YOUNG ARTISTS' CONCERT ~be jfestibal ~orietp,JJnc. Saturday, March 3, 1973, 8:00 P.M. Stetson Chapel, Kalamazoo College A MajorAmerican Bach Festival- Twenty-seventhSeason 1972-73 Winners of the YOUNG ARTISTS' AUDITIONS held January 27, 197-3 The Young Artists in this concert are the winners of the eighth annual auditions held by the Bach Festival Society of Kalamazoo. The main objective of the competi­ TUESDAY tion is to stimulate the performance of the music of the Baroque period and of the ANNUAL CHRISTMAS CONCERT Bach family among young people fifteen to twenty-five years of age. The judges this Pre­ DEC 12 year were Helen Laird, Adrian Gnam and Eiji Hashimoto of the University of Cin­ No admission charge cinnati College-Conservatory of Music. Teachers and students are encouraged to Festival 8:00 P.M. plan now for next year's competition. CONCERTO FOR TWO CLAVIERS, NO. I INC MINOR J. S. Bach Programs (BWV 1060) ~RIDAY CHAMBER ARTS ENSEMBLE I Allegro II Adagio Ill Allegro University of Cincinnati Edward Barton and Joan Nottke JAN 26 College-Conservatory of Music and the Western Michigan University Chamber Orchestra 8:00 P.M. Admission $1.00. Tickets availablE!' at the Bach Office, II ARIA: "Stirb in mir" J. S. Bach Room 210 Light Fine Arts Building and at the door. (BWV 169) from Cantata, GOTT SOLL ALLEIN MEIN HERZE HABEN Lorraine Manz, Mezzo-soprano assisted by Mary Shetzer and William McNeil, violins, SATURDAY EIGHTH ANNUAL David Carow, viola, Michael Nelson, cello and Jeffrey Holt, organ Ill PRELUDE AND FUGUE, NO. II IN C MINOR J. S. Bach JAN 27 YOUNG ARTISTS' COMPETITION (BWV 847) 9:00 to 12:00 A.M. No admission charge Randall Faber, Pianist 1:30 to 5:00 P.M. IV SUITE NO. V IN C MAJOR FOR VIOLINCELLO J. S. Bach (BWV 1011) I Prelude II Sarabande Ill Bourree I and II IV Gigue SATURDAY Meredith Ann Cooper MAR3 YOUNG ARTISTS' PROGRAM INTERMISSION Bach 8:00 P.M. V ARIA: "Liebster Jesu, mein Verlangen" J. S. Bach aus der Kantate #32 Festival Louise Fader, Soprano SUNDAY MUSIC OF BACH'S SONS assisted by Corliss Wilson, organ, and Michael Cooney, oboe Week VI PARTITA NO. I IN B FLAT MAJOR J. S. Bach MAR4 Vocal and Instrumental Chamber Music (BWV 825) Darlene Den Hollander, Pianist 3:30 P.M. • VII ARIE DER DIANA J. Christian Bach Lisa Becker, Soprano assisted by Linda Burdell, flute, and Jeffrey Holt, piano SATURDAY THE PASSION ACCORDING VIII SONATA IN D MAJOR FOR TRUMPET, STRINGS AND CONTINUO 5:30 P.M. Archangelo Carelli TO ST. JOHN I Grave II Allegro Ill Grave IV Allegro V Allegro MAR 10 by J. S. Bach Thomas Huener, Trumpet assisted by Cynthia Jabs and Mary Shetzer, violins, 8:15 P.M. Intermission Dinner Michael Nelson, cello, and Susan Sallee, harpsichord Congratulations and best wishes to our Young Artists in this program and to the fourteen others in the competition who distinguished themselves by their Cover Russell A. Hammar, Musical Director and Conductor performances. Professor of Music and Chairman of Kalamazoo Photograph: College Music Department; more than 30 years' PLEASE NOTE: Following this concert there will be a reception in honor of the experience as concert artist, conductor and educator; Young Artists in W. K. Hicks Student Center. The audience is cordially invited to widely known in the United States and Europe as a attend. vocal clinician and pedagogist. music of THE SONS OF BACH THE PASSION ACCORDING TO ST. JOHN BWV 245 in chronological order by Sunday, March 4, 1973-3:30 P.M. Saturday, March 10, 1973, 5:30p.m. and 8:15p.m. Stetson Chapel, Kalamazoo College STETSON CHAPEL- KALAMAZOO COLLEGE Wilhelm Friedemann (1710-1784) CONCERTO IN E FLAT FOR CEMBALO AND STRINGS (unfinished) -SOLOISTS- Moderato Helen Boatwright, soprano II Adagio sostenuto Julia Lansford, mezzo-dramatic soprano John van Kesteren, The Bach Orchestra Bruce Abel, baritone Carl Philipp Emanuel (1714-1788) assisted by: "Andantino grazioso and Larghetto" from Maid: Juliette Smith, soprano Servant: Aaron Williams, tenor SONATA INC FOR HARPSICHORD, VIOLIN AND VIOLINCELLO Peter: John Spencer, baritone Mary Beth Birch, Barry Ross and Muriel Matthews Pilate : Romeo Phillips, Richard J. Niessink, organ Johann Ernst (1722-1777) Mary Beth Birch, harpsichord "Largo and Allegro" from THE BACH FESTIVAL CHORUS AND ORCHESTRA IN FOR SONATA F CLAVIER AND VIOLIN It is requested that there be no applause until after the chorus has been seated Barry Ross, violin, and Mary Beth Birch, harpsichord at the end of each performance. THREE MOVEMENTS FROM "PSALM VI" Moderato, Chorus II Aria for Tenor PART ONE Ill Andante, Chorus PROLOGUE 3. CHORUS Richard Hintz, soloist Jesus of Nazareth! Kalamazoo Kantorei, strings and organ 1. CHORUS Lord, Thou our Master, 4. RECITATIVE INTERMISSION Thou whose name in all the earth is glorified, EVANGELIST Show us how Thou in pain and woe, Jesus saith to them: Through which Thou, Son of God, didst go, Johann Christoph Friedrich ( 1732-1795) At every time wast, JESUS even in the darkest hour, 'Tis I! Aria from the solo cantata CASSANDRA forever glorified. Eleanor Vander Linde, contralto EVANGELIST Barry Ross, violin, Muriel Matthews, cello and THETREASON OF JUDAS Judas also. he which betrayed him, stood Mary Beth Birch, harpsichord there among them. And as soon as Jesus 2. RECITATIVE had said: 'Tis I, all of them shrank back­ Johann Christian (1735-1782) EVANGELIST ward and fell to the ground. Then Jesus asked them a second time: LOVELY, YET UNGRATEFUL SWAIN Jesus went with his disciples over the brook Kathleen VanDenBrink, soprano Cedron, where was a garden, to which came JESUS The Bach Orchestra Jesus and his disciples. Judas also, who be­ Whom seek ye here? trayed him, knew the place full well; for Jesus Wilhelm Friedrich Ernst (1759-1845) had often waited there to meet with his EVANGELIST disciples. Now then, Judas, having gathered Again they answered: DAS DREYBLATT for pianoforte, six hands a body of men whom the chief priests and Paula Holton, George Tatum, Teresa Troff the Pharisees had sent him, now cometh 5. CHORUS forth with torches. lanterns, and with weap­ Jesus of Nazareth! SEXTET IN E FLAT for clarinet, two horns, violin, viola and violincello ons. Therefore Jesus, knowing all things that were to come upon him, went straightway Allegro non troppo 6. RECITATIVE forth and said to them: Andante EVANGELIST JESUS Rondo, Allegretto Jesus answered and said: Whom seek ye here? Evelyn Angerman, clarinet, Frank Merritt and JESUS EVANGELIST Shirley Perkins, horns, Barry Ross, violin, I told you before, I am he, if ye seek for me, Joseph Work, viola and Muriel Matthews, cello And they answered him: let these men go their way then. 7. CHORALE within to the palace of the high priest. But 17. CHORUS 19. ARIA (TENOR) without. at the doorway, Peter stood. Then one Love, Love love Art thou not of his disciples? 0 my soul, 0 wondrous 0 all excelling, did the other disciple, who was known to Wherewilt thou find thy goal, Which bade Thee make this vale of tears them in the palace, go out, and spake unto 18. RECITATIVE And where shall comfort find me? Thy dwelling, her that tended the door, and brought also I live on earth and earthly pleasures cherish. EVANGELIST Shall I stay, or be gone Peter within. Then saith the maid that tended And leave hills and mountains far behind And Thou must perish! the door to Peter: But Peter denied it and said: me? 8. RECITATIVE MAID PETER This poor world no peace doth me afford, I am not! Ever EVANGELIST Art thou not also one of his disciples? ruing My wrongdoing, So that the word might be fulfilled which he EVANGELIST EVANGELIST .., My misdeed abhorred, had spoken: I have not lost one disciple of He saith: Then saith one of the high priest's follow­ For the servant hath denied his Lord. t~emwhich thou gavest me. Then Simon ers, being kinsman of him whom Peter had Peter, having a sword, he drew it forth, and PETER smitten and cut his ear off: 20. FRAMINGCHORALE struck at the high priest's serving man, and I am not! ~ SERVANT cut the man's right ear off, and this man was Peter, while his conscience slept, Malchus. Then said Jesusto Peter: EVANGELIST Did I not see thee in the garden with him? Thrice denied his Saviour, JESUS The officers and the servants with them EVANGELIST stood coals, was Put thy sword in its scabbard. Shall I not tending a fire of for it cold, Then did Peter deny it a third time, and Endof PartOne drink the cup my Father hath given me? and warmed themselves through. Peter, also straightway the cock began his crowing. there among them, stood warming himself. Then did Peter bring to mind the word of Then did the high priest turn and question INTERMISSIONUNTIL 8:15 P.M. 9. CHORALE Jesus, and he went out bewailing it bitterly. Jesus of his disciples and of his doctrine. Thy will, 0 Lord our God, be done. Thus then did Jesus reply:

JESUS PART TWO JESUSBEFORE CAIAPHAS I ever spake openly and freely to the world, day after day before the school I did my 21. FRAMINGCHORALE 25. CHORUS 10. RECITATIVE teaching and in the temple where all the For us is EVANGELIST Jews always come together, and have said Christ, through whom we all are blest, all killing unlawful. nothing in secret at all. Why askest thou The body of soldiers with their captain, and this of me? Rather ask of them who have 26. RECITATIVE the officers there laid hold of Jesus, and heard my teaching what sort of thing it was I JESUSBEFORE PILATE away EVANGELIST bound him fast. and led him at first taught them. See now. they surely remember unto Annas, who was kinsman of Caiaphas, That thus might be fulfilled the word of the whole of what I have taught them. 22. RECITATIVE who for that year was the high priest. Now Jesus, which he had spoken, and had sig­ 'twas this same Caiaphas who had told the EVANGELIST EVANGELIST nified by what manner of death he should Jews would be well one man perish. Then Pilate entered into the Hall, it that should But when Jesus thus had spoken, a man· Away then led they Jesus, up into the Hall perish them and again he called in Jesus, and said to for all. servant standing near to Jesus struck him of Judgment, and it was early. But they with his open hand, and said: him: 11. ARIA (ALTO) could themselves not enter, lest there they should be defiled and thus might not eat the PILATE SERVANT: From the tangle of my transgressions, but Passover. Then out went Pilate, the judge, Art thou the King of Jewry? to unbind me is my dearest Saviour bound. Dost thou dare unto the high priest thus to unto them and said: From my aching wounds and bruises, fully answer? EVANGELIST to heal me, He himself is wounded. PILATE Jesus thus answered him: EVANGELIST What bring ye as a charge against this man 12. RECITATIVE Thus did Jesus reply to him: JESUS accused? " Sayest thou this of thyself, or have others EVANGELIST JESUS EVANGELIST been saying this to thee of me? Simon Peter also followed in Jesus' path, If 'twas evil I spake, bear thou witness to Then they cried aloud and said unto him: and another disciple. my evil words; but if I have spoken well, EVANGELIST why smitest thou me? And Pilate then answeredhim: 13. ARIA (SOPRANO) 23. CHORUS PILATE I follow Thee also with joy-lightened 15. CHORALE If this man were not an evildoer, we would not bring him before thee! Am I a Jew, then? Thy people and thy chief footsteps, Who was it dared to smite Thee, priests have brought thee here for judgment Nor stray from Thy sight, before me; now what hast thou done? My life and my Light. 24. RECITATIVE 0 soeed Thou my way, PETER'SDENIAL EVANGELIST EVANGELIST And cease11ot. I pray, Then Pilate said unto them: And Jesus answered him: To spur me and draw me, 16. RECITATIVE To lead me, to call me. PILATE JESUS EVANGELIST 'Tis ye must take him hence and judge of My kingdom is not of this world; for were 14. RECITATIVE Now Annas ordered Jesus bound, and then him according to your law. my kingdom of this world, then my servants EVANGELIST sent him bound to Caiaphas. Simon Peter all would fight to defend me, that I should EVANGELIST That other disciple to the high priest had stood, still warming himself. Then said they not unto the Jews be delivered. Nay then, long been known, and went with Jesus unto him: The Jews therefore said unto him: but not from hence is my kingdom. 27. CHORALE 32. ARIA (TENOR) PILATESEEKS TO RELEASEJESUS 45. RECITATIVE Behold then how each livid stripe EVANGELIST 0 mighty King, almighty through all ages. succeeding, 39. RECITATIVE Pilate saith unto them: All sore and bleeding, EVANGELIST Is part of Heav'n above. PILATE JESUSOR BARABBAS Now when Pilate heard this clamoring, he And see, the wavesof sin subsiding, was the more afraid, and went up once Would ye see your King be crucified? Sunbeamsagain dark clouds dividing, 28. RECITATIVE again to the Judgment Hall, and saith to EVANGELIST The rainbow fair, the sky bestriding, Jesus: EVANGELIST God's token bright of Graceand Love. Then the chief priests gave him this reply: PILATE Then Pilate said unto him: 46. CHORUS From whence then art thou? PILATE THESOLDIERS TORTURE JESUS • We have no king but Caesar! EVANGELIST Now truly, art thou a king then? 33. RECITATIVE But Jesus would not give him answer; then THECRUCIFIXION EVANGELIST Pilate spoke unto him: EVANGELIST "(. Jesusanswered him: 47. RECITATIVE The soldiers plaited then for him a crown PILATE JESUS out of thorns, and put it upon his head and Speakest thou not to me? Knowest thou EVANGELIST Thou say'st, I am a king then. To this end put on him a robe of purple, all saying: not I have pow'r over thee to crucify, and Then Pilate delivered him to them, that they was I born. for this am I come here, that I power, too, to release thee? might crucify him. Then took they Jesus And seek 34. CHORUS bear witness to the truth. all who EVANGELIST with them and led him away, and he bore the truth. they all will hear my voice. Lo, we hail thee, dearest King of Jewry! Jesusthen answered him: his cross and went along with them to a EVANGELIST place called Place of Skulls. which is in the Then said Pilate to him: 35. RECITATIVE JESUS Hebrew tongue called Golgotha! No power couldst thou have over me, had EVANGELIST 48. ARIA (BASS) WITH SMALL CHOIR PILATE this power not from above unto thee been What is truth then? And then with their hands they smote him. given; therefore. he who to thee delivered SOLOIST Then once come and again did Pilate forth me up is the greater sinner. Run, ye souls whom care oppresses, called them, saying: EVANGELIST Go from trouble's dark recesses, And when he thus had spoken, he went out EVANGELIST PILATE Run- once again to the Jews and said unto them: From thenceforth Pilate oft bethought him See ye, I bring this man now forth to you how he might release him. CHOIR PILATE that ye may know that in him no fault do 0 where? I find. 40. CHORALE I find in him no fault at all. But ye have a SOLOIST custom at Passoverthat one man I should EVANGELIST Our freedom, Son of God, arose. -to Golgotha! release you; will ye now that I take this And then did Jesus come forth, still wearing Take the wings of faith nor tarry, King of the Jews and release him? 41. RECITATIVE the purple robe and the crown of thorns. Fly- Then EVANGELIST EVANGELIST to them said Pilate: CHOIR But the Jewscried out and shouted to Pilate: Then cried they together all again, and PILATE 0 where? shouted: Behold the man! 42. CHORUS SOLOIST If thou let this man go, then art thou no -His cross to carry, 29. CHORUS EVANGELIST friend of Caesar. for whoever maketh him· Your salvation 'waits you there. Now all the officers and priests, when they Not this man, no, not him but Barabbas! self a king is foe unto Caesar. beheld him, shrieked at him and said: 49. RECITATIVE "' 43. RECITATIVE 30. RECITATIVE 36. CHORUS EVANGELIST Crucify! EVANGELIST And there crucified they him, and two others EVANGELIST .. Now when Pilate heard them speaking thus, with him on either side, Jesus in the midst, Barabbas he set free. a robber! But he laid 37. RECITATIVE straightway he brought Jesusforth, and took between them. And Pilate wrote for him an hold on Jesus, and scourged him! up his place upon the seat of judgment, in epigraph; and put it upon the cross; and it EVANGELIST a place called High Pavement,but in Hebrew was written: 31. ARIOSO(BASS) And Pilate thus made answer: called Gabbatha. And it was about the sixth Jesus of Nazareth, the King of Jewry! And hour of preparation of the Passover,and he Bethink thee, 0 my soul, in agony and PILATE this epigraph was read by many, for the saith to the Jews: raoture, Ye must take him hence and crucify him, town was not far from the place where Jesus What though thy heart with bitter joy doth for I find no fault in him at all. was crucified. And the words were written languish, PILATE in the Hebrew, the Latin, and the Grecian EVANGELIST The greatest boon is Jesus' anguish. See ye, your King stands before you! tongues. Then said the chief priests of the For thee the thorn-crown that doth pierce The Jews straightway answered and said: Jews unto Pilate: Him. EVANGELIST 3. CHORUS 50. CHORUS With heaven-scented flow'rs will bloom; Again they shouted: Thou canst the sweetest fruit We have a sacred law, and who breaks that Write thou not. the King of Jewry, but in· Among his wormwoodgather, law, he must perish, for he made himself 44. CHORUS stead write that he himself hath spoken, I Nor cease to raise thine eyes to Him. to be the Son of God. Away with him! Crucify him! am the King of Jewry! 51. RECITATIVE EVANGELIST AFTERTHE CRUCIFIXION were done as promised by the Holy Scrip­ EVANGELIST Now some vinegar stood in a vessel. They ture: A bone of him shall not be broken. filled a sponge with vinegar from the vessel, But Pilate replied to them: 61. RECITATIVE Again in the Scripture another hath said: and put it on a twig of hyssop, and put it They shall behold him, behold the one whom EVANGELIST PILATE to his mouth to drink it. When the vinegar they have pierced. Behold. what I have written, that is what I had touched the lips of Jesus, he said: And then behold, the veil of the temple was 65. CHORALE have written. JESUS rended in twain, from very top to bottom down. And the earth quaked and trembled, Help, 0 Christ, Thou Son of God. 52. CHORALE It is fulfilled. and the rocks burst asunder, and the graves In my heart's inmost kernel. were opened again, and many bodies of THEDEATH OF CHRIST sleeping saints arose. THEBURIAL 58. ARIA (ALTO) ~ THESOLDIERS CAST LOTS It is fulfilled. 62. ARIOSO(TENOR) 66. RECITATIVE 0 rest for all afflicted spirits. 53. RECITATIVE My heart! See, all the world EVANGELIST This night of woe Because of Jesus' woe in woe is shrouded, EVANGELIST the final hour is passing slow before me. ;t There came unto Pilate Josephof Arimathea, The sun in deepest mourning clouded. And then the four soldiers. after thus they Victorious Judah's hero fights a disciple, too. was he (but secretly, fearing The veil is rent, the rocks are cleft, had crucified Jesus, divided all his garments and ends the strife! . the Jews), and sought leave to remove the .. The earth doth quake, graves open flying, in four eoual portions, a portion for each It is fulfilled. body of Jesus. And this leave Pilate gave at the soldiers there, and also his coat. Now When the Redeemerthey see dying. unto him. Therefore came he thither and the coat had no seam but was woven: from 59. RECITATIVE And as for thee, what wilt thou do? carried Jesus' body away. There came thither too Nicodemus, he who at first had come to end to end 'twas woventhrough and through. EVANGELIST 63. ARIA (SOPRANO) They said therefore one to another: Jesus in the night, and brought a mixture of And bowed down his head, and was gone. Release.0 my spirit, thy torrents of crying: myrrh and of aloes, together a hundred-pound CHORUS 54. 60. ARIA (BASS) AND CHORALE The Highest is dying. weight. Then straightway took they Jesus' Do not rend it or divide it. but take lots and Through heaven and earth these dark body, and wound it in the linen clothes with SOLOIST cast them. who shall have it. tidings be spread, the myrrh and aloes, as the Jewish manner 0 Thou my Saviour, give me answer: Thy Jesusis dead! is to bury. In Golgotha, where the place was THEWOMEN AT THECROSS CHORUS where He was crucified, was a garden, and 64. RECITATIVE Jesus.Thou who once wast dead, in the garden a new grave in which no man 55. RECITATIVE EVANGELIST yet had e'er been laid. And therein laid they SOLOIST Jesus, since it was the day of preparation, The Chief Priests therefore, because of the EVANGELIST Since Thou upon Thy cross art crucified, it being so nigh at hand. Passover. in order that the bodies should That the Scripture might be fulfilled which and Thyself hast said: it is fulfilled, not remain on the cross for the Sabbath sayeth: They parted out my raiment equally 67. CHORUS CHORUS (for the Sabbath in that week was a high among them, but for my vesture, they cast Livest now forever. one), now entreated Pilate to allow their Rest well, rest well, Thou holy body sleeping, !ots for its possession. These things there­ legs to be broken, that they might from That I may cease from further weeping, fore were done by the soldiers. Now standing SOLOIST thence be taken. Then came the soldiers Rest well, rest well, and let me, too, beside the cross of Jesus was his mother Shall I from death be ever free? and brake the legs of the first one, and the rest well. and also his mother's sister. named Mary, CHORUS other which was crucified there with him. The grave that is prepared for Thee Cleophas' wife, also Mary Magdalena. Now Then at last coming up to Jesus, and per­ And holds no further pain for me, when Je us saw his mother near him and When the path of death I tread, s , ceiving that he had already died, therefore Doth open Heav'n to me, and close the his well beloved by her, · disciple standing SOLOIST they brake not Jesus' legs: but one of the gates of Hell. he saith unto his mother: Can I through Thy despair and Passion soldiers then took up his spear, and with the spear did he pierce His side, and straight· JESUS CHORUS EPILOGUE way came there blood and water out. And Lo! woman, behold thy son! ) Let my seeking never he that hath seen these things, 'tis he who 68. FRAMINGCHORALE EVANGELIST SOLOIST bare record. and his record is true, nor in· Then saith he to that disciple: the heav'nly home inherit? deed can he fail to know whereof he speak­ Ah, Lord. Thy dear sweet angels send ., eth, that ye believe him. For all these things In my last hour, my soul attend. JESUS Is all the world redeemedtoday? See thou: here behold thy mother! CHORUS SOLIDEO GLORIA Elsewherethan to Thee be turned, 56. CHORALE 0 beloved Saviour! He of ev'rything took heed ln his hour of dying. SOLOIST Thou canst for pain indeed not answer, 57. RECITATIVE PLEASE NOTE: Following this concert there will be a reception in honor of the guest EVANGELIST CHORUS artists, local soloists, orchestra and chorus in W. K. Hicks Student Center. The And from then on she stayed with that Give me but what Thou hast earned, disciple. And now since Jesus knew full SOLOIST audience is cordially invited to attend. well that all was accomplished, as was Yet bowest Thou Thy head to say, written in the Scripture, he saith: in silence: Yea! JESUS CHORUS I thirst! More I do not pray for. Barry Ross- Concertmaster, brilliant INVITATION TO MEMBERSHIP young violinist and teacher brings a wealth of experience to the Festival Orchestra; concertmaster of many The Kalamazoo Bach Festival Society, one of about six the Kalamazoo well-known chamber orchestras in the is U.S. and Europe; currently concert­ major festivals in the United States, enjoying its twenty­ master of the Kalamazoo Symphony seventh season of presenting the heritage of music given Orchestra and Assistant Professor of to us by Johann Sebastian Bach and his family. This vig­ Music at Kalamazoo College. orous musical society, begun by Henry Overley in 1946, has continued to flourish and also adapt to the changing climate of cultural and social life of the Kalamazooarea . ~at{Jjfestibal Any worthy musical project has within it the potential for reaching out to broader horizons, as well as for con· structive change. Recognizing three problems facing the I Society and the community: (1) the constant need to im· prove the quality of the performances (2) the congestion Helen Boatwright - Soprano , in great of too many concerts on consecutive days, (3) the need for demand in Europe and U.S. as con· greater variety in the program repertoire. These problems cert, oratorio and recording artist; has Dr. he re performed in most prominent music were resolved by Hammar when -scheduled the circles throughout the world including Julia Lansford - Mezzo-dramatic so­ order of performances from Christmas through Bach Fes­ that of the Crown Prince of Japan, prano; member of Santa Fe and Mem· phis Companies; winner of tival Week in March. Queen Mother of England and for the President and Mrs . Kennedy at the Arkansas Metropolitan Opera District The introduction of "Music of the Bach Family," which Whito House; "A voice of rare purity". Auditions; has sung leading roles throughout the mid -South and also i~ serves to present the music of Johann Sebastian Bach's New York Times, "One of the finest singers of our day", Washington Star, Germany; premiered composer-conduc­ predecessorsand his prolific and capable offspring is one " .. . an accomplished virtuoso .. . tor Harold Farberman's "The Losers" example of the greater variety of music presented annual­ an interpreter with a profound musi­ at Lincoln Center; has appeared as soloist with the Texas Boys' Choir. ly. Another illustration is the very popular Young Artists' cal sensibility", Feuille D'Avis de Vevey, Switzerland . Auditions and Concert. These features, Dr. Hammar has pointed out. have brought more variety to the Festival pro­ grams while still maintaining the integrity of its initial idea. The enthusiastic audience reception of this new for­ mat has proven the value of these innovations. Throughout the years, professional musicians have brought names nationally and internationally known to John van Kesteren - tenor. native of The ; was conferred the grace the Festival programs. Since the first Festival in title "Bayerischer Kammersiinger" by 1947, more than 100 musicians- vocalists and instru­ the Bavarian government and the Bruce Abel - brilliant young bari­ mentalists known throughout the music world as inter­ "Knight of Orange-Nassau" from Queen tone. returns to the Kalamazoo Bach Juliana of the Netherlands; has sung preters of the music of have been presented in Festival. The American-born artist has Bach- tho Evangelist role in J. S. Bach's the Stetson Chapel programs, Alexander Schneider and won wide acclaim in Europe and has PASSIONS over 600 times on all con· returned to Oberlin Conservatory of tinents under world-famous conduc· Ralph Kirkpatrick, Phyllis Curtin, Lillian Chookasian,Clare Music for a second year as a visit­ Coci, Dorothy Lane, Dr. Heinz Arnold, John MacDonald, Dr. tors ; operatic and oratorio roles rang · ing Associate Professor of Singing; ing from Rameau to Britten (War winner of four International voice Heinrick Fleisher, to name a few of the earlier guests­ ); has recorded the ST. JOHN competitions; soloist in seven Bach later came Joanna Simon. Maria Stader, Malcolm Smith, PASSION with Hermann Scherchen; recordings. Shirley Love, Corinne Curry, Lady Susi Jeans, William Cor­ has just completed directing a tele· vision film of this same work. He is bett Jones- really an imposing array of exceptional talent. traveling to Kalamazoo from especially for this performance of the A worthy project such as the Bach Festival costs a sub· ST. JOHN PASSION. stantial sum to operate. Kalamazoo College supplies the director and the facilities for rehearsal and performance. Yet, there are soloists. orchestra personnel, printing, pub­ licity and many allied expenses which the sale of tickets cannot fully meet. Thus, the Society must depend upon its Chamber Arts Ensemble: University of friends to give generously to fulfill its obligations. We in­ Cincinnati College Conservatory of Music; Helen Laird, soprano-in -resi· vite you to become a member of the Bach Society in order denco at the University; leading so­ that this significant musical organization may continue to prano for 12 years at European opera grow along with the community. Your contributions are houses; repertory includes more than 30 ; has also performed as SO· tax deductible and they are most welcome. lois! with major symphony orchestras with these including Philadelphia. Denver and Mr. and Mrs. Adrian L. Vander Linde, Kansas City; Elji Hashimoto, harpsi­ chordist-in -residence at the Univer­ Co-chairmen, sity; has contributed extensively to the Bach Counci I outstanding revived interest in the harpsichord through his performances in Japan. Europe, U.S.; recordings for the Mus· Festival Artists! ical Heritage Society and Opus One Records; Adrian Gnam, oboist; for· morly a principal player with tho American Symphony Orchestra under George Szell; has appeared as oboe soloist at New York's Town Hall and Carnegie Hall and as English horn soloist at Tanglewood . PROGRAM NOTES PROGRAM NOTES by RICHARD NIESSINK Wilhelm Friedemann Bach (1710-1784) Sunday, March 4, 1973 Concerto in E flat major (unfinished) for Cembalo and Strings

MUSICIANS OF THE BACH FAMILY Some nineteenth century writers tended to regard Wilhelm Friedemann as the black sheep of the Bach family, although we would be inclined to consider him, at During a period of over two hundred years, the Bach family produced dozens of worst, unstable and willful. His contemporaries had high regard for his musician­ musicians and composers of note, several of whom were leaders in their day and ship, and some of them went so far as to say he was an even better organist than directed the course of music history for all time. A partial family tree showing only his father. the most famous of their clan is reproduced below. After having been director of church music at Halle for eighteen years he resigned in a fit of temper, without first procuring another appointment. Thereafter Veil he never received a regular post and had to support himself by teaching, which he d. 1619 hated. Our chief complaint against him is that the J. S. scores which fell to him I upon his father's death have been lost. I Johannes ~ When we reflect on the number of works by otherwise good composers which d. 1626 d. 1620 might well have been left unfinished (to say nothing of those which might have been finished pages- or reams of pages- earlier) we are saddened by unfinished masterpieces whose completion might have enriched us. This one, like the Schubert I B Minor Symphony, deserved to be finished. It ends in the midst of the Adagio­ and will be played on this program as Wilhelm Friedemann it. And we can't be Johann Heinrich Christoph Wendel left 1604- 1673 1615- 1692 1613- 1661 1619- 1682 consoled by the image of the composer working feverishly, reaching a C minor chord, only to have death stop his frantic hand. The facts are less pathetic, and I I I illustrate something of his makeup. While working on the Concerto he needed an J. Aegidius J. Christoph J . Michael Jakob opening movement for his Cantata "Ertonet ihr seligen Volker." The first movement 1645- 1716 1642- 1703 1648- 1694 1655- 1718 of the Concerto seemed to fill the bill. He transposed it to F major, made minor changes in the instrumentation, and forgot about it as a concerto. Fragmentary as I I I I it is, we hear in it a composer of originality and sensitivity, with harmonic skill sug­ J . Bernhard J. Nicolaus Maria Barbara J . Sebastian J. Ludwig gesting the finest of his father's late works. 1676- 1749 1669- 1753 1684- 1720 ...... 1685- 1750 1677- 1741 I I I J. Ernst W. Friedemonn C. P. Emanuel J. Christoph Friedrich J. Christian Carl Phillip Emanuel Bach ( 1714-1788) 1722- 1777 1710- 1784 1714- 1788 1732- 1795 1735- 1782 I Andante Grazioso and Larghetto from Sonata inC for Harpsichord, Wilhelm Friedrich Ernst Violin and Violoncello. 1759- 1845

Carl Phillip Emanuel resembled his father in point of industry and solid achieve­ MUSIC OF THE SONS OF BACH ment though lacking the transcendant genius. He resembled him, too, in being somewhat retrospective. Neither father nor son traveled with the avant garde. This program continues the salute to the Bach family initiated in the 1969 J. S. Bach exploited and enriched forms which most of his contemporaries con­ Festival. Most of the Sachs on those programs were members of generations sidered outmoded and overworked. Carl Phillip Emanuel was by no means reac­ previous to the great cantor; those on this one came after him- four sons, one tionary; he moved in the directions his contemporaries were going, but more slowly, grandson and one who was both godson and pupil. less eagerly. He never caught up stylistically with Haydn or Mozart. He seemed timid about abandoning the Baroque and embracing the Rococo, and did so without the Our first impulse might lead us to expect more than four out of Bach's twenty elan of the Vienese masters or his younger brother, Johann Christian. Maturing in children to make the Kalamazoo Bach Festival of 1973, but consideration of vital the shadow of the greatest figure of the Baroque had its drawbacks. statistics and other circumstances will show us that this is the most anyone could expect. Only nine of Bach's children reached maturity- six sons and three daugh­ He served for twenty-four years as court cembalist to Frederick the Great, King ters- and one of them, Johann Gottfried, died as a student at the age of twenty­ of Prussia and, after that, became church music director in Hamburg. An important four, after having proved himself as an organist. Another, Gottfried Heinrich, is feature of his court service was supplying accompaniments to flute concerti played described, in papers relating to Bach's property after his death, as an imbecile and by his majesty who was at least as much autocrat as virtuoso. legally incapable of acting. The remaining four sons are represented on this program. Even though the King did not encourage him as a composer, he wrote volumin­ Three daughters survived J. S. Bach but we know nothing of their musician­ ously in all media. As a keyboard performer, teacher and writer, he had enormous ship. We may assume he taught them to play or sing, as he did his second wife, influence on the development of keyboard composition as well as performance. Magdalena, but in that dark age of male chauvinism, women did not direct choirs, The Sonata in C for Harpsichord, Violin and Violoncello was published in Lon­ conduct orchestras or publish compositions. It is true that women were beginning don in 1776, and in 1778, in both Berlin and . In view of later develop­ to appear in opera in some centers. But, Bach's daughters? Something about the ments in chamber music, its texture seems strangely inhibited. It is essentially a set of Papa's jaw suggests he might have drawn the line at that. harpsichord piece to which the violin and cello add occasional dashes of string color The program is presented in chronological order of the heirs of Sebastian. without affecting the texture or giving idiomatic versions of the musical ideas. PROGRAM NOTES PROGRAM NOTES Johann Ernst Bach (1722-1777) Johann Christian Bach (1735-1782) largo and Allegro from Sonata in F Major for Clavier and Violin. "lovely, Yet Ungrateful Swain," for Soprano and Orchestra. Three movements from Psalm VI Johann Christian, at one time the most famous of the Sachs, broke the family Johann Ernst was the son of Johann Bernard Bach, a distant cousin of J. S., mold more variously and radically than any of the others. He traveled to Italy, France but was close to the great cantor, both as his godson, and for several years, his and England, wrote operas, married an Italian woman at the advanced age of thirty­ pupil. His direct contact with the teacher was broken when, at the age of nineteen, eight, left no children, joined the Catholic church and died in debt. His travels were he returned to his home in Eisenach to substitute as organist there for his ailing no mere junkets; he made such impressions at various places that he was called father. In 1749, upon his father 's death, he succeeded to the position. In 1756 he received the appointment as Court Conductor at Weimar, where he organized a "The Milan Bach," "The London Bach" or "The English Bach." group of excellent players whom he conducted and provided with compositions for As royal music teacher in London, he arranged the appearance at Buckingham two years, after which the Prince, his patron, died. The widow dissolved the orches· House of the nine-year-old prodigy, Wolfgang Amadeus Mozart. In spite of age dis­ tra, but settled a pension upon Johann Ernst and allowed him to retain the title of parity, the relationship between these two masters was cordial and Mozart in later Court Conductor. However, he returned to his old position at Eisenach and accepted years spoke with the greatest admiration for the older man. the additional duties of Kastenverwalter (bookkeeper) for the church. In the best "Lovely, Yet Ungrateful Swain" was written for one of Christian Bach's pupils, Bach tradition , he raised a large family and trained his oldest son to succeed him as a Mrs. Weichsell, to sing at the open air concerts at Vauxhall Gardens. Although a both organist and bookkeeper. relatively short work, it is long enough to indicate that even so great a master as The Largo and Allegro (middle and last movements) of the Sonata in F Major Mozart had predecessors who pointed the directions in which he was to go. for Clavier and Viol in give us a composer writing for two instruments, both of which contribute equally and idiomatically to the texture- in marked contrast to the emsemble writing of Carl Phillip Emanuel. Wilhelm Friedrich Ernst (1759-1845) The movements from Psalm VI are extracted from an extensive setting more than a little reminiscent of the great settings of his godfather (this writer is doing "Das Dreyblatt," for pianoforte, six hands what he can to rescue that term from the obloquy into which it has recently fallen!) Sextet in E flat major for clarinet, two horns, violin, viola and violoncello. Translation of Psalm VI Have mercy upon me, 0 Lord; for I am weak: 0 Lord, heal me; for Wilhelm Friedrich Ernst was a grandson of J. S. Bach, the son of Johann my bones are vexed . Christoph "BOckenberg" Bach, and the last of the Bach family to pursue music pro­ My soul is also sore vexed : but thou, 0 Lord, how long? fessionally. As a young man, he went to Lo ndon to complete his training with his famous uncle, Johann Christian "London" Bach. He might have enjoyed a musical career, had it not been for the untimely death of the uncle, whose widow returned Johann Christoph Friedrich (1732-1795) t o Italy and whose property was sold to settle debts. The young man returned to Aria from the Solo Cantata "Cassandra" Germany, making concert appearances in France and Holland on the way. He settled down as music director at Munden and soon attracted t he attention of King Frederick Johann Christoph Friedrich Bach, the "BOckenberg" Bach (it would be so much Wi lliam II who engaged him as music master to t he Queen. He apparently did little easier if more of these Sachs had nicknames!) was the second surviving son of Anna at t he court other than instruct the Queen and the Princes, for there is no record of Magdalena, second wife of J. S. Bach. At the age of nineteen he was offered a his having appeared at concerts there. Upon the Queen's death in 1810 he retired, position at the ducal court of Schaumburg -Lippe, in BOckenberg. He gave up studies with a pension, and lived out his remai ning thirty-five years quietly. Even Felix at Leipsig University to take the position and remained there forty-six years, serving Mendelssohn, chief agent in the revival of J. S. Bach's works in Berlin, knew nothing under three successive rulers. In 1759, he became concertmaster and conductor, of the existence there of the master's grandson. Only when the Bach monument was and devoted such energy to the organization and training of the orchestra that it be­ unveiled in Leipsig in 1843 did the musical world become aware of the "worthy head came one of the best in Germany. He provided concerts of contemporary works bearing so sacred a name," as Robert Schumann put it. Wilhelm was the "celebrated - particularly Italian works, for which his patrons had marked enthusiasm- · as hero of the day, a very old man, yet vigorous, with snow white hair and expressive well as works from his own pen. He married young and raised nine children. He fP.atures." traveled once to London to visit his brother·, Johann Christian, but otherwise lived Although he lived well into the Romantic period, Wilhelm wrote in the style that an uneventful life. Friede mann said he was "the strongest on the clavier," yet he was fashionable during his study with his uncle in London. His music is well written made no attempt to win laurels as a virtuoso . A substantial part of his output ap­ but contains few surprises. Das Dreyblatt is certainly no great piece of music, but pears to have been lost. it is only fitting that a survey of the Sachs should include a whimsical stunt. For He exemplified the family interest in teaching and teaching materials by in ­ the Sachs were not obsessed by their greatness; they enjoyed music. We know their itiating a quarterly publication , " Musikalische Nebenstunden" (Music for Lesiure famous family reunions opened with chorales, proceeded to ingenious and recondite Hours) in which he offered to both the more experienced player and the beginner experiments and turned for relaxations to improvisations which often included " music likely to entertain ." It included works for clavier, violin sonatas and songs. ribald quod libets. (Grandpa closed his .monumental Goldberg Variations with one The venture had to be abandoned, for lack of support, after four issues. of them.) It was in line with what he said in the preface to his ELEMENTARY IN­ He had a predilection for solo cantatas, of which Cassandra was the first one STRUCTION IN FIGURED BASS:" ... the sole end and aim of figured bass, like that he wrote. Although his patrons were ltalianophiles, this is his only solo cantata to an of all music, should be nothing else than God's glory and pleasant recreations. Italian text . Where this object is not kept in view, there can be no true music, but an infernal Translation of Cassandra scraping and bawling." So, das Dreyblatt shows us, not that the Sachs had lost their Recitative: (which precedes the Aria) Andromache, you are silent? and sense of mission, but that their humor had become effete. are you crouched at the bottom of the great house weaving bright linens? Come out and see your husband before he closes his eyes. The Sextet in E flat major bears no composer's name, but it is preserved in Aria: Come, 0 spouse, fortunate are you if permitted to catch the last Wi lhelm's handwriting in a volume of his music held by the British Museum. Al­ breath which leaves his beloved face as he joins the shadows. In the though it exhibits some of the charm and craftsmanship of the Classic period, there repose of Elysium sojourning under a myrtle he will await you with the is clear evidence here of the diminished quality of the music of the Bach Family. heroes. So it goes. PROGRAM NOTES ACKNOWLEDGEMENTS

We wish to express our appreciation to Kalamazoo College, its administrative THE PASSION ACCORDING TO ST. JOHN - BWV 245 staff and faculty, for providing the facilities and director of the Bach Festival Society; Phillip Carra and Kathey Korth, Kalamazoo College News Bureau; Tom Haynes and Johann Sebastian Bach Margaret Thompson, Kalamazoo Gazette; Fran Harding, WKZO television; FM station WMUK for their broadcasts of the Bach concerts; other radio and television stations and news media in Kalamazoo and surrounding localities for information coverage; Program of March 10, 1973 First National Bank for display window; Betty Friedmann, rehearsal accompanist, and Adrian Vander Linde for photos, brochure and placemat design.

Bach wrote a large part of the St. John Passion while still in Cothen and per­ formed it in Leipsig on Good Friday, 1723. He was not satisfied with the first version of it and made numerous changes in it over the course of four years, achieving in LOCAL SOLOISTS 1727 the setting we have today. Organist Richard J. Niessink, graduate of Hope College and the American His difficulties with this Passion began before he wrote the music. For one Conservatory of Music who has returned to music after a successful career in bus­ thing, there are lapses in the Passion story found in the Gospel of St. John which iness. One of his scholarly interests is analyzing the keyboard works of J. S. Bach. make it advisable to fill in the gaps by borrowing some events from St. Matthew. Presently he is an organ and piano instructor at Kalamazoo College. Harpsichordist Beyond this, the libretto by B. H. Brockes, which had become almost standard for Mary Beth Birch is well-known in this area as a pianist and chamber music artist. passion settings (at least twenty other composers used it during the eighteenth A graduate of Northwestern University, she and her artist husband, Jae, contribute century), contained ineptitudes and lapses of taste which Bach could not counte· much to the cultural life of Kalamazoo. Presently, she is a piano instructor at Kal­ nance. There is no clear record that he re-wrote the text, but Spitta, his most dis­ amazoo College. Contralto, Eleanor Vander Linde, is a native of Kalamazoo and is cerning biographer, compared the revised portions with Bach's other ventures into in high demand as a church soloist in the area. She has been active in the a.dmin­ poetry and decided that the composer himself did the revisions. istrative work of the Festival for several years. She has appeared as soloist in pre­ Bach was only the first to have difficulty with this Passion. The critics, too, vious Bach Festivals. Soprano Kathleen VanDenBrink received her Bachelor and have had their problems. They have been able neither to pigeon-hole it neatly nor Master degrees of Voice from ·University of Michigan and taught voice at Eastern to dismiss it as a minor work. Michigan University. She sang with the Cleveland Symphony Choir and in the Casals Festival and was a soloist in previous Bach Festivals. Tenor Richard Hintz is a Spitta devotes several pages to querulous remarks about some elements in graduate of the University of Minnesota and Indiana University. He has appeared the work, then illustrates the critics' dilemma by saying, "After having pointed out as a soloist with the Kalamazoo Symphony, Kalamazoo Junior Symphony, Bach these peculiarities of The St. John Passion, which cannot entirely satisfy our highest Festival and is presently vocal music director at Otsego High School. demands, we must all the more emphatically insist that in everything which relates to musical style- invention and elaboration of the separate compositions- Bach proves himself to have reached the heights of ripe and perfect mastery." Comparisons with Bach's St. Matthew Passion come almost reflexively, since MEMBERSHIP IN THE BACH SOCIETY they are works of comparable dimensions and seriousness. There can be little doubt that this passion lacks the immediate appeal and suave benison of the St. Matthew GUARANTORS $100 and over, PATRONS $50, SPONSORS $30. Guarantors, Passion. While the later work drapes the tragedy in iridescent harmonies this one offers it in its stark brutality. Its severe lines and inexorable progressions begin by Patrons and Sponsors are entitled to two complimentary tickets for each of the repelling us and- finally- gripping us in the story and involving us in its mystery festival concerts in a SPECIAL RESERVED SECTION. Call 616- 345-0391. and significance. Hearing it is at least as much a devotional as an aesthetic ex· perience. GENERAL ADMISSION It would be impossible to know both these Passions without being acutely aware of profound differences between them. Many of those who work with them SERIES TICKETS: $8.00 per person, not reserved. Single admission tickets develope a marked bias toward one or the other of them. Many members of our are available as follows (Series tickets honored first): own chorus have indicated a growing regard for this Passion as they get more deeply involved in it. Dr. Hammar finds it particularly engrossing for a conductor. He says, Saturday, March 3 $2.50 "I regard it, in comparison to The St. Matthew Passion, as being more earthy. The Sunday, March 4 2.50 turba choruses engage the ensemble in a very distinct manner, that of being: a mob, narrators, conveyors of mood (framing choruses), mocking soldiers, etc. In its Saturday, March 10 5.00 (5:30 and 8:15p.m.) own way The St. John Passion is more dramatic than the St. Matthew, in that the 2.50 each half chorus becomes actively involved with the characters in the story." As a matter of fact, it is pretty difficult to do more than stand in amazement INTERMISSION DINNER TICKETS before either of Bach's great Passion settings. They are the work of a transcendantly great artist who was, at the same time, an intensely religious man. Saturday, March 10, 6:30 p.m. Welles Hall, adjacent to Stetson Chapel. Price $3.50 each. Advance purchase is necessary. Deadline 4:00 p.m. Wednesday, (>=!?<:::) March 7.

STUDENT TICKETS Tickets for the Intermission Dinner on Saturday, March 10 may be purchased for $3.50 each at the table in the Chapel narthex during intermission of the March 3 100 special student tickets at $3.00 each for the series are offered to college, and 4 concerts. Tickets may be purchased until 4 P.M. Wednesday, March 7 at the university and high school students. They may be obtained at the Fine Arts Build­ Bach Office or by calling either 345-0391 or 343-1551, Ext. 379. ing, rooms 202 or 210. BACH FESTIVAL SOCIETY THE KALAMAZOO KANTOREI

SOPRANOS: Jozette Benson, Janice Doornbos, Kathleen VanDenBrink, Carolyn ROSTER OF COUNCIL MEMBERS- 1972-73 Barney, Betty Evans. ALTOS: Jeanne Frey, Mary Havens, Sharon Spaulding, Mildred Hammar, Julie Dr. Russell A. Hammar, Director Lyons, Eleanor Vander Linde. Dr. George Rainsford, Hon. Chairman Mr. and Mrs. A. L. Vander Linde, : Richard Hintz, Aaron Williams, Quinn Benson, Steven Crow, Arvin Wierda. Dr. James W. Miller, Hon. Member Co-Chairmen Sister Mary L. Bader, Hon. Member Miss Doris Rey, Secretary BASSES: Charles Dykstra, Jack Frey, Norman Lyons, Romeo Phillips, James Dr. Louis Rowland, Hon. Life Member Mr. Stanley Kloet, Treasurer McDonald, John Spencer. Mrs. Leta Snow, Hon. Life Member

Artists and Program Guarantor-Patron-Sponsor THE BACH FESTIVAL ORCHESTRA Dr. Russell A. Hammar, Chairman Mrs. Robert Friedmann, Co-Chm. VIOLIN 1: Barry Ross, Concertmaster, Helene Carman, Voldemars Rushevics, Janet Mrs. H. F. Mehaffie Mrs. R. Bowen Howard, Co·Chm. Bogart. Mrs. Fred G. Stanley Mrs. L. Bergerson VIOLIN II: Georgiana Smith, Principal, Petra Grundler, Michael Korman, Margaret Mr. George Tucker Mrs. R. H. Blanchard Mrs. Daniel Christian Rose. Finance and Development Mrs. R. Claflin VIOLA: Joseph Work, Principal, Eleanor Dewey. Mrs. Lincoln Dupon CELLO: Muriel Matthews, Lester Start. Mr. Allen H. Hof, Co·Chm. Mr. Edwin Nelson BASS: Lambert Kroon. Mr. Quinn Benson, Co-Chm. Mr. Jerry Nurrie FLUTE: Lynette Blanchard, Linda Burdell, Patricia Sandling. Mr. E. Lawrence Barr Mrs. George Slemp Mr. Harold N. Davidson Mrs. Adrian Vander Linde OBOE: Janet Corbin, Sue Sheppard. Dr. Robert Kettunen Mrs. Robert Van Putten OBOE D'AMORE: Janet Corbin. Mr. Stanley Kloet Mrs. R. P. Kittredge Mr. Jerry L. Nurrie OBOE DA CACCIA (English Horn): Kristy Meretta. Mr. Sam Evans CLARINET: Evelyn Angerman. Publicity BASSOON: Charles King, William Huxtable. History and Research Miss Doris Rey, Co·Chm. FRENCH HORN: Frank Merritt, Shirley Perkins. Mrs. William Kube. Co·Chm. Dr. GeorgeS. Missias, Co·Chm. HARPSICHORD: Mary Beth Birch. Mrs. Paul Van Den Brink, Co·Chm. Mrs. R. A. Hammar ORGAN: Richard Niessink. Mrs. Paul Holkeboer Dr. John H. Kusmiss Mrs. Norman Graff Dr. Paul Van Den Brink Dr. Jean 0. Phillips THE BACH FESTIVAL CHORUS Hospitality Miss Greta Rey Mrs. J. Brady Mrs. William Stuifbergen, Co-Chm. Mr. Phil Carra SOPRANO 1: Lisa Becker, Jozette Benson, Heide Boutell, Wilsona Christlieb, Janet Mrs. Robert Kettunen Claflin, Janice Doornbos, Constance Hoelsema, Evelyn Klein, Marion Koronakos, Mrs. Edwin Steen Dorcas Lohr, Emily McMinn, Barbara Niewoonder, Marsha Petto, Sandra Schadler, Mrs. William Race Tickets Juliette Smith, Kathleen VanDenBrink. Mrs. H. Van Hamersveld, II Mr. Russell C. Worden, Chm. SOPRANO II: Charlene Austin, Martha Austin, Carolyn Barney, Colleen Copeland, Mrs. Joan Burke Mrs. D. L. Burns Nancy Daum, Nancy Day, Dora De Hoog, Debbie Dinda, Betty Evans, Edna Farthing, Mrs. James Thorne Karen Miller, Gwen Minkler, Barbara Mitchell, Joy Nurrie, Donna Penning, Pauline Plamondon, Harriet Slomp, Sandra Swenberg. Young Artists Trustees ALTO 1: Connie Barrett, Gloria Brady, Joan Burke, Nancy de Solms, Joan Ettwein, Mrs. H. F. Mehaffie. Co·Chm. Mr. William Burke Jeanne Frey, Mary Garman, Beverly Grant, Helen Hamilton, Mary Havens, Avis Mr. Richard Hintz, Co·Chm. Mr. Harrison Nelson Howard, Sue King, Karen Kloosterhouse, Marge Landman, Betty LeRoy, Lorraine Mrs. Evelyn Angerman Mr. Robert McBride, Jr. Manz, Joyce Petro, Helene Slomp, Sharon Spaulding, Annette Thor, Molly Williams, Mrs. Robert Friedmann Dr. Russell Hammar (ex-officio) Leslie Wykstra. Mr. Adrian Vander Linde (ex-officio) ALTO II: Barbara Bergerson, Margaret Boelkins, Sandra Burns, Mary Cheal, Janet Ushers Christiansen, Louise Eadie, Betty Friedmann, Bryna Graff, Mildred Hammar, Alma Dr. Harry Ray, Chairman Holkeboer, Joyce lacovoni, Betty Lewis, Julie Lyons, Jean 0. Phillips, Doris Rey, Dr. Jean Calloway Anna Mae Spaniolo, Eleanor Vander Linde. TENORS I AND II: Quinn Benson, David Boutell, Richard Chorley, David Collins, THE BACH FESTIVAL CHORUS OFFICERS Steven Crow, Gary Forsleff, Rich Mather, Edwin Nelson, Robert Sutton, Thomas Van Der Slik, Verlan Van Rheenen, Arvin Wierda, Aaron Williams. Mrs. Bryna Graff, President Mrs. Betty Evans, Secretary BASS I AND II: Herman DeHoog, Joel Dinda, Roger Dinda, Charles Dykstra, Dr. George Missias, Vice-President Mrs. Sandra Burns, Librarian Thomas Eden, J. Clinton Jones, Norman Lyons, James McDonald, George Missias, Clark Nelson, Donald Pastoor, Michael Pennington, Romeo Phillips, John Spencer, Russ Worden. The Bach Festival Concerts will be broadcast on FM station WMUK at 9:00 1973 BACH FESTIVAL SPONSORS P.M. on the following evenings: Art Post American Dr. and Mrs. Robert Kettunen Chamber Arts Ensemble, Monday, March 12 Mr. and Mrs. E. Lawrence Barr Mr. and Mrs. JamesT. Kirkpatrick Young Artists' Concert, Tuesday, March 13 Dr. and Mrs. Michael K. Bach Mr. and Mrs. Robert Kittredge Music of the Sons of Bach, Wednesday, March 14 Mrs. Owen Baughman Langeland Chapels ST. JOHN PASSION, Thursday, March 15 Dr. and Mrs. William T. Bateman Mr. and Mrs. John W. Lawrence Mr. and Mrs. Quinn Benson Dr. and Mrs. Enrique Leguizamon Mr. and Mrs. David G. Boutell ..--- Dr. and Mrs. Cornelius Loew Dr. and Mrs. Wen Chao Chen Dr. and Mrs. Wm. G. Long Dr. and Mrs. Daniel Christian Mr. and Mrs. David Lundquist Mrs. Dorothy Connable Dr. and Mrs. James McDonald - Dr. and Mrs. Maynard Conrad C. L. Mahoney Company 1973 BACH FESTIVAL GUARANTORS Mr. and Mrs. JamesCaplinger Dr. and Mrs. Marshall A. Mac Donald Mr. and Mrs. Herman De Hoog Mrs. H. F. Mehaffie Dr. and Mrs. H. Lewis Batts, Jr. Mr. and Mrs. R. Bowen Howard Mr. and Mrs. Harold Davidson Paul E. Morrison Jeweler. Inc. The Civic Fund George Missias, D.D.S. Mrs. Harvey Darling Dr. and Mrs. Harrison Nelson KalamazooGazette The Music Corner Miss Katherine Doezema Dr. and Mrs. J. W. Petro Mr. Irving Gilmore The Upjohn Company Durametallic Corporation H. T. Prange and Sons Mr. and Mrs. Lincoln Dupon Mr. and Mrs. William Race Mr. and Mrs. Gerald De Nooyer Dr. and Mrs. Harry Ray Eckrich Foundation, Inc. Dr. and Mrs. William B. Redmon - Evans Ford Corporation Mr. and Mrs. Robert E. Richards ·- Fetzer Television Corporation Dr. Alexander Boggs Ryan ,_ Fidelity Federal Savings and Loan Roto Finish Co. 1973 BACH FESTIVAL PATRONS Mr. and Mrs. Carl Fisher Dr. and Mrs. Robert M. Smith Mr. and Mrs. Henry Ford The Sound Room American National Bank and Trust Company Mr. and Mrs. Preston S. Parish Four Winds Gallery Dr. and Mrs. John Spencer Mr. and Mrs. William H. Burke Dr. and Mrs. Richard U. Light 1- Gibson, Inc. Dr. and Mrs. Lest3r Start Mr. and Mrs. Alfred Connable {!o- J1/1l>...__ Dr. and Mrs. George Rainsford The Rev. and Mrs. Louis Grother Dr. and Mrs. Edwin Steen Corsiglia's Restaurants Mr. and Mrs. Donald C. Smith Mr. William Hessel Mr. Michael W. Stripp '< Dr. and Mrs. Gunther S. Fonken Mrs. Fred Stanley Mr. and Mrs. JamesS. Hilboldt - Dr. and Mrs. Jacob Stucki First National Bank and Trust Company Mrs. Elisabeth Stryker Mr. and Mrs. Allen Hof Mr. and Mrs. William Stuifbergen Dr. and Mrs. Norman Graff Sharpe's Colonial House Mr. and Mrs. Fred Howing -r--Mr. and Mrs. Edwin Trenkle If­ ){ Dr. and Mrs. Richard Hodgman Supenor Printing Company ~ Jacobson's Truesdale Funeral Homes Industrial State Bank & Trust Co. Mr. and Mrs. JamesThorne Mrs. WesleyJennings - Mr. and Mrs. Burton Upjohn Dr. and Mrs. Robert Janke Dr. and Mrs. P. L. VanDenBrink Mrs. Louis Johnston - Mr. and Mrs. R. W. Van Putten LeRoy P. Klemm, C.L.U. Mr. and Mrs. Adrian L. Vander Linde Johnstons and Associates Mr. and Mrs. Peter Wallus Henry Overley (In Memoriam) Mr. and Mrs. Herman Van Hammersveld, II KalamazooStamping and Die Co. Mr. and Mrs. Roger G. Williams KalamazooSavings and Loan Mr. and Mrs. Russell Worden Mr. and Mrs. William U. Parfet II ])~~0~~ Mr. and Mrs. Thomas R. Kasdorf sro~>6-L~.' 1973 BACH FESTIVAL CONTRIBUTORS ri;;:; Orl T;_~c( Mr. and Mrs. RaywoodBlanchard Mr. and Mrs. D. G. Knapp Ernst and Ernst Shumaker's Jewelers ft1tt.t/~r~aJ Mr. and Mrs. David Chaplin Thursday Morning Musicale / cl~~flo !! 15-- Mr. and Mrs. Ray Cunningham TuesdayMusicale Mr. and Mrs. Jack J. Frey Mr. and Mrs. Fred J. Nelson Mrs. Robert Friedmann Dr. and Mrs. David Weisblat Dr. and Mrs. John Hammer Mr. and Mrs. R. K. Jones A major American Bach Festival . . . ~br ~atb .1ftstiml ~rirtp.11nc. one of the unique musical organization in this country with membership in cjo Kalamazoo College, Kalamazoo, Michigan 49001 the International Bach Society.