college of fine arts administration BUTI administration Boston University Benjamin E. Juarez, Dean Phyllis Hoffman, Executive and Artistic Director Robert K. Dodson, Director, School of Music Shirley Leiphon, Administrative Director Tanglewood Institute Jim Petosa, Director, School of Theatre Arts Lisa Naas, Director of Operations and Student Life Lynne Allen, Director, School of Visual Arts David Faleris, Program Administrator John Amend, Assistant Dean of Finance and Grace Kennerly, Publications Coordinator presents Administration Manda Shepherd, Office Coordinator Patricia Mitro, Senior Assistant Dean of Enrollment Mandy Kelly, Office Assistant Stephanie Trodello, Assistant Dean of Development Jensen Ling, Private Lessons Coordinator and and Alumni Relations Assistant to the Program Administrator Laurel Homer, Director of Communications Travis Dobson, Stage Crew Manager Steven Fulginiti, Paul Kinsman, Andres Trujillo, Matt Visconti, Stage Crew Young Artists Orchestra program Shane McMahon, Recording Engineer Young Artists Orchestra Faculty and Staff Xiaodan Liu, Piano Technician Tito Muñoz, Conductor Ken-David Masur, Conductor Young Artists Chorus Paul Haas, Conductor Young artists vocal program Mark Berger, Viola Coach, String Chamber Music faculty and staff Franziska Huhn, Young Artists Harp Program Phyllis Hoffman, Director Assistant Director, Coach ken-david masur, conductor Michael Israelievitch, Percussion Coach Beth Willer, Chorus Conductor David Krauss, Brass Coach, Brass Chamber Music Elissa Alvarez, Vocal Program Coordinator Hyun-Ji Kwon, Cello Coach, String Chamber Music Joy McIntrye, Artist in Residence Hyun Min Lee, Cello Coach, String Chamber Music Meredeth Kelly, Voice Faculty Kai-Yun Lu, Winds Coach, Wind Chamber Music Evangelia Leontis, Voice Faculty Laura Manko, Viola Coach, String Chamber Music Colin Levin, Voice Faculty Miguel Perez-Espejo Cardenas, Violin Coach, Vera Savage, Voice Faculty String Chamber Music Coordinator Dana Schnitzer, Opera Coordinator/Voice Faculty Brian Perry, Double Bass Coach, String Chamber Music Caroline Pliszka, Violin Coach, String Chamber Music Mark Tempesta, Voice Faculty Samuel Solomon, Percussion Coordinator and Coach Gregory Zavracky, Theory Coordinator/ Klaudia Szlachta, Violin Coach, String Chamber Music Voice Faculty Hsin-Lin Tsai, Violin Coach, String Chamber Music Patricia Au, Pianist/Vocal Coach Dan Bauch, Private Lessons Instructor, Percussion Augustine Gonzales, Pianist/Vocal Coach Saturday Ronald Haroutunian, Private Lessons Instructor, Brett Klaus, Pianist/Vocal Coach Bassoon Steven Seigart, Choral Pianist July 27, 2013 Don Lucas, Private Lessons Instructor, Trombone Mandy Kelly, Vocal Program Intern Kevin Owen, Private Lessons Instructor, Horn Andrew Price, Private Lessons Instructor, Oboe 2:30pm Linda Toote, Private Lessons Instructor, Flute Thomas Weaver, Staff Pianist Nikoma Baccus, Orchestra and Chamber Music Tanglewood Theatre Manager Debra Egan, Orchestra Librarian and Assistant Manager

Tanglewood Theatre Support for the Boston University Tanglewood Young Artists Orchestra Institute is provided by: Young Artists Chorus KEN-DAVID MASUR, conductor

SCHNITTKE (K)ein Sommernachtstraum

BRITTEN Sinfonia da Requiem

Lacrymosa Dies irae Requiem aeternam

~Intermission~

MOZART Requiem Mass in D minor, K. 626 in memory of Dr. Larry Jones

Introitus: Requiem aeternam Kyrie eleison Sequentia Offertorium Sanctus Agnus Dei Communio

Young Artists Chorus Beth Willer, conductor

Elissa Alvarez, soprano Vera Savage, mezzo soprano Gregory Zavracky, tenor Colin Levin, baritone In Memoriam

The Boston University Tanglewood Institute acknowledges with sadness the passing of Dr. Larry Jones on April 2, 2013. He was a devoted member of the BUTI Advisory Board. Larry’s love of music, his This program is supported in part by awards from the Jack Kent Cooke Foundation, the Klarman Family passion for choral singing, and his commitment to our young artists programs was evident in his con- Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation stant presence here along with his support for the work of his wife, Dr. Ann Howard Jones, for 17 years Irving Caesar Fund, Zildjian, and the Bose Foundation. conductor of the Young Artists Chorus. His leadership was exemplary for the planning of BUTI’s 40th anniversary celebration as was his consistently generous support for the scholarship fund. To honor him Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music. and all that he has meant to BUTI, all performances for the 2013 season, and in particular this perfor- mance of the Mozart Requiem, are dedicated to his memory with our abiding gratitude and affection. ken-david masur, conductor

Boston University College of Fine Arts Conductor and Grammy nominated producer Ken-David Masur has been critically hailed as “fearless, bold” and a “life-force” (U-T San Diego) and “a brilliant and com- manding conductor with unmistakable charisma” (Leipzig Volkszeitung). His recent The Boston University Tanglewood Institute is part of the educational and artistic pro- engagements include the Boston Symphony Orchestra, Dresden Philharmonic, Russian grams of the Boston University School of Music. Founded in 1873, the School of Music National Philharmonic, Israel Philharmonic, Orchestre National de Toulouse, Hiroshima combines the intimacy and intensity of conservatory training with a broadly based, Symphony, Japan Philharmonic and Memphis Symphony Orchestras. He currently traditional liberal arts education at the undergraduate level and intense coursework at serves as Principal Guest Conductor of the Munich Symphony as well as Associate the graduate level. The school offers degrees in performance, composition and theory, Conductor of the San Diego Symphony. In the summer of 2013 he will make returns musicology, music education, collaborative piano, historical performance, as well as a to Tanglewood and the Colmar Festival in France where he will conduct the Russian certificate program in its Opera Institute, and artist and performance diplomas. National Philharmonic at their summer home.

Founded in 1839, Boston University is an internationally recognized private research Between 2004 and 2006 he was an assistant conductor for Orchestre National de France in Paris before being appointed Resident Conductor of the San Antonio Sym- university with more than 30,000 students participating in undergraduate, graduate, phony in 2007. In 2010, Masur was one of three finalists in London Symphony Orches- and professional programs. BU consists of 17 colleges and schools along with a number tra’s Donatella Flick Conducting Competition and in 2011, was the recipient of the Seiji of multi-disciplinary centers and institutes which are central to the school’s research Ozawa Conducting Fellowship at Tanglewood, where he returned once again upon and teaching mission. The Boston University College of Fine Arts was created in 1954 invitation as a Fellow in 2012. to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory- Ken-David Masur received the Bachelor of Arts degree from Columbia University in style school offering professional training in the arts to both undergraduate and gradu- New York City. There he served from 1999 to 2002 as the first Music Director of the ate students, complemented by a liberal arts curriculum for undergraduate students. Bach Society Orchestra and Chorus, which toured Germany and released a critically ac- Since those early days, education at the College of Fine Arts has begun on the BU claimed recording of symphonies and cantatas by W.F. Bach, C.P.E. Bach and J.S. Bach. campus and extended into the city of Boston, a rich center of cultural, artistic and intel- He received further music studies at the Leipzig Conservatory, the Detmold Academy, lectual activity. the Manhattan School of Music and the “Hanns Eisler” Conservatory in Berlin, where he was a five-year master student of bass-baritone Thomas Quasthoff. Through his vo- cal background, Masur was also a frequent guest conductor of the French Radio Choir, the Children’s Chorus of Radio France and prepared many choirs including for the London Philharmonic, the 92nd Y in New York as well as the Academy of Choral Arts in Moscow.

Masur studied conducting primarily with his father Kurt Masur. His mentors include Jorma Panula, Larry Rachleff, Christopher Seaman, Helmut Rilling, Stefan Asbury, Christoph von Dohnányi, Christoph Eschenbach, Sir Colin Davis, Jaap van Zweden, André Previn, Charles Dutoit and Vladimir Spivakov.

Together with his wife, pianist Melinda Lee Masur, he serves as Artistic Director of the Chelsea Music Festival, an annual summer music festival in New York City lauded as “a gem of a series” by the New York Times. It introduces multi-sensory, innovative pro- grams by fusing performing, visual and culinary arts in many different venues through- out Manhattan and features the world’s leading musicians and exciting newcomers on the classical and jazz music stage.

Young Artists Chorus beth willer, conductor

Noted for her “directorial command and technical expertise,” Beth Willer is fast be- coming one of Boston’s most sought-after young conductors. Currently holding posi- tions as Resident Conductor of the Radcliffe Choral Society at Harvard University and conductor of the Boston Conservatory Women’s Chorus, Ms. Willer is also the Founder and Artistic Director of Boston’s Lorelei Ensemble, recognized as one of Boston’s up- and-coming professional vocal ensembles. Committed to the expansion of repertoire Boston University Tanglewood Institute for women’s vocal ensembles, Ms. Willer has collaborated with composers from the U.S. and abroad, delivering numerous World, U.S. and regional premières, while work- The Boston University Tanglewood Institute is a program within the School of Music in ing to expose lesser-known works of the Renaissance and Baroque periods for women’s voices. Additional engagements include serving as Chorus Master for the Boston the College of Fine Arts at Boston University. Modern Orchestra Project’s 2012 production of Michael Tippett’s opera A Midsummer Marriage. In 1966, educational programs at Tanglewood were extended to younger students of high-school age, when Erich Leinsdorf invited the Boston University College of Fine A candidate for the Doctor of Musical Arts degree in conducting at Boston Univer- Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- sity, Ms. Willer holds degrees from Boston University and Luther College, studying shires. with Ann Howard Jones, David Hoose, Bruce Hangen and Weston Noble. During the summer of 2007, she studied conducting with Mark Shapiro of the Mannes School Today, the Boston University Tanglewood Institute, in its unique association with the of Music and counterpoint with Phillip Lasser of the Juilliard School at the European Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- American Music Alliance in Paris, France. As a member of the Boston music scene, nationally as an outstanding educational opportunity for young artists. Under the Ms. Willer has served as conductor of the New England Conservatory Youth Chorale guidance of dedicated, established professionals, and in the constant presence of the and Youth Camerata, the Walnut Hill School Chorus, and as conductor and vocal music staff at the Boston Arts Academy. Additionally, Ms. Willer has conducted the Boston Boston Symphony Orchestra, young people devote themselves each summer to an University Concert Choir and Women’s Chorale, and has served as a teaching fellow artistic experience without parallel. with the Boston Children’s Chorus. An active church musician, Ms. Willer directed choirs at First Church in Wenham, Massachusetts from 2006-2008 and has sung with the BU Marsh Chapel Choir. Prior to her career in Boston, Ms. Willer served as a YOUNG ARTISTS PROGRAMS conductor of the Memorial High School Choirs and the Chippewa Valley Youth Choirs in Eau Claire, Wisconsin. Young Artists Orchestra and Chamber Music Program Young Artists Vocal Program Young Artists Wind Ensemble and Chamber Music Program Young Artists Piano Program Elissa Alvarez, soprano Young Artists Composition Program Young Artists Harp Program Noted by the Boston Globe for her “intensely lyrical” singing, soprano Elissa Alvarez is an avid interpreter of recital, concert and operatic repertoire. A great advocate of living composers, Ms. Alvarez has been involved in numerous premieres in recent seasons. She appeared in concert and on recording as Mary Magdalene in the world premiere INSTITUTE WORKSHOPS of Emmy-nominated composer Kareem Roustom’s acclaimed mystical oratorio, The Son of Man with Boston’s Coro Allegro, a performance for which they received Chorus Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop America’s 2012 ASCAP/Alice Parker Award. Operatic engagements include the title Oboe Workshop Horn Workshop Percussion Workshop role in the premiere of Ketty Nez’s chamber opera The Fiddler and the Old Woman of Clarinet Workshop Trumpet Workshop Double Bass Workshop Rumelia with the Xanthos Ensemble, Fiordiligi in Così fan tutte, and Anunciata in the Bassoon Workshop Trombone Workshop String Quartet Workshop staged premiere of William Bolcom’s Lucrezia with Boston University Opera, as well as Contessa Almaviva (cover) in Le nozze di Figaro and La Princesse in L’enfant et les sorti- lèges with the Crested Butte Music Festival in Crested Butte, Colorado where she was the recipient of the Rosalind Jackson PhD Memorial Award. For further information about auditions and program offerings, please contact the BUTI In recital, Ms. Alvarez frequently collaborates with composer-pianist Benjamin War- office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- saw, specializing in the interpretation of twentieth-century song and works by Warsaw glewood Main Grounds. Please call (617) 353-3386 or (413) 637-1430 (July-August). written specifically for her. Recent duo recitals have included performances for Mas- You may also contact us via e-mail at [email protected]. sachusetts Peace Action, the Concert Series at the Church of St. John the Evangelist Website: http://www.bu.edu/tanglewood (Boston), and The Ethical Society of Boston. In the fall of 2011, Alvarez began collabo- rating and performing with “The Ghosts of Weimar,” a cabaret concert series featuring new arrangements of Bolcom’s Cabaret Songs for voice and jazz quartet and songs from the Great American Songbook. On the concert stage, Ms. Alvarez has been featured as soloist in performances of Boston University Tanglewood Institute Schubert’s Mass in G with Coro Allegro, Bernstein’s Chichester Psalms with Trinity Choir upcoming events in the City of Boston, Mendelssohn’s O For the Wings of the Dove and Bach’s B Minor Mass with the Newburyport Choral Society, as well as Mozart’s Great Mass in C Minor at Boston’s Symphony Hall under the baton of Craig Jessop with the BU Symphonic Sunday, July 28, 11:30am Young Artists Wind Ensemble Orchestra and Chorus. In 2008, she joined the Boston University Tanglewood Institute Student Chamber Music Recital Chorus and Orchestra in Honegger’s Le Roi David at Seiji Ozawa Hall with Scott Allen West Street Theatre Jarrett conducting. In addition, she is an active member of The Handel and Haydn Soci- Sunday, July 28, 8:00pm Young Artists Wind Ensemble ety’s Period Orchestra and Chorus under Harry Christophers, CBE. H. Robert Reynolds, conductor Tanglewod Theatre Ms. Alvarez holds a Doctor of Musical Arts degree from Boston University. Her dis- sertation explores the songs of 20th century Colombian composer Jaime León. She Monday, July 29, 7:00pm Young Artists Orchestra received her undergraduate and masters degrees from the University of Cincinnati Faculty Recital College-Conservatory of Music. Trinity Church Tuesday, July 30, 6:00pm Young Artists Orchestra Student Chamber Music Recital Chamber Music Hall vera savage, mezzo soprano Wednesday, July 31, 6:00pm Young Artists Orchestra Student Chamber Music Recital Vera Savage, mezzo-soprano, recently performed the roles of Sesto in Mozart’s Clemen- Chamber Music Hall za di Tito, Flora in Verdi’s La Traviata, the Prioress in Poulenc’s Dialogues of the Carmelites and Madeline Mitchell in Jake Heggie’s Three Decembers in productions of the Boston Thursday, August 1, 6:00pm Young Artists Orchestra University Opera Institute. The Boston Music Intelligencer described her portrayal of Student Chamber Music Recital Mitchell as playing “a convincing diva… able to sing powerfully both operatically and as Chamber Music Hall a Broadway baby”, and from the Bostonist, “Vera Savage was… stunning – a radiant and Saturday, August 3, 11:00am Young Artists Piano Program solid sound that brazenly approached even the most challenging moments of Heggie’s Student Recital score”. West Street Theatre Ms. Savage has spent several summers as a young artist at the Caramoor Music Fes- Saturday, August 3, 2:30pm BUTI Honors Recital tival where she covered the title role in Rossini’s Semiramide, Adalgisa in Norma, and Seiji Ozawa Hall the title role in Donizetti’s Maria di Rohan. Under stage director Tito Capobianco, she Sunday, August 4, 11:30am Young Artists Harp Program performed the roles of Donna Elvira in Don Giovanni and Hannah Glawari in The Merry Student Recital Widow. West Street Theatre This season, Ms. Savage placed fourth in Shreveport Opera’s Mary Jacobs Smith Sunday, August 4, 2:00pm Young Artists Vocal Program “Singer of the Year” Competition, was a finalist in the Bel Canto Scholarship’s annual Student Recital competition, and was selected as a semi-finalist in the Opera Birmingham competi- West Street Theatre tion. In past years, she was a finalist in the Houston Grand Opera’s Eleanor McCollum Sunday, August 4, 7:00pm Young Artists Composition Program Competition, received the top vocal prize in the Arts and Letters Competition in Bloom- Student Recital ington, Indiana, and second place in the Bel Canto Foundation of Chicago Competi- West Street Theatre tion. Ms. Savage holds the Bachelor of Music degree from the Oberlin Conservatory of Music, the Master of Music degree from Indiana University and is a candidate for the Doctor of Musical Arts degree at Boston University, where she is a student of Penelope Bitzas. For more information on our events, please contact our office at (413) 637-1431. Ms. Savage will make her mainstage debut in the 2014/2015 season with Florentine West Street Theatre, 45 West Street, Lenox, Massachusetts Opera in Milwaukee, Wisconson. Chamber Music Hall, Tanglewood Main Grounds Seiji Ozawa Hall, Tanglewood Main Grounds Tanglewood Theatre, Tanglewood Main Grounds Trinity Church, 88 Walker Street, Lenox, Massachusetts gregory zavracky, tenor The Alabama Friends of BUTI Praised for his fine musicality and “clarion” voice, Gregory Zavracky maintains an BUTI salutes the Alabama Friends, a dedicated group Allen Morrison active performance schedule on concert and opera stages alike. Recent engagements of volunteers from the Montgomery Symphony, who Michael Mucci demonstrate their passion for classical music and arts Joan Nelsen include Messiah with the Rhode Island Philharmonic, the Bach Magnificat with Back Bay education by providing annual BUTI scholarships to stu- Michael and Jeanne Payne Chorale, Britten’s Les Illuminations with the Aurea Ensemble, Count Almaviva in The dents from Alabama. BUTI is also honored to participate Michael Ritzen Barber of Seville with Townsend Opera, Tamino in Boston Lyric Opera’s family produc- annually in the Montgomery Symphony’s prestigious Barbara Rosenfelt tion of The Magic Flute, Prince Dauntless in Once Upon a Mattress and Schmidt in Werther Blount-Slawson Young Artists Competition. Henry Salz with Chautauqua Opera, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake Kevin Schmidt 2013 Alabama Friends Alan Schulman George Opera, Ferrando in Così Fan Tutte and Camille in The Merry Widow with Cape Harold and Jane Albritton Samuel Schulman Cod Opera, Ernesto in Don Pasquale with Opera in the Heights in Houston, and opera John Bullard Gabrielle Shatan and pops concerts with both the Utah and Chautauqua Symphonies. Mr. Zavracky has Dorothy Cameron Paul Shimer sung in the premieres of Dan Shore’s Works of Mercy, Ketty Nez’s The Fiddler and the Old Edith Crook Barbara Simkin Dr. and Mrs. Benjamin Cumbus David Solomkin Woman of Rumelia and James Yannatos’ Rocket’s Red Blare. Art song premieres include Dorothy DiOrio Hugh Taylor Three American Songs by Anthony De Ritis (included on forthcoming recording) and Eileene Griffith Harry Thomas works by Christopher Berg, Daron Hagen, Tom Cipullo and Richard Pearson Thomas. Carol L. Hodges Henry Walker Mr. Zavracky is a candidate for the Doctor of Musical Arts degree at Boston University Marian Kent Stephen Wittenberg School of Music in the College of Fine Arts and a faculty member in the Young Artists Anne King Samuel Zilka Joan Loeb Vocal Program of the Boston University Tanglewood Institute. Dae Miller Mr. and Mrs. Jerome T. Moore Jr. Maurice and Peggy Mussafer *This list represents friends who supported the Bos- Winifred and Charles Stakely ton University Tanglewood Institute between July 1, Helen Steineker 2012 and June 30, 2013. colin levin, baritone Mimi Thompson Janet Waller If you are interested in joining the Friends of BUTI Baritone Colin Levin recently made his Jordan Hall debut as Manfred Lewin in the east please contact Kelsey Mussler, Development As- The Kenneth L. Broad Memorial Scholarship Fund sociate, at 617-353-5544 or [email protected]. You coast professional premier of Jake Heggie’s orchestral staged baritone song cycle with The Kenneth L. Broad Memorial Scholarship Fund awards may also make a gift online at bu.edu/giving. chorus For a Look or a Touch with the Boston Gay Men’s Chorus. Mr. Levin has ap- a half-scholarship each year to a promising young baritone in the Young Artists Vocal Program. Founded peared with the Caramoor Music Festival, the Castleton Festival (including traveling by Laura Broad in 2009, in memory of her husband – a with them to Oman for their production of La Boheme at the Royal Opera House there), gifted baritone and passionate supporter of the arts and Advisory board of the Opera New Jersey, Bel Cantanti Opera in Washington D.C, Winter Opera St. Louis, arts education – the fund is replenished each year by gifts Illinois Opera Theater, St. Petersburg Opera (FL), the Sugarcreek Symphony and Song, from members and friends of the Broad family. Boston University the Brooklyn Academy of Music, and Opera Boston, where he covered the title role Tanglewood Institute 2013 Kenneth L. Broad Memorial Scholarship Donors in Hindemith’s Cardillac. He has performed the roles of Figaro in Il Barbiere di Siviglia, Esther-Ann Asch Guglielmo in Cosi fan tutte, the Forester in Janacek’s The Cunning Little Vixen, Dandini in Robert Barnes La Cenerentola, Figaro in Le Nozze di Figaro, Mercutio in Romeo et Juliette, Sam in Trouble Judith Belsky Richard Balsam in Tahiti, Sid in Albert Herring, Morales and Le Dancaïro in Carmen, Mr. Lindquist in A James Bobo Emily Borababy Hester Broad Little Night Music, Tobias Mill in Rossini’s La Cambiale di Matrimonio, and Baron Doup- Laura Broad Chester Douglass, Chair hol in La Traviata. In the 2013-14 season, Mr. Levin will appear as the principal soloist in Martin Broder Wilbur Fullbright concerts with the Salem Philharmonic Orchestra and the Hillyer Festival Orchestra. He Herta Carlin Richard Grausman Allison Cates will also perform the role of Tarquinius in The Rape of Lucretia in performances in Boston Susan Grausman and New York City as part of the international centennial festival of Benjamin Britten. Richard Coffey Gilbert and Norma D’Oliveira Ellen Highstein Rachel Donner Ellen Kazis-Walker Mr. Levin received the Bachelor of Music Degree from the Oberlin Conservatory of Donald Evans Music, with a double major in Vocal Performance and Musicology, and the Master of Melvin Ginsberg Lucy Kim Music Degree from the University of Illinois: Urbana-Champaign, which he attended on Lynne and David Harding Maureen Meister Randie Harmon Joy McIntyre a full scholarship and fellowship. Jacqueline Kingston John Lenard Beth Morrison Ann and Ben Mazotas Michael Nock Peter McCallion Charles A. Stakely Stephen Moore Lynn and Paul S. Morris Winifred Stakely Friends of the Boston University Tanglewood Institute A Note from the Conductor BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided full and partial scholarships to our gifted young artists, as well as resources for new initiatives and special The program may seem to be rather heavy for an afternoon concert performed by high programs, for the 2013 season.* school students, when their family and friends may simply want to have a pleasant musical experience around their picnic plans. But on the idyllic Tanglewood grounds, it $100,000 and above Jill Kessler is not unusual to face profound questions of life, death, and love, paired with music by Jack Kent Cooke Foundation Lucy Kim and Matthew Guerrieri Klarman Family Foundation Phyllis and Harvey Klein some of the greatest composers. Joseph Kress $10,000 - $99,999 Nelliana Kuh Of course, we’re celebrating the Britten Centennial this year and it was important that Clovelly Charitable Trust Robert Lea our young artists would have the chance to perform a piece by a composer who is very National Endowment for the Arts Paul Marshall Surdna Foundation Dana and Yuri Mazurkevich much part of Tanglewood history. Britten wrote his Sinfonia da Requiem at 26 and the Peter McCallion piece would be performed by the BSO and Koussevitzky, and lead to the commission $1,000 - $9,999 Gaelen McCormick ASCAP Foundation Irving Caesar Fund for the opera masterpiece Peter Grimes. In 1996, I entered the BUTI program in compo- Maryjane Minkin Richard F. Balsam sition and in addition to all the formative lessons the program had to offer, I was also Shawn Morrissey John A. Carey Roger Murray extremely fortunate to attend the 50th anniversary performance of Peter Grimes. That Chester and Joy Douglass Sandra Nicolucci evening’s concert—performed by the Tanglewood Music Center and conducted by one Mr. and Mrs. Peter Eliopoulos Robert Pease City of Fairfax Band Association, Inc. of the great musical influences in my early childhood, Seiji Ozawa—was one of those Arthur Post David Feigenbaum and Maureen Meister pivotal moments that shook the earth and made me think about music in a differ- Benjamin Rudnick Leah Y. Fullinwider ent way. Coincidentally, the performance took place in the Theatre where we are for Sherri Rudnick Ann and Gordon Getty Foundation Harvey and Justine Schussler tonight’s concert. If not for experiences like these during that summer at Tanglewood, I Susan and Richard Grausman Emma Shook do not think I would be a conductor today. And I wouldn’t have had the chance to be a Phyllis and Robert Hoffman Georgia Shutzer Ellen Kazis-Walker TMC conducting fellow the last two seasons, which enabled me to reconnect with the Christine Standish Owen Kelley next generation of students at BUTI, who are currently taking the necessary steps to be Bonnie Steele Joy McIntyre Douglas Stumberger today’s artistic leaders and creators. Kenneth D. Rudnick Patrick Szymanski William and Roswitha Trayes Rosalen Vineberg The Ushers & Programmers Fund One of my fondest memories as a BUTI student was to sing in the chorus under the Ellen and John Yates Up to $99 leadership of Ann Howard Jones. We would perform with several great conductors and Anthony Accinno the BSO in the Shed as well as at Ozawa Hall. That experience coupled with growing $100 - $999 Jennifer Andrews Deborah Aaron and Jay Cantor up as a chorister in the Leipzig Gewandhaus children’s choir and my later vocal stud- Naomi Atkins Jeffrey Auerbach ies with Thomas Quasthoff in Berlin, gave me a deep love for the human voice. When Leslie Boden Robert and Barbara Balliett Phyllis Hoffman and I discussed what repertoire I would work with the students on, I Jean Boglages Daniel Balsam Kathleen Boyd expressed the desire to engage with both the orchestra and the chorus. The Mozart Jeffrey Bickerstaff Katherine Canning Requiem was chosen also in part as a salute to Britten—Mozart was loved by Benjamin George Borababy Bianca Carter Sandra Brown Britten and he would regularly perform Mozart’s works on the piano or as conductor. Joseph Cerroni Deborah Burton Serena Chao Mr. and Mrs. Salvatore Cania David Cohen Another composer, who not just loved Mozart but had masterfully absorbed the Ba- Jane Carlson Donna Convicer roque and Classical styles into his compositions, was Alfred Schnittke. His piece, Kein Milda Carroll Robert Fishman Xu Chen Sommernachtstraum, was the result of a commission to write music to Shakespeare’s Marie Francoeur Marjorie Clement Midsummer Night’s Dream. He felt though that Mendelssohn had already written such a Barbara and John Gordon Mitchell Cohen masterpiece with his incidental music that he couldn’t write a new version—hence the Sally Jones Eric Cortell Amy E. Kawa title he gave this piece. Each time I perform and experience Schnittke’s music, I think Bruce Creditor Craig Knox back on my several meetings with him while I was still a boy. He made a lasting im- Emily and Michael Culler David Kopp Robin Dull pression on me and each time I hear his music, it resonates more with me, because it Barbara Kotler Kathleen and Dennis Faleris seems to bridge many periods in music history with the future, even twenty years after P. and Winnie Lamour Allison Fultz Carol and Joseph Lonero his death. A place that has done just that for over 75 years is Tanglewood, of course. Susan and Edward Goldstein Donald and Marjorie Mendelsohn It is a place where one is able to walk the grounds and meet and sense the spirits of Deborah Grausman Elizabeth Morrison Marian and Peter Hainsworth some of the greatest artistic minds as well as the new generation of musicians. I feel Daniel Palant Lynne and David Harding extremely privileged to collaborate with that new generation today. Laurie Ramsey Scott Himes Carl Saslow Dmitri and Elena Ilyin Laura and Guy Shechter Larry G. and Ann Howard Jones Ira Taxin Ken-David Masur Rochelle Kainer Alan Whitney Yumi and Jared Klein PROGram Notes Young Artists Chorus

Alfred Schnittke (1934–1998) Soprano Tenor (K)ein Sommernachtstraum Zola Barnes, Baltimore, MD Mason Boudrye, Derwood, MD Nicole Burke, Littleton, MA Jordan Clark, Santa Clarita, CA Diana Charlop, Great Neck, NY Christian Davakis, Oradell, NJ “The piece should be played in a concert of Shakespeare settings, though it has no direct connection with Shakespeare. Yet it is not for that reason that it is called (K)ein Sommer- Shurmila Dhar, Little Silver, NJ Aidan Gent, Brookline, MA nachtstraum (“(Not) A Midsummer Night’s Dream”). And that is all there is to say about my Alyssa Gonzalez, McAllen, TX Samuel Grandaw, Sedona, AZ Mozart-Schubert related rondo.” Mackenzie Jacquemin, Cincinnati, OH Kareem Mack, Brandywine, MD Alexis Janiga, Powder Springs, GA Steven Maynard, Pulaski, NY You have to love a composer who speaks in such a tangled, self-negating way about his Evangelia Leontis *, Bowling Green, Ohio Joseph Michalcyzk-Lupa, Ludlow, MA music, especially a piece as provocative – some might say obnoxious—as (K)ein Sommer- Rachel Liss, New York, NY Brandon Moore, Houston, TX nachtstraum. Yet Schnittke often writes music as he writes words—as a series of negations Rachel Lloyd-Taylor, Gorham, ME Nicolas Randrianarivelo, Baltimore, MD which cancel each other out. Material grows out of combat and reversal, out of the scary Georgia Mendes, Van Nuys, CA Samuel Dylan Rosner, Scarsdale, NY holes between material, out of the ambiguous stuff between the lines. Virginia Mims, West Palm Beach, FL Lucas Stillianos, Lynnfield, MA Theodora Nestrova, Acton, MA Mark Tempesta *, Winchester, MA This “ambiguous stuff” in (K)ein Sommernachtstraum comes, as Schnittke said above, from Caitlin Nuckolls, Mountain View, CA Thomas Wilson, Oakton, VA Mozart and Schubert—but not quite. Schnittke adds: “I should like to add that I did not steal Michelle Ravitsky, San Antonio, TX all the ‘antiquities’ in this piece; I faked them.” This fake Viennese Classicism free-floats Eleanor Richardson, Brookline, MA in the composer’s works of the late 1970s and 1980s. Some works carry the fake Mozart- Schubert mark as fatal wound, like the Violin Concerto No. 4 and Concerto for Viola and Or- Caroline Sambuco, Palm Beach, FL Bass chestra; other works, like Schnittke’s famous String Trio, entirely inhabit the Mozart-Schubert Esther Schneider, Tampa, FL Patrick Brooks, Atlanta, GA complex like a squatter in a burnt out building. Anastasia Sereda, Natick, MA Rahzé Cheatham, Baltimore, MD Maria Servodidio, Moorestown, NJ Andrew Christianson, Stanwood, WA In the case of (K)ein Sommernachtstraum, Schnittke had actually written its main structure Sabaa Sharma, Southaven, MS Benjamin Croen, New York, NY out completely the year before, as a Gratulationsrondo (“Congratulatory Rondo”) for violin Margaret Tigue, Wantagh, NY Jovon Eborn, Upper Marlboro, MD and piano, celebrating violinist and friend Mark Lubotsky’s fiftieth birthday. This little Deepti Varathan, Singapore, SG Gabriel Harley, Wilmington, DE chamber work comes off almost perfectly as a sonata-rondo movement from the 1780s, Natalie Vatcher, Bedford, MA Darius Jackson, Baltimore, MD complete with catchy primary and secondary themes, a development, “ideal” modulations, Gabriella Will, Mt. Laurel, NJ Ryan Kantor, New Brighton, MN and a complete recapitulation. Anna Willis, Birmingham, AL Daniel Kazenel, Canton, MA Nathan Kessel, Worcester, MA Yet not everything sits right: under the surface of this Rondo, Schnittke marks this work as Bernard Khalil, Framingham, MA a forgery, with parallel fifths, congested bass lines, odd major-minor shifts, and so on. And it is these signatures of the inauthentic that ferment into the Molotov cocktail of (K)ein Alto Colin Levin *, Dover, MA Sommernachtstraum. With the help of a huge orchestra, Schnittke here magnifies the cracks Emily Akpan, Brooklyn, NY Dante Mireles, McAllen, TX in his classical mask; tiny fissures become gaping holes, filled with the most garish and un- Sophia Artis, Kensington, CA James Nydam, Wellesley, MA seemly dissonances, and the most suffocating agglomerations of themes and motives. Solid Lily Balshan, Atlanta, GA Victor Paz, Arabi, LA 18th-century melodies now spin into raunchy, vicious circus marches; solos come from Gabrielle Barkidjija, River Forest, IL Erik Petersen, Oradell, NJ unseen soloists; modulations occur in five keys at once. The whole affair reeks of carnival, Christina Buchanan, Santa Barbara, CA Charles Sciascia, Valrico, FL and carnival’s intent on literally turning the world upside down. Julia Cohen, New Paltz, NY Eric Vinas, Ocean Ridge, FL Sydney Frodsham, McKinney, TX Thomas West, Lookout Mountain, TN But carnivals are also loads of fun, and Schnittke manages to tread the line between horror Talia Fuchs, Brooklyn, NY Ian Young, Easton, MD and a good time. The atmosphere reminds one of The Sorcerer’s Apprentice—not composer Christina Gallo, Newton, MA Paul Dukas’ work, but Disney’s animation of it in Fantasia, where a single broom comes Mary Henry, Atlanta, GA alive, multiplies uncontrollably, and turns from cutesy creature into a sprawling monstrous Grace Honohan, New York, NY menace. Khala James, West Palm Beach, FL Inevitably, things lead to disaster—you must pay for your fun—and (K)ein Sommer- Jacob Lindberg, Millburn, NJ nachtstraum climaxes on a disgusting smear of cluster chords and sleigh bells, after which Gabriela Lipson, Cardiff, CA the opening melody returns, bearing deep trauma. The effect of this piece (its “what”) is as AnnMarie Rizzo, Burbank, CA clear as a stop sign, and certainly explains to some degree Schnittke’s popularity. But under- Kathryn Rupp, Prior Lake, MN standing the “why” of a piece like this isn’t simple; Schnittke has confessed many times to Vera Savage *, Simsbury, CT *denotes BUTI faculty/section leader loving the music he parodies, especially that “Mozart-Schubert” sound. Perhaps he rails not Miranda Stopa, Holliston, MA against the music itself, but the world that uses it, a world far more harmful than Schnittke’s Katelyn Thompson, Birmingham, AL own audacious pastiches. –Seth Brodsky Young Artists Orchestra Benjamin Britten (1913–1976) Violins Cello Bassoon Sinfonia da Requiem, op. 20 Alexander van der Veen, Tyla Axelrod, East Setauket, NY Harrison Miller +, New Canaan, CT concertmaster §+, Palo Alto, CA Georgia Bourderionnet, Kyle Olsen §, Tigard, OR When he was twenty-seven years old, Benjamin Britten was asked by the Japanese Gov- Fumika Mizuno, concertmaster #, New Orleans, LA Rachel Parker, Ann Arbor, MI Tigard, OR Anna Byington, West Islip, NY Ross Roberts #, Orange Beach, AL ernment to create a work in celebration of the 2,600th anniversary of the Mikado dynasty. David Brill, principal 2nd §+, Aoma Caldwell §+, Randolph, NJ But it was 1940, England was at war with Germany, and Japan was Germany’s ally. Britten Orlando, FL Eliot Haas, Shreveport, LA Contrabassoon seriously questioned whether he should accept the offer. However, after securing prom- Ana Barrett, principal 2nd #, Ryan Hintzman #, Oak Hill, VA Kyle Olsen +, Tigard, OR ises from the Japanese officials that he would be in no way required to compose what he Irvington, NY Erica Ogihara, Pinecrest, FL called “musical chauvinism,” he consented, and thereupon proceeded to make as blunt an Didi Park, Falls Church, VA Horn anti-war statement as he would until his 1961 War Requiem. Although the commissioners Phoenix Abbo, Dallas, TX Eddie Pyun, Kennett Square, PA Joseph Cradler, Fairfax, VA Kenyon Alexander, Wellesley, MA Jeremy Steele, Seattle, WA Jonathan McCammon, Naperville, IL did pay Britten for the completed work, they considered the work’s Christian framework Donna Bacon, Albuquerque, NM Yuta Takano, Ramsey, NJ Shaun Murray, Palm Beach Gardens, FL and its markedly un-celebratory tone to be insulting, and they never gave it a performance. Sophia Bellino, Poughkeepsie, NY Joseph Teeter, Topeka, KS Rachel Nierenberg, New York, NY The premiere of the Sinfonia da Requiem took place in New York, at Carnegie Hall, in March Hannah Chou, Fremont, CA Naomi Tran, Mercer Island, WA Scott Reid §, Herndon, VA 1941, with the New York Philharmonic, conducted by John Barbirolli. While the Sinfonia da Christa Cole, Boise, ID Lorenzo Robb +, Santa Monica, CA Requiem carried a public message, it also reflected Britten’s personal grief over the loss of Naomi D’Amato, Duncanville, TX Bass Rebecca Edge, Winter Park, FL Nicholas Arredondo §+, Trumpet his parents, who had died a few years earlier; to them it was dedicated. Isabel Espinosa, Malden, MA Vancouver, WA Michael Chen +, Herndon, VA Carling Hank, Chicago, IL Evan Bish, Poughkeepsie, NY Elisabeth Lusche §, Auburn, AL Although the commissioned work was to be instrumental, Britten chose three portions of Itsva Hernandez, Roslindale, MA Brendan Carillo, Waco, TX Olivia Pidi #, Dumont, NJ the Latin funeral mass text as inspiration and, perhaps, to make unmistakable his statement Emily Kerr, Ridgefield, CT Seth Davis, Austin, TX Julie Tsuchiya-Mayhew, St. Louis, MO against the war. Without sung words either to strengthen or to restrict the allusions, the Ilya Kim, Loganville, GA Harrison Dilthey, North Adams, MA Seoyeon Kim, Falmouth, ME Lena Goodson, York, PA Trombone journey of this, the composer’s largest orchestral work, creates one grand arch that begins Eliana von Krusenstiern, Brookline, MA Rebecca Lawrence #, Seattle, WA Nicholas Kemp +#, McLean, VA with the most private lamenting (Lacrymosa), passes through shared fear (Dies irae), and Andrew Langman, Lebanon, NJ Noelle Marty, Lexington, MA Lena Piazza-Leman §, St. Louis, MO emerges in a supra-personal, uneasy consolation (Requiem aetermam). Britten’s astound- Adam Lefkowitz, Los Angeles, CA Anna Mowat, Hong Kong, HK Matthew Visconti *, Franklin, MA ing poetic precision and imagination are at a high point; that he was so young when he Aaron Levett, West Bloomfield, MI Paris Myers, Gilbert, AZ composed his Sinfonia da Requiem makes its power all the more remarkable. Elizabeth Merrifield, Setauket, NY Bass Trombone Benjamin Motter, Williamsburg, VA Flute Jahleel Smith, Atlanta, GA JoAnn Nam, Phoenix, AZ Stephen Barton §, Tallahassee, FL After several startling detonations, the first movement trudges and limps as a procession Ellen Ogihara, Pinecrest, FL Abigail Easterling, Grapevine, TX Tuba of grieving mourners seeking the strength to keep moving. The otherworldly sound of the Nicole Porcaro, Poughquag, NY Olivia Staton +, Vienna, VA Austin Comerford, Sturbridge, MA saxophone haunts the treading march, but when the brass pick up the yawing line, the Trent Ransom, Farmington, CT Henry Woolf, Fresno, CA lamenting turns bitter and even ugly. As the procession finally begins to recede, a crackling Molly Schneider, Clear Spring, MD Timpani dance of death, at once violent and arousing, approaches as a herd of galloping horses— Melody Sim, Montgomery, AL Piccolo Antonio Guarino +, Severna Park, MD Erika Studney, River Forest, IL Stephen Barton §, Tallahassee, FL Greg LaRosa §, Downington, PA or, as a squadron of enemy aircraft over London. At the eye of the terrorizing storm, the Abigail Easterling §, Grapevine, TX Daniel Raderman #, specter of the first movement reappears, but the heartbeat continues to pound. When the Viola Olivia Staton §+, Vienna, VA Winston-Salem, NC second of the movement’s two tremendous assaults finally starts to self-destruct, sputter- Anders Cornell §+, Plymouth, MN Henry Woolf §, Fresno, CA ing and gasping, its demise is as horrifying as anything that had preceded. From the col- Alexandria Danyluk, Stockbridge, MA Percussion lapsing metallic heap, a comforting music appears, music that, like many of Britten’s most Jacob Dziubek, Southington, CT Oboe Antonio Guarino, Severna Park, MD Shannon Elliott, Simpsonville, SC Andrew Blanke §, Charleston, SC Taylor Hampton, Gastonia, NC deeply felt utterances, carries itself with coolness and dignity. When the final aching line Nicholas Gallitano, Chestnut Hill, MA Liam Boisset, San Francisco, CA Grant Hoechst +, McLean, VA climbs and then slowly descends to the bottom, it is clear that this prayer for peace has not Rochelle Heinze, Shrewsbury, MA Casey Kearney +, Yorktown Heights, NY Greg LaRosa, Downington, PA yet been answered. Sarah Lamour, Brockton, MA John Uchal, Highland Village, TX Daniel Raderman §, –David Hoose Andrew Lavelle, Houston, TX Winston-Salem, NC Carol Lee, Dix Hills, NY English Horn Tal McGee #, Spring, TX Andrew Blanke +, Charleston, SC Piano Clara McMahon, Saratoga, CA Thomas Weaver *, Marlton, NJ Jeremy Tonelli-Sippel, Whitinsville, MA Clarinet Alexandra Wilson, Wellsville, UT Barret Ham, Macon, GA Harpsichord Wolfgang Amadeus Mozart (1756–1791) Dawn Wu, Franklin, TN Peter Jalbert +, Stafford, TX Michael Westberry *, Riverdale, GA Requiem Mass in D minor, K. 626 Derek Yeung, Dix Hills, NY Andrew O’Donnell #, Fayetteville, NC Colin Roshak §, Boston, MA Harp Phoebe Durand McDonnell §, Mozart was a happy man during the late summer and fall of 1791, albeit a very busy one— Bass Clarinet Bar Harbor, ME racing to fulfill a stack of commissions including La clemenza di Tito and, three weeks after § denotes principal in Schnittke Barret Ham §+, Macon, GA Maria Ren, Bedford, MA that, The Magic Flute. Flute was a hit, but with his desk still piled high with work, he had no + denotes principal in Britten Clara Wang +, Cambridge, MA # denotes principal in Mozart Saxophone time to savor it. Plunging ahead, he finished the Clarinet Concerto, K.622 for Anton Stadler in * denotes BUTI staff member Tyler Flowers *, Blacksburg, VA October, and on 17 November conducted a new cantata for his Masonic lodge, Laut verkünde unsre Freude (Loudly Proclaim Our Joy), K.623. This was his last appearance in public. He died at 12:55 a.m. on 5 December. Several auxiliary instruments used in tonight’s concert are on generous loan from the Boston College Bands Program. After his death, one major work lay on his desk unfinished. The previous July, Count Franz Wallsegg, through an anonymous emissary, had agreed to pay Mozart quite generously de poenis inferni, et de profundis lacu: bottomless pit to write a Requiem, half of the fee to be paid in advance, the other half upon completion. libera eas de ore leonis; deliver them from the lion’s mouth Mystery and confusion continue to swirl around this commission and its possible relation- ne absorbeat eas tartarus, ne cadant in neither let them fall into darkness nor the pit; ship to the composer’s death. Scholarship has long since cleared up most of it, though a obscurum, few questions remain. One is quite basic: why did the count approach Mozart for this in the first place? Solo Quartet Solo Quartet sed signifer sanctus Michael but let St. Michael, your standard-bearer, The fact is that Mozart was not known in Vienna as a composer of sacred music. No one repaesentet eas in lucem sanctam lead them into the holy light had commissioned him to write a major work for the church during his ten years there. The unfinished Mass in C Minor, K.427/417a, composed in 1782/83, was written for Salzburg and Chorus Chorus probably never heard in Vienna—although Mozart did use some of its movements, set to quam olim Abrahae promisisti which you long ago promised to Abraham different, non-liturgical words, in Davidde penitente, K.469 (1785). But for this important et semini ejus. and all his seed. commission, why didn’t Wallsegg seek out someone more closely associated with sacred music? Mozart had, in fact, begun to work on ideas for church compositions around the Hostias et preces tibi, Domine, Prayer and praise, O Lord, we year 1788, asking Nannerl to send him certain sacred works by Salzburg composers so that laudis offerimus; offer unto you; he could study them—toward what end, we don’t know. But there were no requests that he tu suscipe pro animabus illis, receive it for those souls write such music that we’re aware of, and no public performances. quarum hodie memoriam facimus: whom today we commemorate; fac eas, Domine, de morte transire allow them, O Lord, to cross from death into What we do know is that the count intended to have the Requiem performed annually ad vitam, life in memory of his twenty-year-old wife, who had died suddenly in February 1791. Mozart quam olim Abrahae promisisti as you promised Abraham undoubtedly knew the count and probably the young countess as well. Wallsegg often et semini ejus. and all his seed. invited musicians to perform at his country home; he also owned the townhouse in Vienna where Michael Puchberg, Mozart’s friend, Masonic brother, and sometime creditor lived. Sanctus Sanctus Wallsegg liked to hire composers to write music that he would then pass off as his own, Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, paying them well and probably fully aware that his little subterfuge was not quite a se- Dominus Deus Sabaoth. Lord God of Sabaoth. cret. Wallsegg’s emissary to Mozart was later described—accurately—as a “tall, thin man, Pleni sunt caeli et terra gloria tua. The heavens and the earth are full of your glory. dressed all in gray.” 19th-century writers made him also “mysterious” and “gaunt-looking.” Hosanna in excelsis. Hosanna in the highest. But there was no mystery; it was Franz Anton Leitgeb, an employee of the count who was tall, thin, and, because of his Turkish descent, dark-skinned. Solo Quartet Solo Quartet Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of A Requiem—the genre takes its name from its opening word (Requiem aeternam dona eis, Domine: Grant them eternal rest, O Lord)—served for centuries as the Catholic Mass for the the Lord. Dead. Its words include many of those used in all Masses (Kyrie, Sanctus, Agnus Dei), omit- ting the Gloria and Credo and adding the Requiem aeternam, Sequence, Offertory, and Commu- Chorus Chorus nio. Until this text, along with its liturgy and theology, was radically altered by the Vatican Hosanna in excelsis. Hosanna in the highest. Council’s reforms in the 1960s, it formed the basis for settings by composers including Berlioz, Verdi, Fauré, and Mozart. Brahms’s German Requiem is different: a Protestant, Agnus Dei Agnus Dei Brahms selected texts from Luther’s Bible. Benjamin Britten, in his War Requiem (1962), Agnus Dei, Lamb of God, commissioned for the rededication of Coventry Cathedral after its near-total destruction in qui tollis peccata mundi, who takes away the sins of the world, World War II, juxtaposed the Catholic text (although Britten was also not a Catholic) with miserere nobis. have mercy upon us. searingly graphic anti-war poems by the most famous poet killed in World War I, Wilfred Agnus Dei , Lamb of God, Owen. qui tollis peccata mundi, who takes away the sins of the world, dona nobis pacem. grant us peace. Setting to work on the Requiem in October, Mozart sorely missed Constanze, who was in Baden recuperating from a painful and potentially serious leg infection. His letters to her Communio Communio are affectionate and full of high spirits. How could he be depressed? The Magic Flute was a Soprano Soprano triumph. Trips to England and Russia were still a possibility. Guaranteed pensions were in Lux aeterna luceat eis, Domine, May eternal light shine upon them, O Lord, the offing from Hungary and Amsterdam. Within a few months or possibly a year or two, cum sanctis tuis in aeternum, quia pius est. with your saints forever, because you are merciful. he expected to be named Music Director of St. Stephen’s Cathedral with a salary of 2,000 gulden. Chorus Chorus Lux aeterna luceat eis, Domine, May eternal light shine upon them, O Lord, According to legend, however, throughout most of September Mozart was ill, melancholy, cum sanctis tuis in aeternum, quia pius est. with your saints forever, because you are merciful. and preoccupied with thoughts of his impending death. His letters plainly refute this; nor is Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, there any evidence of serious ill health before November. For most of that time he was so ill et lux perpetua luceat eis and may perpetual light shine upon them that it would have been impossible for him to compose or, at the end, even to hold a pen. cum sanctis tuis in aeternum, quia pius est. with your saints forever, because you are merciful.

Before he died, Mozart was able to complete only the Requiem aeternam, much of the Kyrie, Cum vix justus sit securus? When even the righteous may hardly be secure? and portions of the Sequence. For some of the remaining sections he left sketches or drafts in varying states of completion; for the concluding movements, nothing. Yet despite the Chorus Chorus fact that only a fraction of the Requiem was written by Mozart himself, it is numbered today Rex tremendae majestatis, King of awful majesty, among his most beloved and most frequently performed works. Qui salvandos salvas gratis, Who freely saves the redeemed, Salve me, fons pietatis. Save me, O fount of goodness. At his death, the Requiem looked like this:

Solo Quartet Solo Quartet Requiem aeternam: complete Recordare, Jesu pie, Remember, blessed Jesus, Kyrie: vocal parts complete; bass line with figures (to indicate how the harmony should be Quod sum causa tuae viae. That I am the cause of your pilgrimage. filled out); orchestral parts sketched in here and there Ne me perdas illa die. Do not forsake me on that day. Sequence: same as the Kyrie, through measure 8 (Judicandus homo reus) of the “Lacrimosa,” the final stanza of the Sequence Quaerens me sedisti lassus, Seeking me, you sat down weary; Offertory: same as the Kyrie and Sequence Redemisti crucem passus, You redeemed me, suffering death on the cross; Sanctus: not composed; vocal parts possibly sketched, but lost Tantus labor non sit cassus. Let not such toil be in vain. Benedictus: not composed; vocal parts possibly sketched, but lost Osanna: not composed; vocal parts possibly sketched, but lost Juste judex ultionis Just and avenging Judge, Agnus Dei: not composed; vocal parts possibly sketched, but lost Donum fac remissionis Grant forgiveness Communio: repeats the music of the Requiem aeternam and Kyrie—was this Mozart’s plan? Ante diem rationis. Before the day of reckoning. The Kyrie and nearly all of the Sequence were in good enough shape to be finished by some- Ingemisco tamquam reus. I groan like a guilty man. one else. However, the Sequence’s last stanza, the “Lacrimosa,” ended abruptly after eight Culpa rubet vultus meus. Guilt reddens my face. measures and for this reason was long thought to have been the last music he composed. Supplicanti parce, Deus. Spare this suppliant, O God. But Alan Tyson and Christoph Wolff argue that he was probably so sure how the rest of the “Lacrimosa” would go that he simply didn’t bother to write it down, hurrying on instead to Qui Mariam absolvisti You who forgave Mary Magdalene draft two of the Sequence’s more complex sections, the “Domine Jesu” and the “Hostias.” It Et latronem exaudisti, And hearkened to the thief, was then, they believe, that he had to stop. The autograph manuscript shows no signs of Mihi quoque spem dedisti. To me also have You given hope. haste or fatigue. Right to the end, it seems, Mozart had no idea that he was dying. After his death, Constanze, faced with the task of supporting herself and their two young Preces meae non sunt dignae, My prayers are not worthy, children, needed the other half of that fee from Count Wallsegg. She asked three com- Sed tu bonus fac benigne, But You in your merciful goodness grant posers to bring the Requiem to completion, but they all had trouble following in Mozart’s Ne perenni cremer igne. That I do not burn in everlasting fire. footsteps. Ultimately, the responsibility fell to Mozart’s assistant, Franz Xaver Süssmayr. Laboring under what must have been indescribable emotional pressure, he completed the Inter oves locum praesta, Place me among your sheep work in February 1792, thereby rescuing Constanze, an act of generosity rarely if ever ac- Et ab haedis me sequestra, And separate me from the goats, knowledged by Mozart scholars. Thanks to him, the count received the manuscript in due Statuens in parte dextra. Setting me on your right hand. course and paid Constanze the promised sum.

Chorus Chorus There is harsh criticism of Süssmayr’s work, however: errors of harmony abound, and his Confutatis maledictis When the sinners have been confounded musical ideas proved no match for Mozart’s. Nevertheless, many conductors prefer his Flammis acribus addictis, And given over to the bitter flames, version to any that have followed it. Süssmayr worked closely with Mozart for a period of Voca me cum benedictis. Call me with the blessed. years, was with him at the end, and surely had a good sense, if anyone did, of the com- poser’s overall plan for the work. While Süssmayr’s orchestral music for the Sanctus and Oro supplex et acclinis. I pray in supplication on my knees. Benedictus is disappointing, the vocal parts seem stronger, and his Agnus Dei is quite fine. Cor contritum quasi cinis, My heart contrite as the dust, Did Mozart perhaps leave sketches for some of these sections? For the Communio (“Lux Gere curam mei finis. Safeguard my fate. aeterna” and “Cum sanctis tuis”), Süssmayr repeated music from the “Te decet hymnus” section of the Requiem aeternam and the following Kyrie. Either Mozart told him to do this, Lacrimosa dies illa Tearful will be that day or Süssmayr, pressed for time, did so out of desperation. Qua resurget ex favilla When from the dust shall rise Judicandus homo reus. Guilty man to be judged. The style of the Requiem is without parallel elsewhere in Mozart’s works. Its closest ana- Huic ergo parce, Deus. Therefore spare him, O God. logues are found, surprisingly, not in his other church music (most of which was written Pie Jesu Domine, Merciful Jesus, Lord, before he moved to Vienna), but in The Magic Flute and his Masonic choral music. The dona eis requiem. Grant them rest. Requiem’s sonority bears a strong resemblance to that of the priestly scenes in Act II of The Magic Flute: two basset horns, two bassoons, two trumpets, three trombones, timpani, and Offertorium Offertory strings. But the Requiem is darker still, because there are no upper woodwinds—no flutes, Domine, Jesu Christe, rex gloriae, Lord Jesus Christ, king of glory, oboes, or clarinets—and no horns; the highest woodwinds are the basset horns. The result libera animas omnium fidelium deliver the souls of all the faithful is mahogany: deeply solemn, yet warm. defunctorum departed from the pains of hell and from the Mozart sets the Requiem’s ancient words “cantata style,” as he had done in his unfinished texts and translations Mass in C Minor, K.427/417a, subdividing each movement into short clusters and setting each of them individually. Much of the writing stands at one extreme or the other: either Wolfgang Amadeus Mozart richly contrapuntal or hymn-like in its simplicity. The contrast with the C-minor Mass could Requiem Mass in D minor, K. 626 not be sharper: here there are no arias, with one exception discussed below. Nearly all the non-choral moments feature, not individual singers, but the whole vocal quartet, whose music is lyrical, gentle, and unadorned. Introitus Introit Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, The musical highpoints of the Requiem are choral. The influence of Bach is everywhere ap- et lux perpetua luceat eis. and may perpetual light shine on them. parent—for example, in the masterful double fugue juxtaposing an ominous “Kyrie eleison” with a light winged “Christe eleison.” Mozart borrowed the melody for the “Kyrie eleison” Soprano Soprano from the chorus “And with his stripes we are healed” in Handel’s Messiah, a work he had Te decet hymnus, Deus, in Sion, You, O God, are praised in Sion, revised on a commission from Baron van Swieten in 1789. et tibi reddetur votum in Jerusalem. and to you shall the vow be performed in Jerusalem. The Sequence offered composers rich opportunities for choral illustration, and Mozart em- ploys his theatrical brilliance to bring them startlingly to life. The Sequence’s stanzas, each Chorus Chorus composed of three rhymed lines, seem to portray a penitent sinner confronting the wrath, Exaudi orationem meam, Hear my prayer, power, goodness, and healing mercy of God. In dramatizing this vast emotional span, ad te omnis caro veniet. to you shall all flesh come. Mozart allots two-thirds of the poem (12 stanzas) to the calming music of the solo quartet, Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, with only six stanzas given to the chorus; yet those six are quite overwhelming. Beginning et lux perpetua luceat eis. and may perpetual light shine on them. with the driving, minor-key “Dies irae” (Day of Wrath), we move to the monumental “Rex tremendae” (King of awful majesty); then, after an emotional respite of seven stanzas by Kyrie Kyrie the quartet, to the fiery “Confutatis maledictis” (When the sinners have been confounded) Kyrie eleison. Lord, have mercy upon us. set against the angelic “Voca me cum benedictis” (Call me with the blessed), coming at last Christe eleison. Christ, have mercy upon us. to the (incomplete) minor-key pastoral lament, the “Lacrimosa” (Tearful will be that day). Kyrie eleison. Lord, have mercy upon us.

The third stanza of the Sequence provides the Requiem with its one very brief aria: “Tuba Sequentia Sequence mirum” (A trumpet, spreading a wondrous sound through the graves of all lands, will drive Dies irae, dies illa Day of wrath, that day mankind before the throne). Mozart sets this as a dialogue between baritone and solo Solvet saeclum in favilla, Will dissolve the earth in ashes trombone. Why trombone? While English bibles translate the Latin word tuba as “trum- Teste David cum Sibylla. As David and the Sibyl bear witness. pet,” in the German bible it is “trombone.” Neither of these is an accurate rendering of tuba, St. Jerome’s fifth-century guess at the meaning of the Greek word for shofar or ram’s horn— Quantus tremor est futurus What dread there will be the instrument played today, as it was in Mozart’s time, on Rosh Hashanah and Yom Kippur. Quando judex est venturus When the judge shall come As you will hear, however, trombones are heard not only during the “Tuba mirum” but Cuncta stricte discussurus. To judge all things strictly. throughout much of the Requiem. They signify, as they do in Don Giovanni and The Magic Flute, the presence of the divine. Baritone Baritone Tuba mirum spargens sonum A trumpet, spreading a wondrous sound Early writers on Mozart were unanimous in believing that the Requiem marked a new direc- Per sepulcra regionum Through the graves of all lands, tion in his work, away from opera and instrumental music towards a thoroughgoing reform Coget omnes ante thronum. Will drive mankind before the throne. of church music. The new style, as they envisioned it, would banish operatic display and blend ancient (i.e., Renaissance and Baroque) polyphony with modern, symphonic ideas of Tenor Tenor form. Were these writers on to something? Had Mozart truly embarked on a fundamental Mors stupebit et natura Death and Nature shall be astonished rethinking of his style? There is, in fact, evidence that he had, in particular the Requiem Cum resurget creatura When all creation rises again itself, with its sharp departures from his earlier music. At all events, we are mistaken if we Judicanti responsura. To answer to the Judge. think of this as a late work. To him, it was simply the next work—the next commission. He could not have known that it would be his last and that he would not live to finish it. Liber scriptus proferetur A book, written in, will be brought forth In quo totum continetur, In which is contained everything that is, –Roye E. Wates Unde mundus judicetur. Out of which the world shall be judged.

Dr. Roye E. Wates is a professor of music and lecturer at the Boston University College of Alto Alto Arts and Sciences. The above program note is an excerpt from her recently published book, Judex ergo cum sedebit When therefore the Judge takes His seat Mozart: An Introduction to the Music, the Man, and the Myths (Amadeus Press, 2010). Quidquid latet apparebit, Whatever is hidden will reveal itself. Nil inultum remanebit. Nothing will remain unavenged.

Soprano Soprano Quid sum miser tunc dicturus, What then shall I say, wretch that I am, Quem patronum rogaturus, What advocate entreat to speak for me,