Messiah

NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC SUNDAY, APRIL 30, 2017, AT 3:00 P.M.

WASHINGTON BACH CONSORT J. R EILLY LEWIS , FOUNDER

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2016–2017 SEASON NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC

SUNDAY, APRIL 30, 2017, AT 3:00 P.M.

MESSIAH GEORGE FRIDERIC HANDEL

(1685—1759)

Todd Fickley, conductor & artistic director candidate

Suzanne Karpov, soprano

Sarah Davis Issaelkhoury, alto

Kyle Tomlin, tenor

Steven Combs, bass

Chorus Orchestra

Soprano Katelyn G. Aungst Robin Beckman Suzanne Karpov Rebecca Kellerman Petretta Laura Choi Stuart Alto Barbara Hollinshead Sarah Davis Issaelkhoury Natalia Kojanova Carter Sligh Meghen Miles Tuttle

Violin I Tatiana Chulochnikova, concertmaster Rebecca Harris Gail Hernández Rosa Leslie Nero Violin II Fiona Hughes David McCormick Caroline Levy Viola Risa Browder Scott McCormick Cello John Moran Rebecca Humphrey Bass Patricia Ann Neely

Oboe Geoffrey Burgess Fatma Daglar Bassoon Ben Matus Trumpet Josh Cohen Dennis Ferry Timpani Michelle Humphreys Organ Scott Dettra Harpsichord Todd Fickley

Tenor Luke Frels Gary Glick Patrick Kilbride Robert Petillo Kyle Tomlin

Bass Steven Combs Mark Duer John Murton Andrew Sauvageau Jason Widney

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Handel’s original handwritten title

THE WORDBOOK

And without Controversy, great is the Mystery of Godliness: God was manifested in the Flesh, justified by the Spirit,

Seen of Angels, preached among the Gentiles, Believed on in the World, received up in Glory.

1 Timothy 3:16 In whom are hid all the Treasures of Wisdom and Knowledge.

Colossians 2:3

—Charles Jennens, Preface to First Edition

PART THE FIRST PROPHECY OF MESSIAH AND ITS FULFILLMENT

I Prophecy of God’s salvation of mankind SINFONY—Orchestra RECITATIVE (TENOR) Isaiah 40:1-3 Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned.

The voice of him that crieth in the wilderness, prepare ye the way of the Lord; make straight in the desert a highway for our God. AIR (TENOR) Isaiah 40:4 Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain. CHORUS Isaiah 40:5 And the glory of the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it. II Prophecy of Messiah’s coming and consequent judgement RECITATIVE (BASS) Haggai 2:6,7; Malachi 3:1 Thus saith the Lord of Hosts: Yet once, a little while, and I will shake the heavens and the earth, the sea and the dry land; and I will shake all nations, and the desire of all nations shall come.

TEXT

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The Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in; behold, he shall come, saith the Lord of hosts. AIR (ALTO) Malachi 3:2 But who may abide the day of his coming and who shall stand when he appeareth? For he is like a refiner’s fire. CHORUS Malachi 3:3 And he shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. III Prophecy of Messiah’s incarnation and revelation to mankind RECITATIVE (ALTO) Isaiah 7:14; Matthew 1:23 Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel, GOD WITH US. AIR (ALTO AND CHORUS) Isaiah 40:9 O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. RECITATIVE (BASS) Isaiah 60:2,3 For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and his glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness of thy rising. AIR (BASS) Isaiah 9:2 The people that walked in the darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. CHORUS Isaiah 9:6 For unto us a child is born, unto us a son is given, and the government shall be upon his shoulder; and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace. IV Announcement of Messiah’s nativity PIFA (“PASTORAL SYMPHONY”) —Orchestra RECITATIVE (SOPRANO) Luke 2:8,9 There were shepherds abiding in the field, keeping watch over their flock by night. And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

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RECITATIVE (SOPRANO) Luke 2:10,11 And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Saviour, which is Christ the Lord. RECITATIVE (SOPRANO) Luke 2:13 And suddenly there was with the angel a multitude of the heavenly host praising God and saying: CHORUS Luke 2:14 Glory to God in the highest, and peace on earth, good will toward men. V Messiah’s healing ministry AIR (SOPRANO) Zechariah 9:9,10 Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, and he shall speak peace unto the heathen. RECITATIVE (ALTO) Isaiah 35:5,6 Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. AIR (ALTO AND SOPRANO) Isaiah 40:11; Matthew 11:28,29 He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom and gently lead those that are with young. Come unto him, all ye that labour, that are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him; for he is meek and lowly of heart: and ye shall find rest unto your souls. CHORUS Matthew 11:30 His yoke is easy and his burthen is light.

I N T E R M I S S I O N

PART THE SECOND FROM PASSION TO TRIUMPH

I Messiah’s Passion CHORUS John 1:29 Behold the Lamb of God, that taketh away the sin of the world.

TEXT

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AIR (ALTO) Isaiah 53:3; 50:6 He was despised and rejected of men; a man of sorrows, and acquainted with grief. He gave his back to the smiters, and his cheeks to them that plucked off the hair: He hid not his face from shame and spitting. CHORUS Isaiah 53:4,5 Surely he hath borne our griefs, and carried our sorrows: he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him. CHORUS Isaiah 53:5 And with his stripes we are healed. CHORUS Isaiah 53:6 All we, like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all. RECITATIVE (TENOR) Psalm 22:7 All they that see him laugh him to scorn: they shoot out their lips, and shake their heads saying, CHORUS Psalm 22:8 He trusted in God that he would deliver him: let him deliver him, if he delight in him. RECITATIVE (TENOR) Psalm 69:20 Thy rebuke hath broken his heart; he is full of heaviness. He looked for some to have pity on him, but there was no man; neither found he any to comfort him. AIR (TENOR) Lamentations 1:12 Behold, and see if there be any sorrow like unto his sorrow. II Crucifixion, descent into hell and resurrection RECITATIVE (TENOR) Isaiah 53:8 He was cut off out of the land of the living: for the transgression of thy people was he stricken.

AIR (TENOR) Psalm 16:10 But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption. III Ascension CHORUS Psalm 24:7-10 Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle. The Lord of hosts, he is the King of glory. IV Glorification in heaven

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RECITATIVE (TENOR) Hebrews 1:5 Unto which of the angels said he at any time, thou art my son, this day have I begotten thee? CHORUS Hebrews 1:6 Let all the angels of God worship him. V Whitsun (gift of tongues), preaching of the gospel to the world AIR (ALTO) Psalm 68:18 Thou art gone up on high, thou hast led captivity captive, and received gifts for men; yea even for thine enemies, that the Lord God might dwell among them. CHORUS Psalm 68:11 The Lord gave the word: Great was the company of the preachers. AIR (SOPRANO) Romans 10:15 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. CHORUS Romans 10:18 Their sound is gone out into all lands, and their words unto the ends of the world. VI World’s rejection of Christianity AIR (BASS) Psalm 2:1,2 Why do the nations so furiously rage together: why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against his anointed. CHORUS Psalm 2:3 Let us break their bonds asunder, and cast away their yokes from us. VII Divine destruction of enemies of religion, Christianity’s eternal triumph RECITATIVE (TENOR) Psalm 2:4 He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision. AIR (TENOR) Psalm 2:9 Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. CHORUS Revelation 19:6; 11:15; 19:16 Hallelujah! for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord and of his Christ; and he shall reign for ever and ever. King of Kings and Lord of Lords, Hallelujah!

BRIEF PAUSE

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Patrons are asked to remain at their seats.

PART THE THIRD MESSIAH’S ROLE IN LIFE AFTER DEATH

I Faith in personal resurrection and redemption AIR (SOPRANO) Job 19:25,26; I Corinthians 15:20 I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first-fruits of them that sleep. CHORUS I Corinthians 15:21-22 Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. II General resurrection RECITATIVE (BASS) I Corinthians 15:51,52 Behold, I tell you a mystery; We shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trumpet. AIR (BASS) I Corinthians 15:52-53 The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. III Death and sin superseded; Messiah’s intercession at Last Judgment RECITATIVE (ALTO) I Corinthians 15:54 Then shall be brought to pass the saying that is written: Death is swallowed up in victory. DUET (ALTO AND TENOR) I Corinthians 15:55, 56 O death, where is thy sting? O grave, where is thy victory? The sting of death is sin; and the strength of sin is the law. CHORUS I Corinthians 15:57 But thanks be to God, who giveth us the victory through our Lord Jesus Christ. AIR (SOPRANO) Romans 8:31,33, 34 If God be for us, who can be against us? Who shall lay anything to the charge of God’s elect? It is God that justifieth. Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us.

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IV Adoration of Messiah by blessed in heaven CHORUS Revelation 5:12,13 Worthy is the Lamb that was slain, and hath redeemed us to God by his blood, to receive power and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen.

A NOTE ON THIS PROGRAM

“Handel says he will do nothing next Winter, but I hope I shall persuade him to set another Scripture Collection I have made for

him, & perform it for his own Benefit in Passion week. I hope he will lay out his whole Genius & Skill upon it, that the Composi-

tion may excell all his former Compositions, as the Subject excells every other Subject. The Subject is Messiah.” Thus wrote libret-

tist Charles Jennens (1700-1773) to a friend in July 1741.

As Handel scholar Ruth Smith has written in her award-winning study of Handel and Eighteeth-Century Thought, “Jennens took a bold

stand in the contemporary battle between rationalism and belief when he announced in his libretto and in his epigraph from Timo-

thy that the mysteries of Christianity are mysterious. ‘Behold, I tell you a Mystery: We shall not all sleep…’.”

The first printing of Jennens’s text for the Dublin premiere—produced without his supervision—was riddled with errors. For the

first London performance in 1743, Jennens was determined to produce a correct wordbook, which he prefaced with his epigraph

from 1 Timothy. Today’s printed program follows Jennens’s format by presenting the three subdivisions of the libretto together

with each element of his “argument” in the cause of biblical prophecy indicated by a Roman numeral.

—J. Reilly Lewis, 2000

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About the Music

A Bach Ensemble Performs Handel Daniel R. Melamed

It seems obvious today to compare Johann Sebastian Bach and George Frideric Handel. We can appreciate their births in the same year (1685) less than 30 miles apart; the close parallels in their training with famous organists (Handel with Friedrich Wilhelm Zachow, Bach with Georg Böhm and Dieterich Buxtehude); their reputations as keyboard virtuosos; their publishing of their own works; and the lasting influence of their vocal/instrumental compositions—Handel’s never having left the active repertory, and Bach’s through rediscovery and revival. But the comparison of these two figures who dominate the telling of late Baroque music history goes back to their own time, and it started, in part, with the Bach family. The success of Handel’s career and the esthetic appeal of his music was more than evident to them and was reflected in their music-making and writing. The occasion of a Messiah performance by a Bach ensemble gives us the chance to look at Handel through the eyes of the Bachs. A first perspective comes from a work that J. S. Bach knew. Bach owned a manuscript score, partly in his own hand, of a passion setting by Handel; we can also deduce that he must have had access to a second source as well. Bach inserted several arias from this work into a St. Mark Passion he performed in Leipzig in the late 1740s. The nature of the Handel work from which Bach borrowed is telling, and must have been significant to him. It was not the sort of passion that Bach himself composed, using narrative from one of the gospel accounts. Instead it was a setting of a more up-to-date libretto, and its modernity lay in its entirely poetic construction. Not only are the commentary movements (set as choruses, recitatives, and arias, just as in Bach’s St. John and St. Matthew Passions) poetic, so is the narrative. The librettist of the work paraphrased the four gospel accounts and turned them into expressive verse. The text covers the whole passion story but tends to focus attention on particular moments for their theological significance and emotional resonance. In this regard it is more episodic and reflective than a gospel narrative passion. In fact Handel’s work was a setting of the first and best-known poetic passion libretto, a work by the theologian Barthold Heinrich Brockes, and was evidently composed for the city of Hamburg. This context is important because Hamburg is where Handel had spent several years playing and eventually composing for the opera. What is more, Handel’s work found a place among Brockes settings by three other musicians also famous for their association with opera in Hamburg: Reinhard Keiser, Georg Philipp Telemann, and Johann Mattheson. The compositions were not liturgical but rather devotional, presented outside the liturgy at the Hamburg Cathedral, an eccle-siastically independent church whose musical leadership was closely connected to the opera house. Handel’s passion setting thus clearly represented his place in the urban world of opera, and Bach certainly knew this in using its music. In its devotional character, Handel’s Brockes Passion also bears comparison with his Messiah from thirty years later. Messiah’s texts are from scripture and the Book of Common Prayer, with no free poetry, but the oratorio shares with poetic passions a tendency to present emo-tionally-laden tableaux rather than a continuous dramatic narrative. In its status as a “sacred entertainment” and a socially acceptable opera substitute during Lent, Messiah was close to the devotional type represented by Handel’s poetic passion and was a next step from the Brockes Passion. This represented a very different sort of composition than the ones Bach produced, and it is unsurprising that he ap-parently needed to excerpt the work to make it musically useful to him. Handel also figured in the thinking of J. S. Bach’s second-oldest son Carl Philipp Emanuel, who appears to have been very concerned with Handel’s reputation as he compiled an obituary and life sketch of his father together with Bach’s former student Johann Friedrich Agricola. Amidst the biographical details, anecdotes, praise, and lists of compositions in this long essay published in 1754, there is an in-teresting and somewhat defensive statement about Bach’s success and reputation. C. P. E. Bach and Agricola wrote: “But in general he did not have the most brilliant good fortune, because he did not do what it requires, namely, roam the world over. Yet by connoisseurs and lovers of the art he was sufficiently honored.” Bach’s honors were indeed many, including an appointment as court composer to the Elector in Dresden, a warm reception by King Frederick in Berlin, and an invited membership in a small society of musical intellectuals that included Handel, Telemann and other fa-mous musicians. But Philipp Emanuel was conscious that by the middle of the eighteenth century there were opportunities for a musician to garner real fame and to earn a significant fortune. The model was surely Handel. His upbringing and training had been in the tradition of the Lutheran church cantor, but he had attended university (which J. S. Bach never did). He rose early to prominence in Hamburg, a great operatic center. He had operas performed at the leading commercial houses of Italy, and worked for its greatest families and ecclesi-astical figures during several years spent there. On his return to Germany he was appointed to the Electoral court in Hanover, and then—in an extraordinary stroke of luck after a move to England—saw his former employer in the House of Hanover ascend to the British throne, helping to cement Handel’s place in London and his undisputed dominance of opera there for several decades. In writing of his father’s more modest public accomplishments, Carl Philipp Emanuel Bach must have been concerned that J. S. Bach, who never traveled far from the central Germany of his birth, would appear provincial in comparison, and might be remembered that way. Even if he was, this was not the permanent lot of the Bach family, though. Carl Philipp Emanuel, for example, became famous and

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About the Music

well off, largely by emulating the other most famous and successful musician of the time, his godfather Georg Philipp Telemann. And Handel’s career must surely have been a model for J. S. Bach’s youngest son Johann Christian, who after study with C. P. E. in Berlin composed operas in Italy and then moved to London, where he, too, rose to the top of the musical world. C. P. E. Bach also made a striking comparison between Bach and Handel by musical means. The occasion was a 1786 benefit concert in Hamburg for a medical institution, an event similar to the first charity performance of Messiah in Dublin in 1742. The program was ex-traordinary:

Introduction by Herr Kapellmeister Bach Credo or Nicene Creed, by the late Herr Johann Sebastian Bach Aria “I know that my redeemer liveth” by Handel [in German] Hallelujah by Handel Second Part Symphony by Herr Kapellmeister Bach Magnificat or canticle of Mary by Herr Kapellmeister Bach Heilig by Herr Kapellmeister Bach, with double choir

Carl Philipp Emanuel appears to have been making two comparisons by his programming. The first is, of course, between Bach and Han-del, whose works made up a first half that presented great music of the past. This was the relatively recent past, to be sure, but its music had already become historical. Handel was represented by the two most famous movements from Messiah, which was becoming well known in German-speaking lands; Mozart made an arrangement of the work for Baron Gottfried van Swieten (also a patron of C. P. E. Bach) in Vienna just a few years later. Together with these Messiah movements Carl Philipp Emanuel presented the “Credo” of his father’s Mass in B Minor (preceded by a short instrumental introduction of his own composition). Its inclusion made an implicit argument that J. S. Bach’s accomplishments were as great as Handel’s, and that he was equally worthy of admiration. This was the first known performance of any part of the Mass, and C. P. E. significantly chose this context—a concert that featured Handel’s best-known music—in which to introduce it. Many people today might pick precisely these works to represent the two composers. In this concert the younger Bach also put his own music up against these great works of the past. The second half displays him as a com-poser of up-to-date instrumental music (a symphony); of a liturgical work in a distinctly traditional vein (his Magnificat, a piece that had served as an unofficial and unsuccessful application for his father’s position in Leipzig); and of a particularly striking setting of the Ger-man Sanctus. The contrast of the two halves of the program strengthens the connection between J. S. Bach and Handel, because together the two older men represented musical history compared to the current music of Carl Philipp Emanuel. Philipp Emanuel almost certainly chose his double-chorus “Heilig” setting Wq 217 to end the program because it emulates precisely the kind of effects that made Messiah—and particularly the “Hallelujah Chorus”—so successful. In these works both composers aim to in-voke the sublime, an esthetic category beloved in the eighteenth century. The sublime was characterized by a sense of overwhelming awe, for example in the face of nature at its most powerful, or of God and God’s works. The musical effects that C. P. E. Bach cultivates in his “Heilig” are exactly those of the “Hallelujah Chorus:” the sudden entrance of trumpet-and-drums fanfares; the juxtaposition of this cele-bratory music with learned counterpoint (in fugue-like imitation among the voices); powerful unison singing; and soaring solo trumpet writing. These features in both works were understood to evoke the sublime. A remark about the “Hallelujah Chorus” ascribed to Handel perfectly captures this: “I did think I did see all Heaven before me and the great God Himself.” This is usually taken to be the composer’s affirmation of divine inspiration in the work’s composition, but it is more likely that Handel (or whoever attributed these words to him) instead cited the ultimate sublime moment—the sudden revelation of God and heaven—in connection with the “Hallelujah Chorus.” In programming his “Heilig,” Carl Philipp Emanuel Bach showed that he un-derstood this about Messiah and its most famous piece. He probably also recognized that in the musical world of the late eighteenth centu-ry this feature resonated strongly, perhaps even more than his father’s music ever could. The idea that Bach’s music was also sublime would have to wait for later times; in 1742, 1786, and for many people today, that label belongs to Handel. Daniel R. Melamed is professor of music at Indiana University. An updated paperback edition of his book for general readers, Hearing Bach’s Passions, has just been published by Oxford University Press. A companion volume on the Mass in B Minor and Christmas Oratorio will appear next year.

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Meet the Artists

Sarah Davis Issaelkhoury, mezzo-soprano, performs with several ensembles in the Washington, DC, metro area, including the Washington Bach Consort, Cathedra, Chantry, and more. Solo engagements have included performances with the Virginia Consort, the Oratorio Society of Virginia, the Washington Bach Consort Noontime Cantata Series, and recitals with the Dacor-Bacon House and St. John's Lafayette Square Wednesday Concert Series. Her operatic roles include Baba the Turk (The Rakes' Progress), Rosina (Il Barbiere di Siviglia), Angelina (La Cenerentola), Dorabella (Cosi Fan Tutte), and Miss Todd (The Old Maid and the Thief). Most recent-ly, Sarah was the Soprano II soloist for Bach’s Mass in B Minor at the National Cathedral. She holds a Bach-elor of Music from James Madison University and a Master of Music from the University of Michigan. She is a proud public school music teacher in Fairfax County, and maintains a busy music studio in Leesburg, Vir-ginia.

Baritone Steven Combs is an accomplished vocalist in both early and contemporary classical music. His repertoire includes the works of Bach, Orff, Britten, Mozart and Poulenc. At the John F. Kennedy Center for the Performing Arts, he has sung with the National Symphony, the Washington Ballet and the Washington Chorus. On the opera stage Steven has sung principal roles with the Metropolitan Opera, The Minnesota Opera, and the Boston Lyric Opera, among others. Steven is a winner of the Metropolitan Opera National Council Auditions and is a 2008 winner of the Washington Vocal Arts Society’s Discovery Series Competition.

Kyle Tomlin is a Washington, DC-based tenor who is making a name for himself both on the opera stage and as a concert soloist. This season he looks forward to singing Tamino in The Magic Flute at Fargo-Moorhead Opera and his debut with the Fairfax Symphony Orchestra in Beethoven's Ninth Symphony. He has sung with such companies as Virginia Opera, Toledo Opera, St. Petersburg Opera, Fargo-Moorhead Opera, and regularly sings with the Washington Bach Consort and at the National Shrine. He is also no stranger to new music, singing roles in three world premiere productions of new operas. His other notable roles include Rodolfo (La Bohème), Tybalt (Romeo et Juliette), Nemorino (L'elisir d'amore), Almaviva (Il barbiere di Siviglia), and Eisenstein (Die Fledermaus). He holds degrees from Penn State University and the University of Michigan.

Hailed by the San Francisco Chronicle for her “elegant” soprano, both “incisive and tender,” Suzanne Karpov is quickly distinguishing herself as one of the country’s leading young sopranos. In competition, Ms. Karpov has won an Encouragement Award from the Metropolitan Opera National Council Auditions (2015), first place at the national NATS Competition in Chicago (2016), and most recently was named as one of six finalists in the Handel Aria Competition in Madison, WI, which will take place in June. Recent engagements include her Carnegie Hall debut as the soloist in Poulenc's Gloria with DCINY, her debut with Washington National Opera as the soprano Bridesmaid in Le Nozze di Figaro, and performances with the University of Maryland Chamber Choir under the baton of Matthew Halls. Future engagements for the 2016-17 season include her debut with the New Hampshire Music Festival as Madame Silberklang in Mozart’s Der Schauspieldirektor and her debut with American Bach Soloists as the soprano soloist in Handel’s Messiah.

ARTISTIC DIRECTOR CANDIDATE SPOTLIGHT

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Todd Fickley is the acting artistic director of the Washington Bach Consort, having performed with them for almost fifteen years under the late Bach expert, J. Reilly Lewis. Mr. Fickley is also associate music director and chorus master of the Cathedral Choral Society, the resident symphonic chorus of Washington National Cathedral since 1941. Mr. Fickley is assistant director and keyboard artist for the Choralis Foundation and organist of The Falls Church Anglican in Falls Church, Virginia. In a musical career of more than twenty-five years in the nation’s capital, he has performed with a wide variety of ensembles, including the National Symphony Orchestra, The Washington Ballet, the National Philharmonic, and Three Notch’d Road, the Charlottesville Baroque ensemble. Mr. Fickley frequently appears as conductor, recitalist, concerto soloist, accompanist, and speaker in Washington-area arts venues such as Washington National Cathedral, the Basilica of the National Shrine of the Immaculate Conception, the Kennedy Center, The Rachel M. Schlesinger Concert Hall and Arts Center, and Strathmore.

A native Washingtonian, Mr. Fickley began his organ studies at Washington National Cathedral under Organist Bruce Neswick and has taken master classes with Marie-Claire Alain, Maurice Clerc, and David Higgs. At the age of 23, Mr. Fickley was made a Fellow of the American Guild of Organists and was awarded the AGO Choirmaster Diploma. He studied piano under Victor Shklyar of the Saint Petersburg Conservatory and spent a year performing and teaching in Moscow. He is equally comfortable on the podium, at the pipe organ, harpsichord, and piano and holds piano performance diplomas from the American College of Musicians. He earned a Master of Arts degree in Organ Performance, with High Distinction, from the University of Wales. Mr. Fickley is a prize-winning organist and recognized specialist in the music of Johann Sebastian Bach. Frequently appearing on National Public Radio and Public Radio International, he has performed and conducted across the United States, Europe, and Israel. In 2014, he launched The Bach Project, a concert cycle to perform and record all of Bach’s organ works—the first such cycle in Washington in a quarter-century. The first two volumes have been released on the MSR Classics label to critical acclaim:

I can say that this is some of the finest Bach organ playing I’ve heard…his playing is clean, straightforward, technically secure, and sharply focused in the manner of a Simon Preston or Peter Hurford. Fickley gives really splendid readings of these works…some of the most enthralling Bach organ playing you are likely to hear anywhere by anyone. (Fanfare Magazine) Fickley’s previous Bach forays have come in for some rave reviews, and this latest venture is no less deserving of the highest praise. Indeed, this is some of the most absorbing Bach playing you can ever come across. An inspired undertaking that will surely rank with the last twenty-five years’ best recordings in the genre. (Music and Visions) [Fickley] deftly captures the essential character of the contrapuntal Bach, the profound Bach, and the religious Bach. (Classical Net)

A strong proponent of music education and outreach, Todd has spent years teaching and preparing choirs and instrumentalists of all ages using the Royal School of Church Music system for performances of wide-ranging repertoire from Bach’s Passions and Cantatas to annual Nine Lessons and Carols Programs. He is also a long-time cast member of the Washington Bach Consort’s acclaimed outreach program to Washington's public schools, Bach to School, and this year’s new Wunderkind Projekt initiative.

A protégé of Consort Founder Dr. J. Reilly Lewis, Mr. Fickley was his long-time, and final, musical assistant at the Washington Bach Consort and Cathedral Choral Society. As Chorus Master, he has helped prepare the Cathedral Choral Society for concerts with Marin Alsop, Leonard Slatkin, Joseph Flummerfelt, Dmitri Hvorostovsky at Avery Fisher Hall, the world premieres of Dominick Argento commissions, and has led ensembles at The White House, embassies, and churches. He is featured organist in the Society's popular annual Joy of Christmas concerts. Engagements this spring include Beethoven’s Piano Concerto No. 5 (Emperor), the opening organ recital for Piccolo Spoleto Festival in Charleston, and a recording of world-premiere works by British composer Bob Chilcott, having recently performed their European premieres in Leipzig, Dresden, and Berlin. Mr. Fickley is an officer in the Order of St. John of Jerusalem and a member of the National Society of Washington Family Descendants. www.toddfickley.com

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Founded in 1977 by the late Dr. J. Reilly Lewis, the Washington Bach Consort is a professional chorus and orchestra noted for its performance of 18th-century music on period instruments. Its mission is to ensure that

current and future audiences experience the music of Johann Sebastian Bach and his contemporaries.

The Series at National Presbyterian Church National Presbyterian Church 4101 Nebraska Avenue NW, Washington DC

FOUNDATION: BACH AND THE REFORMATION Sunday, September 17, 2017, 3:00 p.m. Festive music for two anniversaries Richard Giarusso, conductor & artistic director candidate

CELEBRATION: CHRISTMAS ORATORIO Saturday, December 9, 2017, 6:00 p.m. The quintessential Bach holiday experience Dana Marsh, conductor & artistic director candidate COMMEMORATION: ST. JOHN PASSION Sunday, March 18, 2018, 3:00 p.m. Bach, the musical dramatist at his best Matthew Dirst, conductor & artistic director candidate

CULMINATION: MASS IN B MINOR Sunday, April 29, 2018, 3:00 p.m. The summation of a life’s work Gwendolyn Toth, conductor & artistic director candidate

The Chamber Series First Congregational United Church of Christ 945 G Street NW, Washington DC

FROM THE ARCHIVES Friday, October 20, 2017, 7:00 p.m. Music from our first concert in 1977, including the Brandenburg Concerto No. 6

VIRUOSITY AND INNOVATION Friday, February 23, 2018, 7:00 p.m. Partita No. 2 for Violin Solo and selections from the Well-Tempered Clavier

THE MUSICAL OFFERING Friday, April 6, 2018, 7:00 p.m. Bach's unparalleled contrapuntal mastery fit for a king!

Announcing our 2017 - 2018 40th Anniversary Season

Subscriptions for our 40th Anniversary Season are now on sale! Single tickets will be available August 1, 2017.

Noontime Cantata Series Church of the Epiphany 1317 G Street NW, Washington DC

October 3, 2017 Was Gott tut, das ist wohlgetan, BWV 100 Prelude and Fugue in D, BWV 532 Matthew Dirst, organist & conductor

November 7, 2017 Nun danket alle Gott, BWV 192 Prelude and Fugue in E-flat, BWV 552 Todd Fickley, organist & conductor

December 5, 2017 Tritt auf die Glaubensbahn, BWV 152 Meine Seele erhebt den Herren, BWV 648 Fuga: sopra il Magnificat (á5), BWV 733 Dana Marsh, organist & conductor

March 6, 2018 Sie werden aus Saba alle kommen, BWV 65 Prelude and Fugue in C, BWV 547 Jeremy Filsell, organist Richard Giarusso, conductor

April 3, 2018 Ich habe genug, BWV 82a Prelude and Fugue in G, BWV 541 Julie Vidrick Evans, organist John Moran, conductor

May 1, 2018

Gelobet sei der Herr, mein Gott, BWV 129 Prelude and Fugue in B minor, BWV 544 Gwendolyn Toth, organist & conductor

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The Washington Bach Consort wishes to thank its generous donors. This list represents gifts made between April 1, 2016, and April 12, 2017.

If you notice an error in your listing, please accept our apologies and contact us at 202.429.2121 during business hours so we may correct it.

The Washington Bach Consort honors the members of the

1685 Society L. Brent & Norma Bozell

Mr. & Mrs. David P. Condit Shannon & Jim Davis

Susan Dillon Neil Graham

Jill E. Kent & Mark E. Solomons Dr.† & Mrs. J. Reilly Lewis

Mary Elizabeth Lewis Tamera Luzzatto & David Leiter

Dr. Brian R. McNeill & Kathryn McKenzie

Julia O’Brien Michael Ochs

Laura E. Phillips† Charles Reifel & Janie Kinney

Cecil “Cy” & Pearl Richardson† William T. & Sally Semple

Margaret Shannon Bernice & Reynold Stelloh†

Lynn Trundle Pierre & Claire Wagner

Isabel T. Wallop Margaret W. Webb

Sally Wells John C. Wiecking Stephen C. Wright

† In memoriam

Dr. Brian R. McNeill & Kathryn McKenzie

Drs. Doreen Moreira & Mark Schlosberg

Bradley J. Olson, K.N.O. & Martha A. Olson

Christopher & Allison Putala Mr. Alfred S. Regnery Mr. James E. Rich, Jr. Ivan & Martha Schlager

in honor of John D. Rockefeller IV Shell Oil Company Foundation The Walt Disney Company John C. Wohlstetter*

PATRONS

$1,000 TO $2,499 Admiral & Mrs. Charles Abbot Ms. Amy Berger*

in honor of John D. Rockefeller IV Janet Bickel* Drs. Henry & Rachel Brem

in honor of John D. Rockefeller IV& Tamera Luzzatto & David Leiter

Kathleen A. Brion* Ms. Doris Chalfin Drs. David† & Joan Challinor* Ms. Mary Martha Churchman* William Craven Thomas A. Daschle

in honor of John D. Rockefeller IV Sarah Dash & Jeremy Tomasulo

in honor of John D. Rockefeller IV Todd Fickley* Linda Fienberg & Jeffrey Bauman* Margaret & David Gardner The George E. Coleman Jr.

Foundation Mr. Neil E. Graham Ms. Lindy Hart* Mrs. Rebecca G. Hayes†* Alex Hoehn-Saric & Loren Mayor

in honor of John D. Rockefeller IV Joseph & Embry Howell* Christopher C. Jennings &

Jan Montgomery in honor of John D. Rockefeller IV

Clete & Shelia Johnson in honor of John D. Rockefeller IV

Captain & Mrs. Don Paul Johnson Erna & Michael Kerst* David A. Klaus*

in memory of Margaret Anthon Mr. Alan J. Kriegel* David & Becky Legge*

ANGELS

$25,000 AND ABOVE AT&T Billy Rose Foundation DC Commission on the Arts &

Humanities Jetran

in honor of John D. Rockefeller IV Millstream Fund

in honor of John D. Rockefeller IV The National Endowment for the Arts The Honorable & Mrs.

John D. Rockefeller IV*

BACH SOCIETY

$15,000 TO $24,999

Betty J. Beard Robert Beizer & Janet Risseeuw* Rev. Elizabeth Carl & Victoria Hill

Clark-Winchcole Foundation Shannon & Jim Davis* Chris & Susan DeMuth Deutsche Telekom, Inc.* Mrs. J. Reilly Lewis* Tamera Luzatto & David Leiter* The Morris & Gwendolyn Cafritz Foundation

CONDUCTOR’S CIRCLE

$10,000 TO $14,999 Park Foundation

in honor of John D. Rockefeller IV Cy & Pearl Richardson† Steven & Barbara Rockefeller

in honor of John D. Rockefeller IV Toyota Motor North America, Inc.

in honor of John D. Rockefeller IV

DIRECTOR’S CIRCLE

$5,000 TO $9,999 Richard & Beth Ayres* L. Brent & Norma Bozell* The Cleveland Foundation* Mr. & Mrs. David P. Condit* Mr. Glen S. Fukushima* Anna Karavangelos Jill Kent & Mark Solomons* Charles Reifel & Janie Kinney* Ann Roberts

in honor of John D. Rockefeller IV Charlotte† & Hank Schlosberg * Joy F. & Jeff Spragens Christine Stelloh-Garner*

in memory of Ren & Bee Stelloh Catherine Ann Stevens* Ms. Sally L. Wells Reinhard Wieck* Mr. Stephen C. Wright &

Mr. Thomas Woodruff*

ARTIST’S CIRCLE

$2,500 TO $4,999 Mr. Donald Baker &

Ms. Nina McLemore Margarita Brose* Dallas Morse Coors Foundation

for the Performing Arts Mark Esherick Mary Ann Gardner

in memory of Bruce L. Gardner Charles L. Kinney* Mary Elizabeth Lewis* Ms. Hope P. McGowan*

Jan & Elizabeth Vickery Lodal* Alexandra &

Thomas MacCracken Mrs. Rosemary Monagan Robert & Beatrice Newkirk Ms. Lilian M. Penna Marian Pillsbury

in honor of John D. Rockefeller IV David Post & Nancy Birdsall* Barbara Pryor & Brad Gehrke

in honor of John D. Rockefeller IV Laura Quinn & Charles Sweeney

in honor of John D. Rockefeller IV Mark & Jean† Raabe* Edward Rahal

in honor of John D. Rockefeller IV William D. & Annette D. Reilly Lydia Rice Mr. Charles P. Rockefeller

in honor of John D. Rockefeller IV Mr. Jason Rylander William T. & Sally Semple

in honor of John D. Rockefeller IV Dr. Nicole L. Stout Beckley Mr. & Mrs. McKim Symington* Dr. Arina van Breda* Bob Van Heuvelen

in honor of John D. Rockefeller IV John & Dariel† Van Wagoner* Beatrix von Hoffman Pierre & Claire Wagner Isabel T. Wallop* Dr. Sara Wedeman

in memory of Miles & Marth Hall Wedeman

BENEFACTORS

$500 TO $999 Mr. Gilbert C. Adams

in honor of Barbara Hollinshead Jon Adelstein

in honor of John D. Rockefeller IV Rev. Father & Mrs. Alister

Anderson Kerry Ates

in honor of John D. Rockefeller IV Gregg & Kristina Auby

in memory of Scott Auby Sandra M. Baer Mark Bailen

in honor of John D. Rockefeller IV Ms. Barbara Bankoff &

Mr. Robert W. Crandall

Continued

* Gift made in honor of Dr. J. Reilly Lewis † In memoriam

17

David & Nancy Barbour Judith Barnett Catherine H. Beauchamp* Mary Bissell

in honor of John D. Rockefeller IV Mr. Thomas Bleha Mr. Howard M. Brown* C. John & Janet C. Buresh Mr. Alan Coffey &

Ms. Janet S. Potts* Dr. Rafael J. Convit &

Ernest C. Raskauskas, Jr. Ms. Marcia P. Crandall Ms. Susan Dillon* Mary Eccles

in honor of John D. Rockefeller IV Dr. & Mrs. Barry Eisenstein Michel Farquhar Judith Feder

in honor of John D. Rockefeller IV Ms. Jane Finn Nancy Folger* Ms. Stephenie Foster Major Joseph J. Francis Timothy M. Gay

in honor of John D. Rockefeller IV The Greene-Milstein Family Foundation Ms. Karen L. Handorf Jeanette Hantke Mr. Louis Hering*

in honor of Barbara G. Hering Mr. Mark K. Hingston Frederick S. Hird* Mr. Theodore Hirt Michael Horowitz & Devra Marcus* Ed Howard

in honor of John D. Rockefeller IV Dan & Naomi Jaffe Paul Joffe

in honor of John D. Rockefeller IV Lou Ann Johnson

in honor of John D. Rockefeller IV Robert Josephs & Geraldine Carr David & Anna-Lena Kamenetzky Lisa Kaplowitz

in honor of John D. Rockefeller IV Dr. William M. Leach* Reverend & Mrs. Wayne J. Lehrer* Martha Stecher Lewis

in honor of Beth A.V. Lewis Mr. & Mrs. Justin Lilley* Mr.† & Mrs. James Lockard* Frances M. Lussier Liz & Mel Lyman* Dan Martino* Mr. & Mrs. David E. Miller Dr. Lee Monsein Randall Moorhead

in honor of John D. Rockefeller IV Mr. Jeffrey Mora &

Ms. Wendy Fuller-Mora* Wendy Morigi

in honor of John D. Rockefeller IV

Dr. William B. Munier Mrs. Carolyn Nagler Sarah Nealley

in honor of John D. Rockefeller IV Jill R. Newman & Scott Auby† Ms. Julia O'Brien John Odling-Smee &

Carmela Veneroso* Ms. Barbara N. Opper

in honor of John D. Rockefeller IV Mary Ella Payne

in honor of John D. Rockefeller IV Carole Pratt

in honor of John D. Rockefeller IV Frances H. Pratt* William Reinsch

in honor of John D. Rockefeller IV Ms. Kathleen Ribaudo Ann Riley

in honor of John D. Rockefeller IV Peter D. & Connie Robinson Mrs. Milton M. Rose* Ms. Kathryn Seddon* Mr. & Mrs. Viguen Ter-Minassian* Mrs. Heike Terrell Ms. Lynn Trundle* Benjamin & Emily Tsai Mr. Hans N. Tuch* United Way of the

National Capital Area Drs. Richard &

Elizabeth Waugaman* Dorothy B. Wexler Mr. Mark Willey &

Ms. Joy Garbutt Ms. Anita L. Woehler Ms. Edith C. Wolff* Joy Hulse Wyatt* Margot Young*

FRIENDS

$100 TO $499 Ms. Eleanor M. Adams* Anne Alexander* Leigh Alexander Jennifer Allen Ms. Carolyn Alper Eric Andersen &

W. David Young, II* Anonymous (2) Ms. Kathleen Bacskay David & Livia Bardin* Bob & Peggy Barry* Thomas & Laurie Barthold Walter & Irene Berns Mr. & Mrs. Michael Biernoff Mr. Sam Black Ms. Kate Blackwell* Patricia Bloomfield* Ms. Inga C. Blust* N. Prentice Bowsher &

Sally Steenland*

Irene Braam James & Judith Bromley Janet Brown William & Michelle Bukowski* Mr. Michael F. Butler* Peter & Karen Byrne* Heidi Byrnes* Michael Calingaert* Mr. Richard L. Carlson* Eric N. Chafin Children’s Chorus of Washington* Colonel & Mrs. Tim Christenson Classical Movements* Mr. George M. Coburn Karen C. Coe* Mary G. Commins* Mr. Clark Conkling* Frank & Hanne Correl Andrew Corsun Michael Cronin Albert & Nancy Currier* Mr. Dimitri Darras Margot de Ferranti Jolly F. de Give Nelson C. & Ruth S. Denlinger Ms. E. Lynne D'Eustachio Ms. Sharrill Dittmann Ms. Carleen Dixon Webb* John H. Doles III Mr. David M. Dorsen Allison Drucker &

Thomas Holzman Mr. & Mrs. Nicholas Eberstadt David & Elizabeth Edminster Mr. & Mrs. David Ehrlich* Mr. Murray Eisenberg Emerson & Joyce Elliott Mr. Daniel Elmer &

Mr. Christopher J. Hoh* Mr. & Mrs. John C. Farris Drew Fields Ms. Elise R. Fisher Mr. & Mrs. Karl Flicker* Mrs. Jeanne Folstrom Dr. & Mrs. Howard E. Frost Nadine Gabai-Botero Mr. & Mrs. Paul Gallagher Pat Giraldi* Marilyn Wong Gleysteen Mr. & Mrs. Gary L. Glick* Margaret Gonglewski &

John Heins* Susan Grad Mr. & Mrs. Ernest

Thomas Greene* Ms. Susan Grosser* Maria Gullo

in honor of Emmy Lewis Mrs. Anne Gwaltney* Mr. & Mrs. Richard Hakes* Carolann Haley* Hanna M. Hall

Dr. Judith M. Harper, Oberlin 1967*

Dr. Miriam Harrington* Martha Harris

in memory of Scott Harris Mr. & Mrs. Kevin Hassett Bruce Heard* David R. Hearn* Ms. Patricia Hevner* Ms. Patricia H. Horan* John S. Howe, Jr. Dr. Joyce E. Howland* Ms. Michelle Humphreys* Richard Hunt Mr. Edward Hurwitz* Isidore Grossman Foundation*

in honor of Richard Giarusso Gregory Jackson Steven Jackson & Cynthia Wayne* Peter† & Carol Jobusch Mr. Gabriel P. Johnson Dr. Nancy E. Johnson* Richard C. & Suzanne Johnson

in memory of Colonel Ron Villafranco Donald L. Jones* Kay Jones Erika R. Joyce* Dennis F. Kaspar Norris & Miriam Keeler* Joan Keenan Francesca Huemer Kelly* Robert H. Kessler & Swanee Busic* Pamela King* Maria & Ralph Kissick* Michael Knable Cathy & Mark Knepper* Mr. & Mrs. Thomas R. Kramer* Mr. Dale Krumvide Richard & Sally Kuisel* Ms. Dominique Lallement* Mr. David W. Lankford Mr. Jon H. Larimore* Willard & Carolyn Larkin Camille Larson & George Ruttinger Mr. Webber Lauh Steve & Rosalie Learned Mr. Kendrick R. Lee Mr. Gary Leggett* Allison Lewis*

in memory of Dr. Kristian Lewis Ray† & Eleanor Lewis Matthew Loden* Mr. & Mrs. George Londeree* Mr. Kenneth Lowenberg Chip & Laurie Lubsen* Walter Lubsen, Jr. Mr. Allen Maberry &

Ms. Debra Wynn* Walter & Lisa Maher* Ms. Gisela Marcuse*

Continued

* Gift made in honor of Dr. J. Reilly Lewis † In memoriam

18

The Washington Bach Consort wishes to thank its generous donors. This list represents gifts made between April 1, 2016 and April 12, 2017.

If you notice an error in your listing, please accept our apologies and contact us at 202.429.2121 during business hours so we may correct it.

Mark & Hope Foster Charitable Giving Fund

Dr. Hanna Marks Ms. Susan Marquis* Lynne Martin Lindsay Mataya*

in honor of Charles M. Reifel Lawrence & Jean Matthews Mark Mattucci & Judith Furash* Ms. Susan McCloskey Ms. Celia McEnaney* David R. McGown &

Mary Ruth Keller The Honorable Elizabeth McKune Dr. Donald McNellis &

Carrie Smith Catherine Millian Dan Moore Mr. Tom Morante &

Marianne Splitter* Musicians of the NSO* Sondra Myers* Bernard F. & Elizabeth Nass Ms. Leah Nelson* George Newman &

Barbara Fairchild* Yoshie Ogawa Ms. Lorraine P. Okun* Mr. & Mrs. David Osnos*

Mr. Laurence D. Pearl James Pepper Elizabeth A. Peterson

in honor of Laura Choi Stuart Mr. & Mrs. Deborah Peverill Patricia Pickard* Lawrence A. Plumlee

in memory of Doris & Chester Plumlee

David Pozorski & Anna Romanski Susannah F. Prindle* Lloyd & Claudia Randolph Eva Ravitz*

in memory of Larry Ravitz Mary D. Reed John Noel Reifel

in honor of Charles M. Reifel Raymond P. Rhinehart &

Walter Smalling, Jr.* Mr. Markley Roberts* Jo Ellen & Mark Roseman* Douglas & Karen Rumble Saint Columba’s Episcopal Church* Mr. & Mrs. Peter Sandlund* Mr. Robert L. Savage* Mr. & Mrs. James Schaller* Patricia Schettino William & Diana Schmidt Ann I. Schneider*

Mary Schoelen in honor of John D. Rockefeller IV

Mr. Gregory K. Schoepfle* Lawrence P. Schreiber* Charles & Joanne Schwarz* Mr. David Seidman Ms. Anne Overlin Severy* John & Linda Sibert Carol M. Sikkelee Arthur Silver &

Robin Ritterhoff in memory of John Ritterhoff

Daniel B. Silver* Angelique Sklavounos* Russell Smith Mr. Thomas M. Sneeringer* Ms. Irene M. Solet Milford Sprecher* Raymond Squitieri* L. Bradley Stanford* Thomas & Diane Stanley Ilse M. Stauffer Ms. Inge Wekerle Steiner Guy T. & Marhoire J. Steuart Mr. Eric B. Stoltzfus &

Ms. Cynthia Lapp* Stonehall Farm* Carrie Sykes* Patricia Taffe Driscoll

Mr. & Mrs. Philip M. Teigen Jane T. Udelson Mr. Frederik van Bolhuis* H. Henning Vent Mr. George Vercessi &

Ms. Barbara Preston* in memory of Colonel Ron Villafranco

Robert Wales* Sylvia Wang* Dr. Arthur Weinstein Herbert & Judith Weintraub Michelle & Michael Wenisch Heinrich & Frauke Westphal* Margaret Whitehead George Whitley & Candace Ballard Scott D. Widmeyer

in honor of John D. Rockefeller IV John C. Wiecking Cheryl Williams* Elsa B. Williams Dr. Katherine J. Williams* Ms. Victoria Williamson* Drs. Jack & Susan Yanovski Mr. & Mrs. Michael M. Zazanis* Mr. Stephen Zilliacus* * Gift made in memory of Dr. J. Reilly Lewis † In memoriam

19

WASHINGTON BACH CONSORT

Board of Directors Tamera Luzzatto, President

Stephen Wright, Vice President

Charles Reifel, Treasurer

David Condit, Secretary

Richard Ayres

Sandra Baer

Donald I. Baker

Robert Beizer

L. Brent Bozell III

Shannon Davis

Glen S. Fukushima

Jill Kent

Mary Elizabeth Lewis

Doreen Moreira, MD

Christopher Putala

Alfred Regnery

James E. Rich

The Honorable John D. Rockefeller IV

Joy Spragens

Catherine Ann Stevens

Reinhard Wieck

John Wohlstetter

Staff

Marc Eisenberg, Executive Director

Todd Fickley, Acting Artistic Director

Carolyn Davies, Operations Manager

Alex Interlandi, Development Manager

Janey Moskowitz, External Affairs Manager

Elizabeth Stuk, Patron Services Manager

Institutional Partners This program is brought to you in part by these generous sponsors.

Our Mission

The Washington Bach Consort is a professional choral and orchestral ensemble based in Washington, DC, that is committed to ensuring that current and future audiences experience the music of Johann Sebastian Bach and his contemporaries by:

performing the music of Bach and his contemporaries to the highest artistic standards,

sharing the joy of Bach’s music by broadening audiences in the nation’s capital,

nurturing the appreciation of Bach’s music through education and community outreach activities, and

interpreting the music of Bach for audiences of today, thereby ensuring his legacy.

Giving Bach

Throughout its history The Washington Bach Consort has made music education programs and audience outreach activities central to its mission. Its Giving Bach to the Community initiatives have offered a range of free or low-cost educational and enrichment activities to residents of the greater Washington, DC area. Designed to bring the mastery of Bach’s music as well as the artistry of the Consort to those who, for reasons of cost, location, schedule or lack of familiarity with the music, are unlikely to be regular attendees at any classical music concert, the program includes Bach to School, the Noontime Cantata Series, Talking Bach, and our newest education program the Wunderkind Projekt. These programs showcase the talents of Consort musicians, guest artists and guest lectur-ers, and provide thousands of DC area residents with the opportunity to hear, learn and be inspired by top-notch classical music performances.

Morris and Gwendolyn Cafritz Foundation

Billy Rose Foundation