingham featured frequently on The First Art Symphony Orchestra (UK), and made (Public Radio International), Performance his television conducting debut with Today (National Public Radio) and VOX ABC’s Christmas with Choral Arts holiday (XM Radio). In Europe, Choral Arts production. The premiere choral was featured in a program devoted to organization in the Baltimore region, it 16 reaches more than 45,000 people each Halsey, CBE at the United Kingdom’s year and is an integral part of the fabric University of Birmingham, which of Baltimore’s performing arts scene. conferred his Masters of Music Degree Mr. Clark is also Director of Choral in 2015. Activities in The George Washington University’s Corcoran School of Art While a graduate student, he helped and Design, where he conducts the administer the choral ensembles on University Singers and Women's campus, conducted the University Ensemble, and mentors student Camerata and was a member of the conductors. His university choirs have famed City of Birmingham Symphony performed at the Kennedy Center, the Chorus, singing under the batons of National Cathedral, and St. Nicholas Sir Simon Rattle, Edward Gardiner, Church in Prague. Andris Nelsons and Gianandrea Noseda. His time in England also Appreciated for his scrupulous attention included employment by the CBSO to detail, Anthony Blake Clark has to conduct its Arts Champion prepared choruses for esteemed maestri Community Choir as part of an Sir John Eliot Gardiner, Simon Halsey, initiative to create a community CBE and , Marin Alsop, and Mirga Chorus network across the city, Gražinyt-Tyla, for concerts with conducting the London Symphony internationally renowned ensembles, Chorus “Come and Sing Day,” took including the Baltimore Symphony rehearsals for the CBSO Chorus and Orchestra, Berliner Philharmoniker, led the Barber festival Sinfonia in its City of Birmingham Symphony annual summer festival performance. Orchestra and Rundfunk Chor Berlin. At New York City’s Lincoln Center for Anthony Blake Clark is a frequent the Performing Arts, he was recently clinician and has led sessions for one of several conductors for David Historic Christchurch Alexandria, Lang’s 1,000-voice the public domain, the Deer Creek Chorale and high working under his mentor Simon school choirs in Maryland, New Halsey; he returned as chorusmaster York and Texas. Recently, he made for the 2018 premiere of John Luther his debut with the Symphony Adams’ In the Name of the Earth. Clark is Orchestra of Northern Virginia. Mr. equally adept in the orchestral field and Clark also has extensive training in has served as cover conductor for the festivals and workshops under master National Symphony Orchestra, assisting tutors. He was granted a Fellowship conductors such as Ton Koopman, to conduct in the Yale School of Gianandrea Noseda, and Christoph Music’s Norfolk Music Festival, led Eshenbach. by Simon Carrington, with whom he also worked in the Sarteano Choral A native of Texas, Anthony Blake Clark Workshop. In London, he participated attended Baylor University School of in an orchestral conducting program Music, where he studied composition. that culminated in a performance While still an undergraduate, he began of Mozart’s Symphony #41 with the his professional conducting activity London Classical Soloists. by co-founding The Texas Baroque Ensemble, presenting in and around An active composer, Anthony Blake San Antonio a wide range of repertoire Clark has had his scores performed in from the Baroque and Classical eras. the Washington, D.C. area, throughout Mr. Clark completed a Master's Degree London, Oxford, Texas, and at Prague’s in Choral Conducting under three- Dvorák National Museum Concert time Grammy Award winner Simon Hall. Most recently, his music has been

17 premiered by Maryland’s Baltimore Baltimore. He developed and is musical Choral Arts Society and National director of the ParkinSonics Choral Philharmonic Chamber Singers. His Ensemble for the Maryland Association chamber piece Incidental Music on the for Parkinsons Support, in conjunction Pied Piper of Hamelin won the Robert with the Johns Hopkins Center for Browning Bicentennial Composition Music and Medicine. He has served as Contest and was performed on a concert Director of the Children’s Chorus of series on the Baylor University campus. Maryland, The Maryland Camerata at the University of Maryland Baltimore Leo Wanenchak, County, and on the faculty of the associate conductor, Peabody Preparatory Department as is an accomplished Director of Arts for Talented Youth. conductor, pianist, Formerly the Academic Dean and organist, vocalist, Director of The Walden School’s educator, composer, Choral Program, with the founding and clinician. He generation of the Walden School, has been with the Leo founded Avivo.com: Creative, Choral Arts Society Comprehensive & Customized since 2000. Leo has prepared the Chorus Education for Musicians. Throughout for appearances with the Baltimore the United States, Leo’s appearances Symphony under conductors Marin include performances at Carnegie Hall, Alsop, Jack Everly, John Storgårds, and Riverside Church and Grace Cathedral. Yuri Temirkanov. Mr. Wanenchak is Performances abroad have brought him the director of The Larks, a women’s to France, Greece, The Netherlands and vocal ensemble and community Romania. He sustains a large private service project of the Junior League of teaching studio in Bolton Hill.

The Board of Directors and Staff

Members Gordon H. Glenn Michael Anselmi, Jr. Nathanael D. Hartland, Esq. Jeffrey A. Austin Julia Keller Polly E. Behrens Susan R. Maseth Charles Berardesco Ryan B. Moran Conductor’s Council Ellen N. Bernard James Piper, III Mrs. E. Phillips Hathaway Sandra D. Boyd Russell R. Reno, Jr., Esq. John Martin Jones, Jr. Christine Collins Peter V. Savage M. Carter Franke Richard A. Dellheim, Esq. P. David Sowell Andrew Erman Alan Sweatman, M.D.

Ofﬁcers Staff Lauren Madsen, President Anthony Blake Clark, Music Director Anne Bear Powell, Secretary Leo Wanenchak, Associate Conductor Dennis P. Cole, Jr. Treasurer Tom Hall, Music Director Emeritus Carmen Fonda, Vice President Jack A. Fishman, Executive Director Julia Malecki, Development Director Karena Ingram, Audience Development Manager Ray Spitznas, Financial Administrator

1316 Park Avenue • Baltimore, MD 21217 • 410-523-7070 Visit our website: www.BaltimoreChoralArts.org e-mail: [email protected]

18 Guest Artists

Hailed as “technically polished, rich of Modern Musick, in residence at in color and refined nuances” by Tim Georgetown University. He is a longtime Smith (Baltimore Sun, 28 January 2015), principal player and sometime guest Baltimore Baroque Band (BBB) is director with the Washington Bach the baroque orchestra of the Peabody Consort. He is the co-creator of the Conservatory of Music. Working side-by- group’s Wunderkind Projekt, an outreach side with their professors, students learn program that introduces DC Public to play in a conductor-less large ensemble School students to Bach cantatas. He has that combines the commitment and performed and recorded with many of attentiveness of chamber music with the the leading period-instrument ensembles discipline of orchestral playing. BBB has in Europe and North America. The played a critical role in introducing many Washington Post has called his Bach of these students, majors and non-majors “eloquent” and praised the “bravado” of alike, into the professional world of early his Boccherini and the “nimble fluency” music. Highlights from recent seasons of his Vivaldi, while the LA Times include Bach’s St. John Passion, Handel’s has written, “Cellist Moran projected Giulio Cesare with Peabody Opera, vigorous and expressive bass lines.” He Charpentier’s Messe de Minuit, Purcell’s keeps busy with writing and editing Birthday Ode: Come Ye Sons of Art with the projects, and is currently president of the Peabody Renaissance Ensemble, and this Kindler Cello Society of Washington, DC, year’s critically acclaimed performances and vice president of the Viola da Gamba with Peabody Opera of Charpentier’s Society of America. He is married to the Le mariage forcé and La descente d’Orphée violinist Risa Browder. aux enfers. Risa Browder, John Moran enjoys a violinist and violist, broad- ranging musical whose playing The career. He holds Washington Post has performance degrees called “flavorful and from Oberlin and expressive,” grew up the Schola Cantorum in Princeton, New in Basel and a Ph.D. Jersey. She received in musicology from her Bachelor of Music degree from King’s College London. His formative Oberlin Conservatory, an A.R.C.M. teachers include Brigitte Czernik- from the Royal College of Music in Gruenther, Robert Ashby, Richard London, and studied at the Schola Kapuscinski, Catharina Meints, and Cantorum Basiliensis (Basel, Switzerland). Hannelore Mueller. He teaches viol, Her principal teachers were Marilyn Baroque cello, and musicology at McDonald, Catherine Mackintosh, and Peabody Conservatory, where he and Jaap Schroeder. After nine years in Europe Risa Browder are founding co-directors of where she performed and recorded the school’s critically acclaimed Baltimore with many notable period instrument Baroque Band. Early Music America ensembles, and where her two sons recognized them for this work as joint were born, she returned to this country recipients of its 2018 Thomas Binkley and currently lives in Arlington, Virginia. Award for outstanding achievement by a She performs frequently with the Folger university early music ensemble director. Consort, Washington Bach Consort, the National Cathedral Baroque Orchestra, As a core member of REBEL, he tours and REBEL. An active teacher, Ms. extensively and can be frequently heard Browder directs the orchestras at the on the radio. He is artistic director 19 H-B Woodlawn Program in Arlington, Renaissance Chamber Ensemble (students) teaches baroque violin and viola at the and Peabody Consort (alumni) which have Peabody Conservatory, and co-directs toured the Dominican Republic, Italy, the Baltimore Baroque Band, Peabody’s Japan, and Taiwan. acclaimed baroque orchestra, for which work she and her husband John Moran Mark has performed with Apollo’s were joint recipients of Early Music Fire (Cleveland Baroque Orchestra), America’s 2018 Thomas Binkley Award. Catacoustic Consort, Folger Consort, and Hesperus, and in his youth, worked as a The Peabody Renaissance Ensemble café guitarist in the Virgin Islands. Selected (PRE) was founded in 1988 at the Peabody festival appearances are the Boston Early Institute of Johns Hopkins University by Music Festival, Glasgow International its director, Mark Cudek.. PRE is comprised Early Music Festival, Ottawa International of students and staff of Peabody and Chamber Music Festival, and Tage Alter the Johns Hopkins University as well as Musik/ Regensburg, with appearances guests from the Baltimore-Washington at the Kennedy Center, Metropolitan early music community. PRE consists Museum, National Theatre of Panama, of a vocal ensemble and instrumental and Vienna Konzerthaus. Mark has consorts of violas da gamba, recorders, recorded over twenty-five CDs on the lutes and guitars, and most recently Dorian, Eclectra, Koch International, Linn, flute and sackbut. PRE alumni have and Windham Hill labels. performed with Alkemie, Apollo’s Fire, Baltimore Consort, Folger Consort, Adam Pearl (choral coach) is an award- Hesperus, Les Arts Florissant, New winning early keyboard specialist and York Collegium, Philharmonia Baroque director who is in demand as a performer Orchestra, Washington Bach Consort, of both solo and ensemble music. He has Waverly Consort et al and include two performed throughout the United States GRAMMY-winners. as well as in Europe, South America, and Asia. Pearl has been principal Mark Cudek harpsichordist for Philadelphia’s baroque is Chair of the orchestra, Tempesta di Mare, since 2005. Historical Performance He also performs with ensembles such as Department at the Chatham Baroque, the Folger Consort, Peabody Conservatory, the Catacoustic Consort, the American Artistic Director of Bach Soloists, the Bach Sinfonia, Modern the Indianapolis Early Musick, and various modern symphony Music Festival, and orchestras. He has recorded on the a founding member Chandos, Dorian, and Plectra labels. of the Baltimore Consort. In recognition of his work as Founder/Director of the A lover of Baroque opera, Pearl has Peabody Renaissance Ensemble and the directed numerous productions with High School Early Music Program at the American Opera Theater and Peabody Interlochen Arts Camp, Mark received Chamber Opera. From the keyboard, he from Early Music America the 2001 has led performances of Blow’s Venus and Thomas Binkley Award and the 2005 Adonis, Purcell’s Dido and Aeneas, Cavalli’s Award for Outstanding Contribution to La Calisto and La Didone, Monteverdi’s Early Music Education. He is the 2014 L’Incoronazione di Poppea, Charpentier’s recipient of the Johns Hopkins University David et Jonathas, and Handel’s Acis and Alumni Association’s Global Achievement Galatea, Giulio Cesare and fully staged Award and in 2019 was promoted to the productions of Messiah and Jephtha. rank of Full Professor. Pearl is a member of the Historical Mark is also director of the Peabody Performance faculty at the Peabody Conservatory. His duties include teaching 20 harpsichord, coaching ensembles, vocal fanfares and flourishes for ceremonial coaching, teaching classes in continuo, occasions. https://www.earlybrassdc.org/ baroque ornamentation, harpsichord tuning, and harpsichord literature. Maya + Rouvelle is a collaboration He directs the Peabody Renaissance between Lili Maya and James Rouvelle Ensemble’s singers and directs Baroque that began in 2009 in New York. They opera productions. He also has taught at work in a variety of media and forms, various early music workshops, including including installation, performance, object the Amherst Early Music Festival, the making, and intervention. Their current Madison Early Music Festival, and the body of work explores the presence Rocky Ridge Music Festival. of the ancient and eternal within the contemporary and ephemeral. Their Considered one of the premiere works have been shown nationally and ensembles of its kind in North internationally, and recent venues include America, the Washington Cornett the Cooper-Hewitt in New York, Palais and Sackbutt Ensemble (WCSE), de Tokyo in Paris, and the Mercedes-Benz directed by Michael Holmes, consists Arena in Shanghai. Lili was educated at of historic brass instrument specialists RISD and James was educated at Juilliard. based in Washington D.C. Assemblages They are both professors at MICA. of cornetts (curved hybrid brass/ woodwind instruments) and sackbuts James Rouvelle grew up in New York (early trombones) comprised what was City and began his creative life as a the standard brass ensemble of the late composer and performer. James studied Renaissance and early Baroque eras of composition at Juilliard and Aspen Western music. with Eric Ewazon and Charles Jones. He co-directed and WCSE’s membership has modified and occasionally conducted grown considerably since its inception a chamber music group in 1997, performing extensively and in in New York for several high demand in the Eastern U.S. with years. Curious about some of the more prominent historic the increasing influence vocal and instrumental groups in the of technology on music American early music community. Its and art he switched repertoire is vast, exploring nearly every gears and undertook possible style, period and region where a serious study of technology, including early brass sources were represented, electronics and programming. At the including music from the Italian, same time he pursued his interests in Art German, Polish, Bohemian, Moravian, and began making interactive, sculptural Scandinavian, Spanish, and English installations. He currently develops courts, as well as the Americas. projects in a variety of media that explore the presence and wisdom of the ancient WCSE performed at the 2015 Boston within the materials of the present. Early Music Festival, and more recently was the featured ensemble for the Lili Maya is an artist Washington Bach Consort’s Christmas with a background in with the Consort in December 2016. The art and design. She ensemble continues to provide their prefers working with unique, mellifluous, and historically fragments, with the informed sound for numerous choirs edges of things. Edges who want to enrich their programming bring the work closer through the glorious forgotten practice to gaps where binaries of colla parte (“doubling the choral parts”) collapse, blur, integrate, oscillate — where or providing Stadtpfeiffer (“town piper”) ambiguity may reveal truth. 21 The Baltimore Choral Arts Chorus

Anthony Blake Clark, conductor Leo Wanenchak, associate conductor and keyboardist Thomas Barth Sarah Hansen Lauren McDonald Geoff Stack Eloise Bensberg James A. Hartman Lura McDougall Alan Sweatman Sarah Berger Absalom Heatwole Elizabeth McGonigle Kelly Sweatman Jean Shaffer Blair Shank Timothy McGowan Ross Tamaccio Julia Boscov-Ellen Ruth Heilman Ashley R. Miller Rachel Tanenblatt Kelly Buchanan Patricia Hengen Jonathan Morrone Tim Teeter JoAnn Cain Catherine Hinton Michael Mountain Shelbi Timmons John Cain Kerry Holahan Jen Newgent Raymond Toy Eunju Chung Chen Danielle Horetsky Lauren M. Osborne Elisabeth Vaeth Christine M. Collins Katie Hosier Bärbel Otto Mary Weller Elizabeth DeVito Henry Hubbard Nerissa Paglinauan Kevin Wenzel Chris Dias Douglas Jones Corbin Phillips Tyler Wert Melanie Diaz Dodson Erin S. Koch Clark D. Pickett Dan Weyandt Arthur Ding Daniel G. Kooken Jack Ray Brian Willmore Connor Drew Julie F. Lang Michael Rickelton Laura Wolf Elizabeth Elliott Jim Li Francis Ritterman Lynn Wolf Matthew Eshleman Robert Lieberman Maria Satyshur Robert Woods Cameron Falby Sandra Losemann James Scofield Norah Worthington Carla Finkelstein Megan Louder Melody Scofield John Wright Martha Nell Fox Amy Mansfield Priya Sekar Mark Wright David Frankenberger Juliana Marin Michael Selmanoff Victoria Zelefsky Rob Freund Izumi Matsuda Karen Shively Adam Zukowski Michael Furlane James Mayo Joel Elliot Slotkin

The Chorus Council Kelly Buchanan, Chorus Manager | Karen Shively, Treasurer Dan Weyandt and Brian Willmore, Music Librarians | Sandra Boyd, Board-Chorus Liaison

Baltimore Baroque Band, Peabody’s Baroque Orchestra

Dr. John Moran and Risa Browder, co-directors Recorder Baroque Violin Baroque Viola Theorbo Sarah Shodja Risa Browder Isaiah Chapman Cameron Welke Teresa Deskur Steph Zimmerman Jonathan Milord Baroque Guitar Forrest Ransburg Kimberlyn Wu Anita Chan Cole Manel Sackbut Daniel Lima Viola da Gamba Organ & Nicholas Bulgarino Lucinda Rouse Colton Hodge Angela Che Harpsichord Carolyn Foulkes Baroque Paula Maust Winnie Chen Violoncello John Moran Aaron Feeney

22 Peabody Renaissance Ensemble

Mark Cudek, director Adam Pearl, choral coach Liva Bluma Collin Champagne Mofan Lai Caroline Preziosi Miranda Brugman Cass Durgin Michael Manganiello Luc Renaux Sarah Buskirk Christopher Fominaya Julia McCabe Elisa Sikula Kyle Carney Zoë Jones Evan Nelson Mara Yaffee

Washington Cornett And Sackbutt Ensemble

Michael Holmes, director

Cornetto Tenor Sackbut Bass Sackbut Alexander Bonus Barry Bocaner David Searle Michael Holmes David Searle Patrick O’Connell

Program Design: Fredlund & Company Program Printing: Baltimore Magazine

BALTIMORE’S PREMIER EARLY MUSIC ENSEMBLE

45th SEASON September 8: 2019-2020 Streets of Madrid CONCERTS: October 27: We’ll Always Have Paris Sundays at 3:30 Pre-concert talks at 2:30 March 22: SuperBach Sunday Joseph and Rebecca Legacy of Leipzig Meyerhoff Auditorium Baltimore Museum of Art May 17: Beethoven’s Vienna

Tickets $30 | $10 for students SUBSCRIPTIONS AVAILABLE 410.728.2820 WWW.PROMUSICARARA.ORG

23 Contributors

Baltimore Choral Arts is very grateful to the following foundations, corporations and government agencies that have made generous donations received between July 1, 2018 and January 8, 2020.

Institutional Major Donors ($2,500 or more) Paul M. Angell Family Foundation The William G. Baker, Jr. Memorial Fund BGE, an Exelon Company The Citizens of Baltimore County Crothers Foundation, Inc. Arthur F. & Isadora Dellheim Foundation, Inc. Maryland State Arts Council The Henry & Ruth Blaustein Rosenberg Foundation The Rouse Company Foundation The Sheridan Foundation Transamerica Foundation Van Dyke Family Foundation The Venable Foundation The Whiting-Turner Contracting Company Witt/Hoey Foundation The Estate of Judith A. Wood

Institutional Donors ($2,499 or less)

ACFEA Tour Consultants Lois & Philip Macht Family Philanthropic Fund Amazon Smile Dr. Frank C. Marino Foundation, Inc. The Preston G. & Nancy M. Athey Fund PNC Foundation Baltimore Ofﬁce of Promotion and the Arts M. Sigmund & Barbara K. Shapiro BP Foundation, Inc. Philanthropic Fund Campbell Foundation, Inc. Earle & Annette Shawe Family Foundation Mimi Cooper Designated Fund Stanley Black & Decker Chapin Davis Fund Mary Jean & Oliver Travers Foundation, Inc. Ellin & Tucker T. Rowe Price Exelon Foundation T. Rowe Price Foundation Linehan Family Foundation The Therese & James Ulmer Charitable Fund

Matching Gifts Baltimore Choral Arts is delighted to recognize the following corporations for matching gifts made by their employees or retirees. BP Foundation Exelon Foundation Stanley Black & Decker T. Rowe Price

24 Individual Donors Baltimore Choral Arts is very grateful to the following individuals who have made generous donations received between July 1, 2018 and January 8, 2020. The High C’s $10,000 or more J. Chris Dias Nathanael & Sarah Hartland Bruce & Polly Behrens Martha & Tad Glenn Barbara M. Hathaway Ellen & Ed Bernard Christopher & Jean Mellott Dayle & Jack Jones Andrea B. Laporte Steve & Pat Wilcoxson James Kaper James & Mary Miller Julia Keller Judy & Peter Van Dyke $1,000 to $2,499 Robert E. Meyerhoff & Rheda Jean Shaffer & William P. Blair Becker $5,000 to $9,999 Sandra & Woody Boyd Ryan Moran Charles Berardesco & Drs. Eunju Chung Chen & Joseph Linda Hambleton Panitz Jeffrey Thurston Chen Judy & Scott Phares In memory of George Good Anthony Blake Clark Ronnie Reno & Dolly Leonnig Lauren & Flemming Madsen Ellen & Walt Clayton George & Nancy Roche James & Mimi Piper Dennis & Julie Cole Jim & Kit Schaefer Anne & Roger Powell B.J. & Bill Cowie Judith Sheagren & Christopher Peter Tracy Richard Dellheim & Maria Lucia Kreeger Nancy Witte Jaimes Alan & Kelly Sweatman Juna & Andrew Erman Michiel van Katwijk & Sandra $2,500 to $4,999 Jack & Paula Fishman Stevens Anonymous Carmen Fonda John & Susan Warshawsky Jeffrey & Catherine Austin David Frankenberger, Jr. Jack & Mary Weller

Gold $500 to $999 John & Berthe Ford Carol B. McCord Anonymous Mr. & Mrs. F. B. Harvey III, in Linda Moxley George & Frances Alderson honor of Peter Savage Robert E. Prince Bill & Barbara Boland Rachelle U. Howard John Sheagren, in honor of John & JoAnn Cain Steve & Monty Howard Judith Sheagren Gordon & Cheryl Clark Peter Leffman Raymond J. Spitznas Gwen Davidson Carol Macht Bradford I. Webb, Esq. Arthur & Isadora Dellheim Karen & Walt Malecki Mr. & Mrs. Donald W. Zurwelle William & Susan Maseth

We greatly appreciate donations of all sizes, and all other donations are listed on our website at www.BaltimoreChoralArts.org.

Ruby Cabaret auction winners are listed at the tax-deductible value of their purchase. We make our best efforts to keep this list accurate, so please contact Julia Malecki at 410-523-7070 x303 if you would like to request a correction.

25 Endowment Fund Contributors

We are grateful to the following for pledges and contributions received through January 8, 2020, to the Baltimore Choral Arts Society Endowment, including the Clementine Peterson Fund, the Tanya Bendit Fund for Jewish Music, the Theodore Morrison Founders’ Fund, and the Tom Hall Endowment Fund.

Premier Partner ($25,000 T. Rowe Price Foundation, Inc. Adalman-Goodwin Foundation or more) Judy & Peter Van Dyke Mr. Jeffrey A. Austin Bendit Family Foundation Wagner Wallis Charitable Trust Ann C. Berger Ellen & Ed Bernard Mr. Thomas H. Broadus, Jr. Arthur F. & Isadora Dellheim Benefactor ($2,000 to $4,999) Lori & Jay Brooks Foundation, Inc. Mr. Michael N. Allman Alex Brown & Sons Charitable France-Merrick Foundation Dr. & Mrs. William A. Andersen Foundation Mr. & Mrs. John H. Laporte Phoebe F. Bacon John & JoAnn Cain Middendorf Foundation Amy & Bruce Barnett Anne E. Culbertson James & Mary J. Miller Bruce & Polly Behrens Mr. Michael Curley The Sheridan Foundation Shirley Bockstahler-Brandt & Deutsche Banc Alex. Brown Daniel Brandt Parker & Johanna Ferguson Partner Plus ($10,000 to Ellen & Walt Clayton Mr. & Mrs. John C. Ford $24,999) Ann Weller Dahl Ms. Lori Gillespie Anonymous Richard Dellheim George & Susie Good Baltimore Choral Arts Society Ms. Beverly Diaz Alice Falvey Greif Chorus Deborah & Philip English Dr. Jenness E. Hall & The Charlesmead Foundation Linda & Stephen Goldberg Mr. Peter A.R. Wilson Ms. Jane R. Dummer George & Susie Good Mr. & Mrs. F. B. Harvey III Mr. & Mrs. E. Philip Franke Charles & Rosemary Hall Mr. John Healy Lockheed Martin Corporation Kathy & Skip Isaacs Harley W. Howell Charitable Peck Foundation Dayle & Jack Jones Foundation Mr. Russell R. Reno, Jr., Esquire Mr. Allan Leverson Ann & Richard Hunter James S. Riepe Family Foundation Linehan Family Foundation Mr. Jonathan Kolker Peter V. Savage Claudia & Don Mitchell Dr. & Mrs. Jeffrey E. Kremen The Charles & Margaret M.H. Kremen Family Fund Partner ($5,000 to $9,999) Obrecht Family Foundation, Inc. Dr. Mark Lowitt Anonymous James & Kathryn S. Schaefer Mrs. Karen Malecki Gail & Emile Bendit Clair Zamoiski Segal Mr. & Mrs. Charles G. Mallonnee Andrea Bowman Jean Shaffer & William P. Blair II Thomas M. Brown Dr. Judith Sheagren & Mr. Dr. Frank C. Marino Foundation Tom Hall & Linell Smith Christopher Kreeger McCarthy Family Foundation, Inc. Hecht-Levi Foundation Mr. William Smillie & Dr. Linda Carol B. McCord Mr. John C. Hilgenberg Rose Jane Miller A. C. & Penney Hubbard Mr. William Stallsmith Dr. Daniel Nyhan Leslie & Roy Kupkowski Dr. & Mrs. Alan Sweatman Elizabeth Callard Olson Igor & Marguerite Limansky Times Mirror Foundation Linda Hambleton Panitz Susan & Bob Mathias Lynn & David Wolf Arnold & Virginia Paskoff Sally S. & Decatur H. Miller Judith A. Wood Frances M. Peck Terry H. Morgenthaler Mr. Mark Wright Judy & Scott Phares William F. Nesbitt Joan Seitz A. MacDonough Plant, Esq. Sustainer ($1,000 to $1,999) Karen E. Shively Procter & Gamble Anonymous, in memory of Solomon and Elaine Snyder Anne Stone Norma Allman Steve & Patty Wilcoxson Wolf Contractors We greatly appreciate donations of all sizes, and all other donations to our Endowment are listed on our website at www.BaltimoreChoralArts.org. 26 Upcoming Events with Baltimore Choral Arts www.BaltimoreChoralArts.org Community Outreach Concerts & Events

CoroLAB First and Franklin Spire Concert Overlea High School & Baltimore Series City College Sunday, March 22, 2020 at 4 pm In its third year, Baltimore Choral Art’s The First and Franklin Spire Series is education program CoroLAB amplifies committed to presenting both musical and Baltimore City and County students’ awareness visual artists and fostering community, while about art and life through participation in a celebrating the unique space at First & Franklin professional singing environment beyond their Presbyterian Church. For tickets, call 410-728- high-school offerings. To participate in a big 5545 or visit firstfranklin.org. project outside their normal scope of reference can transform a young person, building their Student Composer Project self-confidence and skills, and this interactive Monday, June 1, 2020 at 7:30 pm learning will instruct them in self-discipline. The Student Composer Project is an annual event that encourages young people to Fairhaven Retirement Community compose choral music. The project offers Tuesday, March 10, 2020 at 7 pm several student composers the opportunity A private performance presented by Baltimore to receive feedback on their works from a Choral Arts for its residents. well-known guest composition clinician, Music Director Anthony Blake Clark, Associate Broadmead Retirement Community Conductor Leo Wanenchak, and the BCAS Wednesday, March 18, 2020 at 7 pm Chamber Singers in a Master Class in the A private performance presented by Baltimore spring of 2020. Choral Arts for its residents.

Fundraiser Event Choral Arts Gala Friday, April 3, 2020 at 6:30 pm The Grand Lodge Ballroom Choral Arts Gala is our annual fundraising silent and live auction event, beneﬁtting Baltimore Choral Arts’ education and outreach programs. This year's performance is by Euan Morton, Tony-nominated Broadway star and currently appearing as King George III in Hamilton.

Other Concerts United States Naval Academy Friday, April 17, 2020 Baltimore Choral Arts will perform Carmina Burana in the United States Naval Academy’s 47th Annual Spring Oratorio with the Annapolis Symphony Symphony Orchestra. Lerner and Loewe Classics with the Baltimore Symphony Orchestra • Thursday, May 28, 2020 at 8 pm at the Music Center at Strathmore • Friday, May 29, 2020 at 8 pm at the Joseph Meyerhoff Symphony Hall • Saturday, May 30, 2020 at 8 pm at the Joseph Meyerhoff Symphony Hall • Sunday, May 31, 2020 at 3 pm at the Joseph Meyerhoff Symphony Hall For tickets call (410) 783-8000, or visit BSOmusic.org