QClevelanduire Ross W. Duffin, Artistic Director the St. Matthew Passion by Richard Davy featuring guest soloists Jeffrey Strauss & Owen McIntosh

April 8 & 9, 2017 Akron, Cleveland & Cleveland Heights

ross w. duffin artistic director We rejoice in the opportunity to present you with this exquisite music from the late 15th century. The reconstructed St. Matthew Passion by Richard Davy is an example of the old-music-made-new that is Quire Cleveland’s signature. It illuminates how music has been an expression of faith — and so much else in life — since the earliest days of humans. What is life without music? Nowadays, everyone can chose their own “mix tape,” listening to the music that pleases / moves / energizes / calms them best. In concerts like this one — generously supported by the citizens of Ohio through the Ohio Arts Council and the citizens of Cuyahoga County through Cuyahoga Arts & Culture — Quire offers you a rare experience of music that you may never have heard before. It is part of our shared culture, with an undeniable and timeless beauty. For the past 9 seasons, Quire Cleveland has presented the earliest AND the latest choral music in repertoire dating from the 12th century to the 21st. Next season, 2017–18, is Quire Cleveland’s 10th Anniversary Celebration! Exciting plans are afoot & are announced on the penultimate page. Check our website quirecleveland.org for the latest developments. Meanwhile, we invite YOU to join in the Quire — SING in the shower • HUM around the house CROON in the car • WARBLE at work YODEL in the yard • BELT at the bar HARMONIZE with humanity — and always keep a song in your heart!

Beverly Simmons Executive Director & Alto

Thank you for coming! Performing for you gives us joy in singing. But we have these small requests: • Please turn off cell phones & other noisemakers. • Please refrain from photography and audio/video recording. • If you’re suffering from a cough, DO help yourself to the cough drops available from the Qushers and DON’T sit near a microphone. QClevelanduire Ross W. Duffin,Artistic Director

April 8, 2017 St. Bernard Parish, Akron April 9, 2017 Historic St. Peter Church, Cleveland St. Paul’s Episcopal Church, Cleveland Heights

PROGRAM the concert will be performed without intermission

The St. Matthew Passion Richard Davy (ca.1465–1538)

Ah, gentle Jesu! Sheryngam (fl.1500)

QUIRE CLEVELAND Ross W. Duffin,Conductor Owen McIntosh, Evangelist Jeffrey Strauss, Jesus Soprano: Margaret Carpenter Haigh, Donna Fagerhaug, Christine Jay, Elena Mullins, Gail West Alto: John McElliott, Joseph Schlesinger, Beverly Simmons, Jay White Tenor: Evan Bescan, Nathan Dougherty, Bryan Munch, Corey Shotwell Bass: Daniel Fridley, Nathan Longnecker, Brian MacGilvray, Michael McKay ABOUT QUIRE CLEVELAND

Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce our audiences to music not heard in the modern era—including modern premieres of works newly discovered or reconstructed—breathing life into the music of our shared heritage. With highly-trained professional musicians—who collectively represent 500 years of choral singing—the ensemble has earned both popular and critical acclaim. Quire contributes to the artistic life of our community in unique ways, including collaborations with such organizations as the Cleveland Museum of Art, Cleveland Composers Guild, Music & Art at Trinity, CityMusic Cleveland, Summit Choral Society, and The Cleveland Foundation. Now in its ninth season, Quire Cleveland has presented more than 60 concerts and produced six CDs of music from the 12th to the 21st centuries. Artistic Director Ross W. Duffin, a prize- winning musicologist, creates unique editions for Quire, and plans programs that are appealing and accessible, showcasing the beauty of the music and the glorious sound of voices raised in harmony. In addition to live and recorded broadcasts on classical radio, Quire has also recorded music for Oxford University Press. An education program, initiated in 2014, offers workshops and lectures. With concert videos posted on YouTube, Quire Cleveland’s reach has indeed been worldwide, attracting over 600,000 views from 210 countries.

ARTISTIC DIRECTOR Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook (both published by WW Norton), have gained international renown. In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; A Performer’s Guide to Medieval Music; and the St. Matthew Passion by Richard Davy, which is being recorded in concert, to be issued next season as a CD. He has sung with Apollo’s Fire since its inception in 1992. GUEST SOLOISTS

Acclaimed as a “lovely, tender high tenor” by the New York Times, Owen McIntosh has enjoyed a diverse career of chamber music and solo performance—ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. A native of remote Northern California, Owen has shared the stage with the country’s finest ensembles including Apollo’s Fire, Blue Heron, Boston Baroque, Carmel Bach Festival, Les Canards Chantants, New Vintage Baroque, Staunton Music Festival, TENET, Trident Ensemble, True Concord, San Diego Bach Collegium and the Grammy-nominated Choir of Trinity Wall Street. Among Owen’s recent solo engagements are: Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s chamber opera L’isola Disabitata with the American Classical Orchestra, Monteverdi Vespers of 1610 with Apollo’s Fire and Green Mountain Project, Bach’s St. Matthew Passion with Grand Rapids Symphony, Monteverdi’s Il Ritorno d’Ulisse in Patria with Opera Omnia and Boston Baroque, and the Evangelist in Bach’s St. John Passion with Tucson Chamber Artists. This season, Cleveland audiences have enjoyed hearing Owen McIntosh sing with Apollo’s Fire and Les Délices, as well as Quire Cleveland.

Jeffrey Strauss, baritone, an “authoritative artist” (Plain Dealer) whose performances have been praised as “captivating” (Chicago Tribune) and “serenely beautiful” (New York Times), has appeared with numerous period- instrument ensembles. These include Apollo’s Fire, The Consort of Musicke with Emma Kirkby, the Taverner Consort under Andrew Parrott, Tafelmusik, the Handel & Haydn Society (Boston), Seattle Baroque, Tempesta di Mare (Philadelphia), and the Newberry Consort (Chicago). He made his concert début at the age of 17 with the Buffalo Philharmonic and studied voice with Elsa Charlston in Chicago, Yvonne Rodd-Marling in London, and Gérard Souzay in Paris. An accomplished stage actor, favorite projects include the title role in Monteverdi’s L’ O r f e o , Jesus and Pilate in the J. S. Bach Passions, Méphistophélès in Berlioz’s Damnation of Faust, and Apollo in Handel’s Apollo e Dafne. His 2014 portrayal of Tevye in Fiddler on the Roof was hailed by the Buffalo News as “masterful.” Jeffrey Strauss’s CD recordings with Apollo’s Fire include the MonteverdiVespers of 1610; Handel’s Messiah; Sephardic Journey, which debuted in February 2016 at #2 on the Billboard World Music chart; and Bach’s St. John Passion, released this year. NOTES We know very little about the composer Richard Davy. He was a student at Magdalen College, Oxford around the time it opened its doors on the present site, and he was informator choristarum (master of the choirboys) there from 1490–92. After that, we’re not sure. He may have worked at Exeter Cathedral, may have worked for the Boleyn family, and he probably ended his days at Fotheringhay, famous as the later site of the trial and beheading of Mary, Queen of Scots. But that’s all we know. Davy’s setting of the St. Matthew Passion is the earliest by a known composer. It is preserved in the Eton Choirbook, a splendid music manuscript from the early 16th century, mostly containing motets in honor of the Virgin Mary, one of which is described as composed in a single day by Davy while he was at Magdalen College. At the very end of the book is this very unusual piece—out of the norm, not only for this manuscript, but for musical composition in general up to that time. Following the tradition of Passion performance in the Middle Ages, Davy’s Evangelist and Jesus sing their parts using Sarum chant for the Passion, which is to say, according to the Rite of Salisbury, which was preferred over the Roman Rite in England up to the Reformation in the mid-16th century. The sayings of everyone else—the disciples, Peter, Judas, Pilate and his wife, the Pharisees, the Centurion, and the crowd (the turba)—are set by Davy in polyphony, with four voice parts. The music style of the Eton Choirbook demonstrates clearly that the brilliant English choral writing we know, from Byrd to Purcell to Howells to Mealor, was already flourishing in the early Renaissance. There are soaring treble lines, originally written for boy sopranos—high above the alto—vibrant syncopations, and flashes of florid writing with rare, but highly effective, homophonic passages (where all the voices sing the same rhythm). It’s truly an emotional and dramatic rendering of the Gospel for the Passion. Unfortunately, the pages containing the beginning of the piece in the Eton Choirbook have been lost, and of the forty-two original short movements, the book as it survives lacks the first eleven movements completely, and has only alto and bass voices for the next twelve. Starting in 1921, scholars have tried reconstructing the missing portions. The movements at the beginning have been created by using the music from later movements and substituting the missing words. I have done the same, although my choices have been based on analytical criteria that do not seem to have been used by earlier scholars. The next twelve movements require composing the two missing voices, according to the style of the rest of the piece. All of that makes the work performable. The further wrinkle for our version is that I have set Davy’s music, not to the original Latin words, but to the early English Gospel translation by William Tyndale. Tyndale began writing his translation of the Bible while he was still a student at Magdalen in the early 16th century, so his work comes from the same artistic milieu as Davy’s music, although it is probably just a few years later. Translating scripture was still illegal and eventually caused Tyndale to be martyred as a heretic—strangled and burned at the stake—even though a Bible in English, largely his work, was authorized by Henry VIII just three years later. Not only was Tyndale’s English translation so poetic that it eventually became the basis for the King James Bible in 1611, but Tyndale was so adept at capturing the essence of natural spoken dialogue, that the story seems vivid and real, and, I believe, helps the work come alive for us today. The Passion of St. Matthew concludes, based on the Gospel reading for Palm Sunday, after the Evangelist describes the visit to the tomb by the three Marys. Immediately afterwards, we sing an Easter carol by the composer Sheryngam, whom we know only from two pieces in the Fayrfax Manuscript (from the same period as the Eton Choirbook). Late medieval English mystery plays sometimes followed the crucifixion with an imagined dialogue between Jesus and another character or characters. Sheryngam’s Ah, Gentle Jesu serves a similar purpose here. In this case, the dialogue is with “a sinner,” who appears in the refrain, or burden, and in the final verse. The rest of the lyric is Jesus, admonishing the sinner to contemplate the crucifixion and what it means. Performing passion music, particularly settings that have not previously been recognized as “official” masterpieces, has become a controversial act in modern times, since it may revive old prejudices and perpetuate the blaming of the Jews for Christ’s death. The point, for me, is to show what beautiful music was composed to set the passion 500 years ago, and how surprisingly vivid and heartfelt—and human—the presentation can be for modern audiences. Each character plays a crucial part—Jesus, the disciples, the chief priests, the rabble, and Pilate—and without any one of them there would be no passion: no crucifixion, no resurrection, no salvation, no Christianity. There is no orchestra in Davy’s passion, as there is in Bach, no extended movements of grandeur and agony, no exquisite instrumental obbligato or poignant aria—just the purity of unaccompanied solo and choral voices. But Davy’s work is equally profound in its eloquent juxtaposition of the dignified chant and brief flashes of dramatic polyphony, and deserves to be heard as an extraordinary work of art, and a pioneering venture in setting the passion story to music. —Ross W. Duffin

Western Reserve Chorale David Gilson, Artistic Director 25th Anniversary Season 2016-2017 Isn't it Romantic? Great choral settings from the Romantic Period

Sunday, June 4, 3:30 p.m. Cedar Hill Baptist Church, Cleveland Heights Tuesday, June 6, 7:30 p.m. Church of the Resurrection, Solon

westernreservechorale.org 216-791-0061

ocT 15 & 16, 2016 MaRcH 11 & 12, 2017 songs Without Machaut’s Remede Words de Fortune 2016 / 17 Jan 20, 2017 aPRil 8 & 9, 2017 8 th season Mozart in Paris Fated Lovers

TickeTs on sale in augusT | DeTails aT www.lesdelices.org SINGERS’ BIOGRAPHIES

Tenor Evan Bescan holds a Bachelor of Quire, she sings with Apollo’s Singers and Contrapunctus, Music degree from Capital University in and is soprano soloist at Lakewood Congregational Columbus, Ohio, along with a Church. Donna also works as a vocal coach in the Rocky Methodology Diploma from the Kodály River City Schools. She lives in Rocky River with her Institute in Kecskemét, Hungary. He cur- husband and three children. rently resides in Grafton, Ohio, and is a Daniel Fridley, bass-baritone, Daniel full-time music teacher at Elyria Fridley, bass-baritone, is finishing his Community Elementary School. Evan is a chorister at master’s degree at the Cleveland Institute the Cathedral of St. John the Evangelist and is also a of Music, studying with Dean Southern. consultant of the Freda Joyce Brint Foundation, using His roles there have included Figaro in music to enhance learning and life in people with Mozart’s Le nozze di Figaro and Don Pedro Alzheimer’s and dementia. in Berlioz’s Béatrice et Bénédict. He also Soprano Margaret Carpenter Haigh performed as Speaker of the Temple in Opera Circle has performed as a soloist with the Oxford Cleveland’s production of Mozart’s Die Zauberflöte. Bach Soloists, Simon Carrington Chamber With Apollo’s Fire at the Metropolitan Museum of Art Singers, and Apollo’s Fire. Recent and up- in December, he made his New York début as bass solo- coming engagements include her Messiah ist in Messiah. He has recently been accepted into the debut with the Memphis (TN) Symphony DMA program in Historical Performance Practice at Orchestra, singing and narrating David CWRU, and looks forward to continuing his studies in Del Tredici’s An Alice Symphony with the Portland Cleveland. (ME) Symphony, and performing as a Britten-Pears Christine Jay, soprano, is a fifth-year Young Artist at the Aldeburgh Festival. Alongside her double degree student at the Oberlin husband, Nicolas Haigh, she founded L’Académie du College and Conservatory studying voice, Roi Soleil, an ensemble specializing in French baroque baroque flute, and comparative litera- music. Margaret was a Gates Cambridge Scholar at ture. She has performed with the Oberlin Clare College and is earning her doctorate in Historical Baroque Orchestra, Opera Theatre, and Performance at CWRU. www.margaretcarpenter.org Historical Performance Departments, Tenor Nathan Dougherty recently be- notably as La Musique in Charpentier’s Les plaisirs de gan his DMA in Historical Performance Versailles at the Smithsonian and Boston Early Music Practice at Case Western Reserve. In the Festival in 2015. Over the past five summers Christine summer of 2016, he completed a mas- attended Oberlin in Italy, Venice Opera Project, Oberlin ter’s degree in Early Music Performance Baroque Performance Institute, Songfest, American at the University of Southern California, Institute of Musical Studies in Graz, Austria, and most where he sang with the Baroque Sinfonia recently Opera Neo in San Diego. and Collegium. In 2012, Nathan graduated with Music Nathan Longnecker, bass, stud- Department Distinction from St. Olaf College, with ied voice and organ, has sung with the a degree in Vocal Performance. He also performed University Circle Chorale, Cleveland with the Lyric Theater Department, with roles includ- Orchestra Chorus, Apollo's Fire, Cleveland ing Rinuccio in Gianni Schicchi and Don Curzio in Le Opera Chorus, Cantores Cleveland, nozze di Figaro. Contrapunctus, as well as directing a Soprano Donna Fagerhaug holds a Master few church choirs. He lives in North of Arts degree in Church Music from Trinity Collinwood, and when he is not singing, he tends gar- Lutheran Seminary and a Bachelor of Music dens as The Quiet Gardener. from the Conservatory at Capital University, Baritone Brian MacGilvray is currently teaching mu- both in Columbus, Ohio. In addition to sic history at Case Western Reserve University and the Cleveland Institute of Music. He holds a instruments. A voice student of Ellen Hargis, she holds Ph.D. in musicology from CWRU and de- a DMA in Historical Performance Practice from grees in voice from Northwestern University CWRU and a BA in Musical Arts from the Eastman and the University of Kentucky. Along with School of Music. In addition to singing and conduct- Quire, he sings regularly with the Trinity ing, Elena is an avid performer and teacher of baroque Cathedral Choir and Chamber Singers. dance, and served on the faculty of the Oberlin Baroque His previous choral experience includes Performance Institute last summer. Chicago Music of the Baroque, the Chicago Symphony Chorus, and the Grant Park Symphony Chorus. Bryan Munch received his engineer- ing degree and MBA from Case Western John McElliott, countertenor, holds Reserve University, where he partici- undergraduate degrees in voice and or- pated in many vocal groups including gan performance from the University of Early Music Singers. When he is not Akron. He spent a year abroad as a cho- playing with his kids, he plays with data ral scholar at Winchester Cathedral in at Progressive Insurance. the UK. John is a soloist/section leader at Trinity Episcopal Cathedral in Cleveland Joseph Schlesinger, countertenor, and sings with several choral ensembles in Northeast began his musical education playing prin- Ohio, including Apollo’s Fire and the Trinity Chamber cipal trumpet in the Augustana College Singers. He is also president of Karen McFarlane Artists, Symphony, where he completed a Bachelor Inc., where he manages concert careers for many of the of Arts in Finance and Asian Studies. After world’s great concert organists and choirs. A versatile earning his Masters in Music from DePaul vocalist, he sings alto, tenor, and baritone parts. John is University, he received a Netherlands- a co-founder of Quire Cleveland and serves as the America/Fulbright Fellowship to study baroque music organization’s Secretary. at the Royal Conservatory, The Hague. His repertoire includes baroque, opera, and contemporary repertoire. Michael McKay, baritone, is office Upon returning to the United States, he is delighted to manager in the Performing Arts, Music, have joined Quire Cleveland, Apollo’s Fire, and and Film department at the Cleveland Contrapunctus in Cleveland, Chicago’s Music of the Museum of Art. Having studied voice with Baroque, Seattle Pro Musica, and Madison Bach Noriko Paukert and organ with Margaret Musicians. Scharf, he graduated summa cum laude with a bachelor of music from Cleveland Tenor Corey Shotwell is celebrated for State University. He has performed with Apollo’s Fire, his performance of 17th- and 18th-century Old Stone Singers, St. Paul’s Episcopal Church Choir, music. He was praised for his Evangelist in and CWRU Early Music Singers, as well as in various J. S. Bach’s St. John Passion and another Cleveland-area chamber ensembles. He served as asso- Bach Evangelist in the modern-era ciate organist at the Cathedral of St. John the Evangelist premiere of C. P. E. Bach’s St. Luke Passion from 1998 to 2012. He resides in Cleveland with his of 1775. Operatic credits include Chicago’s wife and two children. Haymarket Opera Company and the Boston Early Elena Mullins, soprano, has wide- Music Festival. He sings with Apollo’s Fire and Opera Q ranging interests in the field of early mu- Circle, as well as uire. Recent soloist engagements sic. She has sung with The Newberry include appearances with the Newberry Consort, Bella Consort, Apollo’s Fire, Three Notch’d Voce, Bach Collegium-Fort Wayne, and Chicago Bach Road, Generation Harmonique, and Quire Ensemble. A native of Michigan, he is a graduate of the Cleveland, and is currently the director of Cleveland Institute of Music and Western Michigan the Case Western Reserve University Early University. coreyshotwell.com Music Singers. In 2013, Elena co-founded Alkemie, an Beverly Simmons is a mezzo-soprano, graphic de- ensemble specializing in medieval music for voices and signer, and Executive Director of Quire Cleveland, which she co-founded. She earned a been a member of CWRU’s Early Music Singers for doctorate in early music at Stanford over 20 years and is a soprano soloist at Church of the University, before moving to Cleveland Good Shepherd. She lives in Cleveland Heights with in 1978. Her career has included stints as her husband and three children. a CWRU music professor, WCLV radio Countertenor Jay White sang 8 seasons announcer, international artist manager, with the internationally acclaimed en- concert producer, arts administrator, and semble Chanticleer, recording 14 albums mother of two. She founded the CWRU Early Music and garnering two Grammy Awards. As Singers and has sung with Apollo’s Fire, as well as St. an interpreter of medieval, Renaissance, Paul’s Episcopal Church and Temple Tifereth-Israel. and baroque repertoire, he has appeared Bev is also half of the cabaret duo, Rent-a-Yenta. at festivals worldwide and has been fea- Soprano Gail West has worked with such tured on national and international radio. Trained eminent artists as Julianne Baird, Emma at Indiana University’s Early Music Institute and the Kirkby, Suzie LeBlanc, Paul Hillier, and University of Maryland, he taught at the University of Benjamin Bagby. Currently a voice student Delaware and DePauw University. Jay is now Associate of Ellen Hargis, she has been a member of Professor of Voice at Kent State University. Apollo’s Fire since its founding. Gail has *

HayDn’s “Harmoniemesse” anD Dvorak’s “Te Deum” sunDay, aPril 23, 2017 - 7:30 Pm magnifiCaT CenTer for THe Performing arTs, 20770 HilliarD BlvD., roCky river, oH conductor John Drotleff special guests Choral scholars from area high schools Tickets $15, Students of all ages free Tickets at the door, online at westshorechorale.org or call 216-373-7773 Parking is free and handicap accessible TEXTS Gospel Translation by William Tyndale (1525–36) [Regular font = Evangelist; Boldface = Chorus; Italics = Jesus] The Passion of our Lord Jesus Christ according to St. 19. And the disciples did as Jesus had appointed them, Matthew and made ready the Easter lamb. 20. When the even was come, he sat down with the [Chap. XXVI] twelve. 1. And it came to pass, when Jesus had finished all these 21. And as they did eat, he said: Verily I say unto you, that sayings, he said unto his disciples: one of you shall betray me. 2. Ye know, that after two days shall be Easter, and the son 22. And they were exceeding sorrowful, and began every of man shall be delivered, to be crucified. man to say unto him: Is it I, Master? 3. Then assembled together the chief priests and the 23. He answered, and said: He that dippeth his hand with scribes, and the elders of the people, to the palace of me in the dish, the same shall betray me. the high priest which was called Cayphas: 24. The son of man goeth, as it is written of him; but woe 4. and held a council how they might take Jesus by be to that man, by whom the son of man shall be subtlety, and kill him. betrayed; it had been good for that man if he had never 5. But they said: Not on the holy day. Lest any uproar been born. arise among the people. 25. Then Judas, which betrayed him, answered, and said: 6. When Jesus was in Bethany, in the house of Simon the Is it I, Master? He said unto him: Thou hast said. leper, 26. As they did eat, Jesus took bread, and gave thanks, 7. there came unto him a woman which had an alabaster brake it, and gave it to the disciples, and said: Take, box of precious ointment, and poured it on his head eat; this is my body. as he sat at the board. 27. And took the cup, and gave thanks, and gave it them, 8. When his disciples saw that, they had indignation, saying: Drink of it every one: saying: What needed this waste? 28. For this is my blood of the new testament, that shall be 9. This ointment might have been well sold, and given shed for many, for the remission of sins. to the poor. 29. I say unto you, I will not drink henceforth of this fruit 10. When Jesus understood that, he said unto them: Why of the vine tree, until that day when I shall drink it new trouble ye the woman? she hath wrought a good work with you, in my father’s kingdom. upon me. 30. And when they had said grace, they went out into 11. For ye shall have poor folk always with you, but me mount Olivet. shall ye not have always. 31. Then said Jesus unto them:All ye shall be offended by 12. And in that she casted this ointment on my body, she me this night; for it is written, I will smite the shepherd, did it to bury me withal. and the sheep of the flock shall be scattered abroad. 13. Verily I say unto you, wheresoever this gospel shall be 32. But after I am risen again, I will go before you into preached throughout all the world, there shall also this Galilee. that she hath done be told, for a memorial of her. 33. Peter answered, and said unto him: Though all men 14. Then one of the twelve, called Judas Iscariot, went should be offended by thee, yet would I never be unto the chief priests, offended. 15. and said: What will ye give me, and I will deliver 34. Jesus said unto him: Verily I say unto thee, that this him unto you? And they appointed unto him thirty same night before the cock crow, thou shalt deny me pieces of silver. thrice. 16. And from that time, he sought opportunity to betray 35. Peter said unto him: If I should die with thee, yet him. would I not deny thee. Likewise also said all the 17. The first day of sweet bread, the disciples came to disciples. Jesus, saying unto him: Where wilt thou that we 36. Then went Jesus with them into a place which is prepare for thee, to eat the Easter lamb? called Gethsemane, and said unto the disciples: Sit ye 18. And he said: Go into the city unto such a man, and say here, while I go and pray yonder. to him, The master sayeth, My time is at hand; I will 37. And he took with him Peter and the two sons of keep mine Easter at thy house with my disciples. Zebedee, and began to wax sorrowful, and to be in agony. 38. Then said Jesus unto them:My soul is heavy even unto 57. And they took Jesus, and led him to Cayphas, the the death; tarry ye here, and watch with me. high priest, where the scribes and the elders were 39. And he went a little apart, and fell flat on his face, and assembled. prayed, saying: O my father, if it be possible, let this cup 58. And Peter followed him afar off, unto the high priest’s pass from me; nevertheless, not as I will, but as thou wilt. place; and went in, and sat with the servants, to see 40. And he came unto his disciples, and found them the end. asleep: and said to Peter: What, could ye not watch 59. The chief priests, and the elders, and all the council with me one hour? sought false witness against Jesus, for to put him to 41. Watch and pray, that ye fall not into temptation; the death: spirit is willing, but the flesh is weak. 60. but found none, in so much that when many false 42. He went away once more, and prayed, saying: O my witnesses came, yet found they none. At the last, came father, if this cup cannot pass away from me, but that two false witnesses, I drink of it, thy will be fulfilled. 61. and said: This fellow said: I can destroy the temple 43. And he came, and found them asleep again; for their of God, and build the same in three days. eyes were heavy. 62. And the chief priest arose, and said to him: 44. And he left them, and went again, and prayed the Answerest thou nothing? How is it that these bear third time, saying the same words. witness against thee? 45. Then came he to his disciples, and said unto them: 63. But Jesus held his peace. And the chief priest Sleep henceforth, and take your rest; take heed! the answered, and said to him: I charge thee in the name hour is at hand, and the son of man shall be betrayed of the living God, that thou tell us whether thou be into the hands of sinners. Christ, the son of God. 46. Rise, let us be going; behold, he is at hand that shall 64. Jesus said to him: Thou hast said; nevertheless I say betray me. unto you, hereafter shall ye see the son of man sitting 47. While he yet spake, Lo! Judas, one of the twelve, on the right hand of power, and come in the clouds of came, and with him a great multitude, with swords the sky. and staves, which were sent from the chief priests, 65. Then the high priest rent his clothes, saying:He hath and elders of the people. blasphemed; what need we of any more witnesses? 48. And he that betrayed him, had given them a token, Lo! Lo! now have ye heard his blasphemy, now have saying: Whomsoever I kiss, that same is he; lay ye heard his blasphemy; hands on him. 66. What think ye? They answered, and said: He is 49. And forthwithal he came to Jesus, and said: Hail, worthy to die! Master! And kissed him. 67. Then they spat in his face, and buffeted him with fists; 50. And Jesus said unto him: Friend, wherefore art thou and others smote him with the palm of their hands on come? Then came they, and laid hands on Jesus, and the face, took him. 68. saying: Tell us, thou Christ, who is he that smote 51. And behold! One of them which were with Jesus thee? stretched out his hand, and drew his sword; and struck 69. Peter sat without in the palace; and a damsel came to a servant of the high priest, and smote off his ear. him, saying: Thou also wast with Jesus, with Jesus of 52. Then said Jesus unto him:Put up thy sword into his Galilee. sheath; for all they that lay hand on the sword, shall 70. But he denyed before them all, saying: I wot [know] perish with the sword. not what thou sayst. 53. Either thinkest thou that I cannot now pray to my father, 71. When he was gone out into the porch, another wench and he shall give me more than twelve legions of angels? saw him, and said unto them that were there: This 54. But how then should the scriptures be fulfilled? For so fellow was also with Jesus of Nazareth. must it be. 72. And again he denyed with an oath that he knew the 55. The same time said Jesus to the multitude:Ye be come man. out as it were unto a thief, with swords and staves, for 73. And after a while, came unto him they that stood to take me; I sat daily teaching in the temple among by, and said unto Peter: Surely, surely thou art even you, and ye took me not. one of them; for thy speech, thy speech bewreyeth 56. All this was done, that the scriptures of the prophets [betrayeth] thee. might be fulfilled. Then all his disciples forsook him, 74. Then began he to curse, and to swear that he knew and fled. not the man. And immediately the cock crew. 75. And Peter remembered the words of Jesu, which said the prophet, saying: And they took thirty silver plats, unto him: “Before the cock crow, thou shalt deny me the price of him that was valued, whom they bought thrice.” And went out at the doors, and wept bitterly. of the children of Israel: 10. and they gave them for the potter’s field, as the Lord [Chap. XXVII] appointed me. 1. When the morning was come, all the chief priests 11. Jesus stood before the deputy; and the deputy asked and the elders of the people held a council against him, saying: Art thou the king of the Jews? Jesus said Jesu, to put him to death. unto him: Thou sayest. 2. And brought him, bound, and delivered him unto 12. And when he was accused of the chief priests and Pontius Pilate, the deputy. elders, he answered nothing. 3. Then when Judas, which betrayed him, saw that he 13. Then said Pilate unto him:Hearest thou not, how was condemned, he repented himself, and brought many things they lay against thee? again the thirty plats of silver to the chief priests 14. And he answered him never a word, insomuch that and elders, the deputy marveled greatly. 4. saying: I have sinned, betraying the innocent blood. 15. At that feast, the deputy was wont to deliver unto And they said: What is that to us? see thou to that. the people a prisoner, whom they would desire. 5. And he cast down the silver plats in the temple, and 16. He had then a notable prisoner called Barrabas. departed, and went and hung himself. 17. And when they were gathered together, Pilate said 6. And the chief priests took the silver plats, and said: unto them: Whether will ye that I give loose unto It is not lawful for to put them into the treasury, you? Barrabas, or Jesus, which is called Christ? because it is the price of blood. 18. For he knew well, that for envy they had delivered 7. And they took counsel, and bought with them a him. potter’s field, to bury strangers in. 19. When he was set down to give judgment, his wife 8. Wherefore that field is called the field of blood, until sent to him, saying: Have thou nothing to do with this day. that just man; I have suffered many things this day 9. Then was fulfilled, that which was spoken by Jeremy in a dream about him. Beethoven The RevoluTionaRy

Baroque orchestra Noah Bendix-Balgley, violin jeannette sorrell Jeannette Sorrell, conductor APRIL 27-30

Apollo’s Fire’s 25th AnniversAry FestivAl 216.320.0012 | apollosfire.org 20. But the chief priests and the elders had persuaded 41. Likewise also the high priests, mocking him, with the the people that they should ask Barabbas, and should scribes and elders, said: destroy Jesus. 42. He saved others, himself he cannot save; if he be 21. The deputy answered, and said unto them:Whether the king of Israel, let him now come down from the of the twain will ye that I let loose unto you? And cross, and we will believe him: they said: Barrabas! 43. he trusted in God, let Him deliver him now, if He 22. Pilate said unto them: What shall I do then with will have him; for he said, I am the son of God. Jesus, which is called Christ? They all said to him: 44. That same also, the thieves, which were crucifyed with Let him be crucified! him, cast in his teeth. 23. Then said the deputy:What evil hath he done? And 45. From the sixth hour was there darkness over all the they cryed the more, saying: Let him be crucified! land, unto the ninth hour. 24. When Pilate saw that he prevailed nothing, but that 46. And about the ninth hour, Jesus cryed with a loud more business was made, he took water, and washed voice, saying: Eli, Eli, lama asbathani. That is to say: his hands before the people, saying: I am innocent of My God, my God, why hast thou forsaken me? the blood of this just person; and that ye shall see. 47. Some of them that stood there, when they heard that, 25. Then answered all the people, and said:His blood be said: This man calleth for Elias. on us, and on our children. 48. And straightway one of them ran, and took a sponge, 26. Then let he Barabbas loose unto them, and scourged and filled it full of vinegar, and put it on a reed, and Jesus, and delivered him to be crucifyed. gave him to drink. 27. Then the soldiers of the deputy took Jesus unto 49. Others said: Let be; let us see whether Elias will the common hall, and gathered unto him all the come and deliver him. company: 50. Jesus cryed again with a loud voice, and yielded up 28. and they stripped him, and put on him a purple robe: the ghost. 29. and plaited a crown of thorns, and put upon his head, 51. And behold! The veil of the temple did rent in twain, and a reed in his right hand; and bowed their knees from the top to the bottom, and the earth did quake, before him, and mocked him, saying: Hail, hail, and the stones did rent: king of the Jews! 52. and graves did open, and the bodies of many saints 30. And spitted upon him, and took the reed, and smote which slept, arose: him on the head. 53. and came out of their graves after his resurrection, 31. And when they had mocked him, they took the robe and came into the holy city, and appeared unto many. off him again, and put his own raiment on him, and 54. When the Centurion, and they that were with him led him away to crucify him. watching Jesus, saw the earth quake, and those things 32. And as they came out, they found a man of Cyrene, which happened, they feared greatly, saying: Of a named Simon; him they compelled to bear his cross. surety, this was the son of God. 33. And when they came unto the place called Golgotha 55. And many women were there beholding him afar off, (that is to say, a place of dead men’s skulls), which followed Jesus from Galilee, minist’ring unto 34. they gave him vinegar to drink, mixed with gall; and him. when he had tasted thereof, he would not drink. 56. Among the which was Mary Magdalen, and Mary 35. When they had crucifyed him, they parted his the mother of James and Joseph, and the mother of garments, and did cast lots, to fulfill that was spoken Zebedee’s children. by the prophet: “They divided my garments among 57. When the even was come, there came a rich man of them, and upon my vesture did cast lots.” Arimathaea, named Joseph, which same also was 36. And they sat and watched him there. Jesus’ disciple. 37. And they set up over his head the cause of his death, 58. He went to Pilate, and begged the body of Jesus. Then written, “This is Jesus, the king of the Jews.” Pilate commanded the body to be delivered. 38. And there were two thieves crucifyed with him, one 59. And Joseph took the body, and wrapped it in a clean on the right hand, and another on the left. linen cloth, 39. They that passed by reviled him, wagging their heads, 60. and put it in his new tomb, which he had hewn out, 40. and saying: Thou, thou that destroyest the temple even in the rock; and rolled a great stone to the door of God, and buildest it in three days; save thyself; of the sepulcher, and departed. if thou be the son of God, come down from the 61. And there was Mary Magdalen and the other Mary, cross. sitting over against the sepulcher. “Ah, gentle Jesu!” 3. I had on Peter and Mawdlin pity “Who is that, that doth me call?” For thy contrite of thy contrition; “I, a sinner, that oft doth fall.” Saint Thomas of Indes in crudelity “What wouldst thou have?” He put his handes deep in my side adown. “Mercy, Lord, of thee I crave.” Role up this matter; grave it in thy reason! “Why, lovest thou me?” Sith I am kind, why art thou unstable? “Yea, my Maker I call thee.” My blood best treacle for thy transgression; “Then leave thy sin, or I nill thee, Be thou not froward, sith I am merciable. and think on this lesson that now I teach thee.” “Ah, gentle Jesu!” “Ah, I will, I will, gentle Jesu.” 4. Think again, pride, on my humility; 1. Upon the cross nailed I was for thee, Come to school; record well this lesson; Suffer’d death to pay thy ransom; ’Gainst false envy think on my charity, Forsake thy sin, man, for the love of me; My blood all spent by distillation. Be repentant, make plain confession. Why did I this? To save thee from prison; To contrite hearts I do remission; Afore thine heart hang this little table, Be not despaired, for I am not vengeable; Sweeter than balm ’gainst ghostly poison: Gayne gostly enmys thynk on my passion; Be thou not afraide sith I am merciable. Why art thou froward, sith I am merciable? “Ah, gentle Jesu!” “Ah, gentle Jesu!” 5. Lord, on all sinful here kneeling on knee, 2. My bloody wounds down railing by this tree, Thy death rememb’ring of humble affection, Look on them well, and have compassion; O Jesu, grant of thy benignity The crown of thorn, the spear, the nailes three, That thy five welles plenteous of fusion, Pierc’d hand and foot of indignation, Called thy five wounds by computation, My heart riven for thy redemption. May wash us all from surfeits reprovable. Let now us twain in this thing be treatable: Now for thy mother’s meek mediation, Love for love be just convention. At her request be to us merciable. Why art thou froward, sith I am merciable? “Ah, gentle Jesu!” “Ah, gentle Jesu!”

Choral Arts Cleveland Director, Martin Kessler

Choral Arts is devoting its 42nd musical season to the environmental seasons with Haydn's oratorio The Seasons as the focal point. Movements of the oratorio will be presented throughout 2016-2017 along with selected companion pieces by composers such as Bob Chilcott, Paul Hindemith, Kurt Weill. The Seasons movements will be accompanied by orchestra with soloists Marian Vogel, soprano, Timothy Culver, tenor, and John Watson, bass.

The Seasons “Autumn” movement: Sunday, November 20, 2016 The Seasons “Winter” movement:Sunday, February 26, 2017 The Seasons “Spring” and “Summer” movements: Sunday, May 7, 2017

All performances are at 7:30 p.m. at Disciples Christian Church, 3663 Mayfield Road, Cleveland Heights 44121

DECEMBER 6 ... JUILLIARD STRING QUARTET JANUARY 17 ... CHAMBER MUSIC SOCIETY OF LINCOLN CENTER FEBRUARY 7 ... BERLIN PHILHARMONIC WIND QUARTET MARCH 21 ... JERUSALEM QUARTET APRIL 18 ... TAKÁCS QUARTET CLEVELAND CHAMBER MUSIC SOCIETY 216.291.2777 www.ClevelandChamberMusic.org

Board of Directors Richard Rodda, ph.d., President Diane Schwartz, Development Fr. Robert Kropac, Community Outreach John McElliott, Secretary Gerald P. Weinstein, ph.d., cpa, Treasurer Ross W. Duffin,d.m.a. , Artistic Director Beverly Simmons, d.m.a., Executive Director Box Office Manager: Ann Levin RecordingQ Engineer: Michael Bishop c Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization.

2016-17 SEASON Saturday, December 10, 2016 at 7:30 pm The Many Moods Music to ring of Christmas in the season.

Saturday, March 4, 2017 at 7:30 pm There’s No Place Songs and stories from OF CLEVELAND Like Home yesterday and today. At the Breen Center for Saturday, May 20, 2017 at 7:30 pm the Performing Arts 2008 W. 30 St. & Lorain Ave. Group pricing is available! Rock Around the Clock Highlighting influential musicians from the singersclub.org Renaissance to the Rock & Roll era. ACKNOWLEDGMENTS Quire Cleveland is grateful to St. Bernard Parish, Fr. Dan Reed, Pastor; St. Paul’s Episcopal Church, The Rev. Jeanne Leinbach, Rector, and Karel Paukert, Director of Music; and to Historic St. Peter Church, Fr. Robert Kropac, Pastor, for hosting Quire Cleveland. We also wish to thank our generous donors: Magister $2,500+ Peter & Mary Gerhart Michael Miller Billow Funeral Homes David & Loraine Hammack Antoinette S. Miller Cuyahoga Arts & Culture Richard & Bernice Jefferis Nancy M. Miller Ohio Arts Council Ursula Korneitchouk Paula Mindes & George Gilliam Simmons/Duffin Family Fund Alexander Kuszewski Don Nash of the Dayton Foundation Harriett R. Logan Fr. David Novak in memory of Thomas Knab Carolyn & Perry Peskin Cantus $1,000–$2,499 Dr. & Mrs. Stephen Mahoney Joanne Poderis Janet Curry & Richard Rodda Richard Marschner & Wiley Cornell Gay & Quentin Quereau John McElliott Geraldine McElliott Jane Richmond Elva Rust Jean M. Minnick Linda Royer Diane & Lewis Schwartz in honor of Donna Fagerhaug Cynthia Seaman Gerald P. Weinstein Dr. Jenifer Neils Rev. Dianne Shirey Altus $500–$999 Russell Oberlin Dean & Judith Sieck Arthur V. N. Brooks Elizabeth & David Rothenberg Shirley Simmons Shannon Canavin Lee & Brenda Skidmore Nancy Stemmer & Laura Sims Michael Anne Johnson Mr. & Mrs. William E. Spatz Daniel & Andrew Singer-Sords Brenda Logan Kathryn Westlake Elizabeth Snyder in memory of Thomas Knab Contratenor up to $99 Richard Snyder Dr. Alan Rocke & Cristine Rom Anonymous (6) Kent & Nancy Spelman Sarah Steiner Christa Acker Sarah Steiner Nancy Stemmer & Laura Sims Tenor $250–$499 Tom & Beverly Barr Patricia Brownell Philip & Sarah Taylor John & Laura Bertsch Nancy Tuttle Becky Bynum & Phil Calabrese David C. Carver Lucy Chamberlain Bancroft Twaddell Eaton Corporation Charitable Fund Vanessa Vesely Steve & Carolyn Kuerbitz Anne Cook Gayle Crawford Mary Warren Jim & Jenny Meil Richard Weber E. William Podojil Ellen & Robert Erzen David & Kathleen Farkas Sara Rouse Wotman Larry Rosche & Judy Semroc Jen & Chad Wright in honor of Dr. Lisa Rainsong Paul Ferguson Kristin Firth & Jay M. Taylor Sheila Wyse Bassus $100–$249 Bruce Grasser Edith Yerger Anonymous Maureen & Francis Greicius Nancy Zambie Edward Alix Charles Griffith Doreen A. Ziska Bonnie Baker Byron & Elizabeth Hays Thanks also to the English-Speaking Clurie Bennis Liz Huff Union Cleveland Branch, John Rampe, Joanne Blazek Donald J. Jackson Jr.; The Hermit Club; Case Western Lloyd Max Bunker & Anthony Bianchi Gale & Jim Jacobsohn Reserve University Special Collections, Terry Boyarsky Eric & Sue Kisch Melissa Hubbard, Eleanor Blackman, Lucy Chamberlain Sarah & Michael Knoblauch Arnold Hirshon; 104.9 WCLV; 90.3 Drs. Virginia & Matthew Collings Clayton Koppes WCPN; WKSU 89.7; Ωort∞simo design; Anne Cook Dorothy Lungmus Micrologus Music Press; Spunmonkey Dr. Roman & Dr. Diana Dale Arlene & J. Adin Mann, Jr. Design; Beth Segal Photography. Donors listed from the current seasons. Please let us know of any errors or omissions in attribution. The Ohio Arts Council helped The St. Matthew Passion by Richard fund this program with state tax Davy is supported in part by the resi- dollars to encourage economic dents of Cuyahoga County through a growth, educational excellence, public grant from Cuyahoga Arts & and cultural enrichment for all Culture. Ohioans. Act one begins

Beck Center for the Arts

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience. Your Investment: Strengthening Community

Visit cacgrants.org/impact to learn more. QClevelanduire

announcing Quire Cleveland’s 10th Anniversary Season 2017–2018 Thanks1 to you — our audience, donors, sponsors, and friends — Quire Cleveland celebrates a decade of glorious choral music with a tenth season of new & old favorites, plus some surprises! Mark your calendars! And stay0 tuned — visit quirecleveland.org to get the latest updates and to join the Quire Cleveland email list for announcements & news.

October 5–6, 2017 Henry Purcell: Hear my Prayer Songs & Anthems for the Chapel Royal Cathedral of St. John the Evangelist & Lake Erie College

October 29, 2017 Sing You After Me: Wondrous Rounds & Canons Holy Trinity Lutheran Church, Akron

December 15–17, 2017 Carols for Quire from the Old & New Worlds ix Cleveland & Akron

April 27–29, 2018 Let the Heavens Rejoice: Celebratory Psalms for Voices & Instruments Cleveland & Akron s A Collaboration between Quire Cleveland & Les Délices

*Programs and dates subject to change. Take Quire home with you . . .

England’s PhœniX:William Byrd divine music for choir New Release! Mass for 5 Voices, Anthems & Motets England’s Phœnix: William Byrd $15 each / 2 for $25*

CD Sale! QClevelanduire Ross W. Duffin Artistic Director $10 each / $5 with purchase of another CD* *limit 1 $5 CD per full-price CD

Carols for Quire Volume 3 The Land of Harmony American Choral Gems & there’s lots Madrigalian Motets of other great from Jacobean England Quire bling Carols for Quire Volume 2

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