SHENANDOAH VALLEY BACH FESTIVAL - 27th Annual JUNE 9-16, 2019
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27th Annual SHENANDOAH VALLEY BACH FESTIVAL Kenneth Nafziger, Artistic Director JUNE 9-16, 2019
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WELCOME…
… to the twenty-seventh season of the Shenandoah Valley Bach Festival. As in preceding seasons, you will hear some
amazing music. For those of you for whom this is your first visit, a warm welcome. We hope you will have a wonderful time,
that you will tell your friends about us, and that you will return often!
Franz Joseph Haydn’s beloved oratorio, The Creation, is the centerpiece of this year’s events. Written when he was well
along in years, and cherished by audiences and performers from its first performance to the present day, this work opens
with a magnificent depiction of order arising from chaos, light coming out of darkness. Themes of light and dark run
throughout the week of music: the opening concert begins with Bach Brandenburg Concertos, his brightest (No. 2) and
his darkest (No. 6).
A night scene (Berlioz) and another night scene brightened by the colors of a Latin dance party (Gottschalk) are separated
by a short ballet based on African legends of creation (Milhaud). The festival’s concluding Leipzig service includes a Bach
cantata based on Psalm 23, a well-loved Psalm text that acknowledges the light and the dark of one’s walk through life.
This year, as we have on many occasions in the past, we honor the anniversaries of particular composers. This year, we mark
the 150th anniversary of the death of two, one famous, the other not so much. They knew each other, respected each other,
and learned from each other: Hector Berlioz (French) and Louis Moreau Gottschalk (Haitian-Creole).
So again, I welcome you to enjoy all the concerts: ticketed orchestral concerts on the opening Sunday afternoon, and Friday
and Saturday evening, a Baroque Academy Faculty concert on Thursday evening (also ticketed), the concluding Leipzig
Service (freewill offering), and the six noon chamber music concerts (contributions warmly received). Thanks for being here,
for your support, and your financial assistance in making these recurring summer events possible.
Ken Nafziger
Artistic Director and Conductor
HAVE YOU
ENJOYED THE
CONCERTS THIS
WEEK?
Let us know by making a tax-deductible contribution and
inviting your friends to attend.
Donations may be placed in the
violin cases in the foyer, made online at
to svbachfestival.org/donate, or mailed to:
Did you know?
• Musicians rehearse/perform a combined
EMU Development Office total of 3,300+ hours during festival
1200 Park Road week.
Harrisonburg, VA 22802
• You can attend 7 of our 11 concerts
Make checks payable to EMU without purchasing a ticket.
with Bach Festival in the memo line. • Ticket sales account for only 14% of our
budget.
THANK YOU FOR YOUR SUPPORT!
• We pay the musicians for both ticketed
and non-ticketed concerts.
• Musicians’ fees total approximately
bach@emu.edu
$90,000.
540-432-4367
svbachfestival.org • We rely on your generous donations to
pay the musicians.
Help us preserve the “jewel in Harrisonburg’s crown.”
(Virginia Commission for the Arts)
2
THE FESTIVAL AT A GLANCE
SUNDAY, JUNE 9 Talking Music, with Kenneth Nafziger
Martin Greeting Hall, EMU Campus Center, 2:15 p.m.
Festival Concert 1............................................................................................................................................................. 5
Lehman Auditorium, EMU, 3 p.m.
MONDAY, JUNE 10 Noon Chamber Music Concert.................................................................................................................................... 9
Asbury United Methodist Church, 205 S. Main Street, noon
TUESDAY, JUNE 11 Noon Chamber Music Concert.................................................................................................................................. 11
Asbury United Methodist Church, 205 S. Main Street, noon
WEDNESDAY, JUNE 12 Orchestra rehearsals (open to listeners)
Lehman Auditorium, 9-11:30 a.m. and 2:30-5 p.m.
Noon Chamber Music Concert..................................................................................................................................13
Asbury United Methodist Church, 205 S. Main Street, noon
THURSDAY, JUNE 13 Noon Chamber Music Concert..................................................................................................................................15
Asbury United Methodist Church, 205 S. Main Street, noon
Baroque Academy Faculty Concert......................................................................................................................... 17
Asbury United Methodist Church, 205 S. Main Street, 7:30 p.m.
FRIDAY, JUNE 14 Noon Chamber Music Concert.................................................................................................................................. 21
Asbury United Methodist Church, 205 S. Main Street, noon
Talking Music, with Kenneth Nafziger
Strite Conference Room, EMU Campus Center, 6:45 p.m.
Festival Concert 2...........................................................................................................................................................23
Lehman Auditorium, EMU, 7:30 p.m.
SATURDAY, JUNE 15 Noon Chamber Music Concert.................................................................................................................................. 31
Asbury United Methodist Church, 205 S. Main Street, noon
Talking Music, with Kenneth Nafziger
Strite Conference Room, EMU Campus Center, 6:45 p.m.
Festival Concert 3...........................................................................................................................................................35
Lehman Auditorium, EMU, 7:30 p.m.
SUNDAY, JUNE 16 Leipzig Service................................................................................................................................................................45
Lehman Auditorium, EMU, 10 a.m.
3
4
FESTIVAL CONCERT 1
Sunday, 9 June 2019, Lehman Auditorium
This concert is underwritten in part by Rodney Riddle and Corja Mulckhuyse.
Brandenburg Concerto No. 2 in F Major, BWV 1047 [1719 – 1721] Johann Sebastian Bach
1685 – 1750
[Allegro]
Andante
Allegro assai
Phillip Chase Hawkins, trumpet
Sian Ricketts, recorder
Sandra Gerster, oboe
Andrew Messersmith, violin
Joan Griffing & Amy Glick, violins
Diane Phoenix-Neal, viola
Paige Riggs, cello
Peter Spaar, bass
Marvin Mills, harpsichord
Bach composed his six Brandenburg Concertos over a decade in the early eighteenth century and sent them to Margrave
Christian Ludwig of Brandenburg in Berlin. Bach had reason to believe the margrave might hire him, but the margrave
never so much as acknowledged the receipt of this music. Bach wrote the six while he was employed at Cöthen where he
had an array of fine instrumentalists at his disposal. No concerto is like any other in its instrumentation. One program an-
notator calls the set “a crazy diverse group of instrumental pieces..., Bach’s great chamber music colorfest.”
This spectacular music not only failed to get Bach the position he sought, but the pieces were forgotten, not even included
in the list of Bach’s complete works compiled by his son, Carl Philipp Emanuel. The manuscripts were sold for $20, and they
sat on a shelf awaiting their next performance in 1849, after they were found by a custodian in the Prussian royal library.
Now, they are the most beloved of Bach’s compositions; one can only wish he might have written many more!
A recording of the opening movement of this concerto travels aboard the spacecraft Voyager, launched in 1977, and now
more than thirteen billion miles from Earth. This wanderer in space carries materials, along with devices for deciphering
and hearing them, intended to give any civilization in those far reaches an introduction to the civilization here on earth. The
choice of this music came from a discussion between the late Carl Sagan and the late Lewis Thomas, former chancellor of
the Memorial Sloan-Kettering Cancer Center. Thomas said, “I would vote for Bach, all of Bach, streamed out into space over
and over again. We would be bragging of course, but it is surely excusable to put on the best possible face at the beginning
of such an acquaintance. Any species capable of producing the music of Johann Sebastian Bach cannot be all bad.”
Between the brilliant opening and closing movements of this concerto, Bach placed an exquisite gem, a sonata for all the
solo instruments except the trumpet.
5
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 [1719 – 1721] Johann Sebastian Bach
[Allegro]
Adagio ma non tanto
Allegro
Amadi Azikiwe, Diane Phoenix-Neal, Christy Heatwole & Tom Stevens, violas
Paige Riggs, cello
Peter Spaar, bass
Marvin Mills, harpsichord
The sixth Brandenburg Concerto is most likely the oldest one of the set. Bach, himself a violist, may well have played the
first of the solo parts (scored for viola da braccio, played held on the arm). The two accompanying viola parts (scored for
viola da gamba, played held between the knees) are less challenging by request of his patron at Cöthen who was a capable
amateur gamba player. The color of this concerto is rich and dark, and explores the magnificent and expressive sounds of
the viola in all its registers.
INTERMISSION - 20 MINUTES
Desserts and drinks are available on the patio.
Notturno No. 8 in G Major, Hob. II:27 [1788 – 1792] Franz Joseph Haydn
1732 – 1809
Largo – Allegro
Adagio
Finale: Vivace assai
Mary Kay Adams, flute
Sandra Gerster, oboe
David Wick & Jay Chadwick, horns
Joan Griffing & Jacob Roege, violins
Diane Phoenix-Neal & Amadi Azikiwe, violas
Paige Riggs, cello
Peter Spaar, bass
Divertimentos, serenades, cassations and notturnos made up significant parts of the repertoires of many late eighteenth-
century composers. There are not a lot of differences to be found among these designations; they all had essentially one
function: to provide music not for concerts but for the creation of an elegant atmosphere in social settings. In Haydn’s
hands, they (and there are more than fifty) were a bridge between the baroque suites or orchestral concertos and the
symphony. Some of Haydn’s earliest symphonies resembled this social music genre. Little is known about the patron of this
music, or where it was first performed. But no matter, it would grace any social setting.
6
Trio No. 39 in G Major for Piano, Violin and Cello, Gypsy, Hob. XV:25 [1795] Franz Joseph Haydn
Andante
Poco adagio, cantabile
Rondo a l’Ongarese: Presto
David Berry, piano
David McCormick, violin
Kelley Mikkelsen, cello
Haydn wrote forty-five piano trios. No. 39 is from a second set of three trios he composed on his second sojourn in London.
On his first trip there, a young pianist, Rebecca Schröter, approached him for piano lessons, and they most likely fell in love,
spending considerable time together on that second visit. Haydn’s piano trios all feature the piano, with a less prominent
role for the violin, and an even lesser role for the cello. In England, publishers described them as “sonatas for the pianoforte,
with an accompaniment of a violin & violoncello.”
There are three movements, two of which are lyrical in nature. The first is a theme with variations, the second a song-like
movement with a prominent middle section that features the violin. The third movement is an abrupt shift in tempo and
texture. The Hungarian designation is not so much based on Hungarian music, but reflects gypsy melodies and rhythms
that Haydn would have heard frequently during his employment with the Esterházy family. Haydn was one of the earliest
composers to incorporate gypsy elements in his music, in a manner both playful and charming.
7
8
MONDAY NOON CONCERT
10 June 2019, Asbury United Methodist Church
This concert is underwritten in part by an anonymous gift in honor of Ken and Helen Nafziger.
An die Musik [1817] Franz Schubert
Die Forelle [1821] 1797 – 1828
Ave Maria [1825]
Ständchen [1827-28]
Du bist die Ruh [1823]
Kelley Mikkelsen, cello
Naoko Takao, piano
Isn’t it wonderful Rebecca Pellett
b. 1981
Kevin Piccini, oboe
Naoko Takao, piano
Cantigas de Amigo [13th century] Martin Codex
Ondas de mar de Vigo
Mandad’ ei comigo
Mia irmana fremosa, treides comigo
Ai Deus, se sab’ ora meu amigo
Quantas sabedes amare amigo
Eno sagrado en Vigo
Ai ondas que eu vin veer
Sian Ricketts, soprano & recorder
David McCormick, viele
Caleb Pickering, percussion
Tango Etude No. 3 [1987] Astor Piazzolla
1921 – 1992
Maria Lorcas
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10TUESDAY NOON CONCERT
11 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Michael and Violet Allain and Jim and Joyce Benedict.
Trio for Flute, Oboe & Piano [1970] Madeleine Dring
1923 – 1977
Allegro con brio
Andante semplice
Allegro giocoso
Kevin Piccini, oboe
Mary Kay Adams, flute
Lise Keiter, piano
Concerto after Haydn Sam Suggs
b. 1990
Allegro
Andante con moto
Allegro assai
Sam Suggs, bass
David McCormick, violin
Amadi Azikiwe, viola
Kelley Mikkelsen, cello
David Berry, piano
Prelude to a Kiss [1938] Duke Ellington
1899 – 1974
My Favorite Things [1959] Richard Rodgers & Oscar Hammerstein II
1902 – 1979 1895 – 1960
Ryan Kauffman, sax
Mark Hartman, guitar
Peter Spaar, bass
Caleb Pickering, percussion
11Fly me to the moon [1954] Bart Howard
1915 – 2004
Swing Guitars [1936] Django Reinhardt & Stéphane Grappelli
1910 – 1953 1908 – 1997
David McCormick, violin
Mark Hartman, guitar
Peter Spaar, bass
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12WEDNESDAY NOON CONCERT
12 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Jay and Leslie Chadwick.
Trio in E-flat Major for Clarinet, Viola & Piano, Kegelstatt, K. 498 [1786] Wolfgang Amadeus Mozart
1756 – 1791
Andante
Menuetto
Rondeaux: Allegretto
Leslie Nicholas, clarinet
Diane Phoenix-Neal, viola
Naoko Takao, piano
Duet for Violin & Cello No. 1 in C Major, Wo27 [1790-92] Ludwig van Beethoven
1770 – 1827
Allegro commodo
Larghetto sostenuto
Rondo: Allegretto
Violaine Michel, violin
Kelley Mikkelsen, cello
Kinderszenen (Cenas Infantis) [2001] Joao Guilherme Ripper
b. 1959
Schumanniana
Ciranda
Maracatu
Sandra Gerster, oboe
Paige Riggs, cello
Lise Keiter, piano
13Three Pieces [1881] Ludwig Maurer
1789 – 1878
(without tempo indication)
Andante con moto
Allegro grazioso
Susan Messersmith & Christine Carrillo, trumpets
Jay Chadwick, horn
Jay Crone, trombone
Harold Van Schaik, bass trombone
14THURSDAY NOON CONCERT
13 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Anne McFarland.
Sonata for Violin & Piano in E Major, BWV 1016 [1717-23] Johann Sebastian Bach
1685 – 1750
Adagio
Allegro
Adagio ma non tanto
Allegro
Violaine Michel, violin
Naoko Takao, piano
from Trio in B Minor for Oboe, Clarinet & Piano, Op. 27 [1906] Edouard Destenay
1850 – 1924
Allegro vivace
Kevin Piccini, oboe
Lynda Dembowski, clarinet
Naoko Takao, piano
Sonata for Viola & Piano, Op. 25, No. 4 [1922] Paul Hindemith
1895 – 1963
Sehr lebhaft. Markiert und kraftvoll
Sehr langsame Viertel
Finale: Lebhafte Viertel
Amadi Azikiwe, viola
Naoko Takao, piano
Trio Sonata No. 4 Giovanni Battista Pergolesi
1710 – 1736
Allegro
Andante
Presto
Jay Crone & Matt Wright, tenor trombones
Harold Van Schaik, bass trombone
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16VIRGINIA BAROQUE ACADEMY
FACULTY CONCERT
Thursday, 13 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Chris and Betsy Little.
BACH SAYS BONJOUR
Baroque Gems from France and Germany
Judith Malafronte, mezzo-soprano
Anne Timberlake, recorders
Daniel Lee, baroque violin and violoncello da spalla
Martha McGaughey, viola da gamba
Arthur Haas, harpsichord
Suite in C Minor for Recorder, Violin, and Continuo Pierre Gautier
1642 – 1696
Symphonie
Air
Passacaille
Sommeil
Concerto No. 16 in D Minor, BWV 987 [c. 1716] Johann Sebastian Bach
transcription of the Violin Concerto, Op. 1, No. 4 1685 – 1750
by Duke Johann Ernst of Sachsen-Weimar [1696-1715]
Adagio e staccato – Presto
Allegro-Adagio-Vivace
from Cello Suite No. 1 in G Major, BWV 1007 [c. 1727-31] Johann Sebastian Bach
Allemande
Courante
Sarabande
17Songs [1733/34] Georg Philipp Telemann
1681 – 1767
Etwas neues vorzutragen
Die größte Kunst ist Geld zu machen
Zufriedenheit
Getrost in Leiden
Sonata in G Major for Violin and Continuo, BWV 1021 [c. 1732 – 33] Johann Sebastian Bach
Adagio
Vivace
Largo
Presto
INTERMISSION
Sonata VI, L’Impromptu, for Recorder and Continuo Louis-Nicolas Clérambault
1676 – 1749
Pièces de Viole for Gamba and Continuo Marin Marais
1656 – 1729
Ah mortel douleurs, from George Dandin [1672] Jean-Baptiste Lully
1632 – 1687
8e Concert Dans le Goût Théatral François Couperin
1668 – 1733
Ouverture
Grande Ritournèle
Air Noblement
Air Tendre
Sarabande
Air de Baccantes
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1920
FRIDAY NOON CONCERT
14 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Roy and Donna Heatwole.
from Quintet for Clarinet & Strings, K. 581 [1789] Wolfgang Amadeus Mozart
1756 – 1791
Allegro
Larghetto
Leslie Nicholas, clarinet
Joan Griffing & Jennifer Rickard, violins
Amazi Azikiwe, viola
Kelley Mikkelsen, cello
from Sonata for Violin & Piano in G Minor, L. 140 [1917] Claude Debussy
1862 – 1918
Allegro vivo
Intermède: fantasque et léger
Eleonel Molina, violin
Lise Keiter, piano
In Praise of Sun Dogs [1994] Katrina Wreede
b. 1960
Amadi Azikwe, Christy Kauffman, Tom Stevens & Diane Phoenix-Neal, violas
The Last Hope, Op. 16 [1854] Louis Moreau Gottschalk
The Banjo, Op. 15 [1853] 1829 – 1869
David Berry, piano
What a wonderful world [1967] Bob Theile & George Weiss,
1922 – 1996 1921 – 2010
arr. Tara Islas
David Wick, Jay Chadwick, Tara Islas & Roger Novak, horns
21I N S P I R E
•
E N G A G E
•
C O M M U N I C A T E
FESTIVAL OF CONCERTS
JUNE 29 – AUGUST 9, 2019
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22FESTIVAL CONCERT 2
Friday, 14 June 2019, Lehman Auditorium
This concert is underwritten in part by Ed and Cathy Comer, Alden and Louise Hostetter, and Ron and Shirley Yoder.
from Les nuits d’été, Op. 7 [1840-1841] Hector Berlioz
1803 – 1869
Barbara Rearick, mezzo-soprano
Villanelle
Quand viendra la saison nouvelle, When the new season comes,
Quand auront disparu les froids, when the cold has vanished,
Tous les deux nous irons, ma belle, we will both go, my lovely,
Pour cueillir le muguet aux bois; to gather lily of the valley.
Sous nos pieds égrenant les perles Gathering the pearls underfoot,
Que l’on voit au matin trembler, that one sees shimmering in the morning,
Nous irons écouter les merles we will hear the blackbirds
Siffler. whistle.
Le printemps est venu, ma belle, Spring has come, my lovely,
C’est le mois des amants béni, it is the month blessed by lovers;
Et l’oiseau, satinant son aile, and the bird, preening his wing,
Dit des vers au rebord du nid. speaks verse from the edge of his nest.
Oh! viens donc, sur ce banc de mousse Oh! come now to this mossy bank
Pour parler de nos beaux amours, to talk of our beautiful love,
Et dis-moi de ta voix si douce: and say to me in your sweet voice:
Toujours! “Always!”
Loin, bien loin, égarant nos courses, Far, far away, straying from our path,
Faisons fuir le lapin caché, causing the hidden rabbit to flee
Et le daim au miroir des sources and the deer, in the mirror of the spring
Admirant son grand bois penché; bending to admire his great antlers,
Puis chez nous, tout heureux, tout aises, then home, completely happy and at ease,
En paniers enlaçant nos doigts, our hands entwined round the basket,
Revenons, rapportant des fraises returning carrying strawberries
Des bois. from the wood.
La spectre de la rose
Soulève ta paupière close Open your closed eyelids
Qu’effleure un songe virginal; touched by a virginal dream!
Je suis le spectre d’une rose I am the ghost of a rose
Que tu portais hier au bal. that you wore yesterday at the ball.
23Tu me pris, encore emperlée You took me, still pearly Des pleurs d’argent, de l’arrosoir, with silver tears, from the watering can, Et parmi la fête étoilée and in the starlit party, Tu me promenas tout le soir. you carried me all evening. Ô toi qui de ma mort fus cause, O you who caused my death Sans que tu puisses le chasser, without being able to chase it away Toutes les nuits mon spectre rose every night, my rose-colored specter À ton chevet viendra danser. will dance by your bedside. Mais ne crains rien, je ne réclame But fear not, I claim neither Ni messe ni De profundis: mass nor De Profundis. Ce léger parfum est mon âme, This light scent is my soul Et j’arrive du paradis. and I come from Paradise. Mon destin fut digne d’envie: My destiny is enviable Et pour avoir un sort si beau, and to have a fate so beautiful Plus d’un aurait donné sa vie, more than one would have given his life; Car sur ton sein j’ai mon tombeau, for on your breast I have my tomb, Et sur l’albâtre où je repose and on the alabaster on which I repose Un poète avec un baiser a poet with a kiss Écrivit: Ci-gît une rose, wrote, “Here lies a rose Que tous les rois vont jalouser. of which all kings will be jealous.” Absence Reviens, reviens, ma bien-aimée! Come back, come back, my beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée the flower of my life is closed Loin de ton sourire vermeil. far from your bright red smile! Entre nos cœurs quelle distance! Between our hearts what a distance! Tant d’espace entre nos baisers! So much space between our kisses! Ô sort amer! ô dure absence! O bitter fate! O harsh absence! Ô grands désirs inapaisés! O great desires unappeased! Reviens, reviens, ma belle aimée! Come back, come back, my beautiful beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée the flower of my life is closed Loin de ton sourire vermeil! far from your bright red smile! D’ici là-bas que de campagnes, Between here and there what fields, Que de villes et de hameaux, what towns and hamlets, Que de vallons et de montagnes, what valleys and mountains, À lasser le pied des chevaux! that will tire the hoofs of the horses. 24
Reviens, reviens, ma belle aimée! Come back, come back, my beautiful beloved!
Comme une fleur loin du soleil, Like a flower far from the sun,
La fleur de ma vie est fermée the flower of my life is closed
Loin de ton sourire vermeil! far from your bright red smile!
L’île inconnue
Dites, la jeune belle, Tell me, young beauty,
Où voulez-vous aller? where do you want to go?
La voile enfle son aile, The sail swells its wing,
La brise va souffler. the breeze begins to blow.
L’aviron est d’ivoire, The oar is of ivory,
Le pavillon de moire, the flag is of silk,
Le gouvernail d’or fin; the rudder of fine gold;
J’ai pour lest une orange, I have for ballast an orange,
Pour voile une aile d’ange, for sail an angel’s wing,
Pour mousse un séraphin. for cabin boy a seraph.
Dites, la jeune belle, Tell me, young beauty,
Où voulez-vous aller? where do you want to go?
La voile enfle son aile, The sail swells its wing,
La brise va souffler. the breeze begins to blow.
Est-ce dans la Baltique? Is it to the Baltic?
Dans la mer Pacifique? To the Pacific Ocean?
Dans l’île de Java? The isle of Java?
Ou bien est-ce en Norvège, Or perhaps to Norway,
Cueillir la fleur de neige, to pick the snow-flower
Ou la fleur d’Angsoka? or the flower of Angsoka?
Dites, la jeune belle, Tell me, young beauty,
Où voulez-vous aller? where do you want to go?
Menez moi, dit la belle, Take me, says the beautiful one,
À la rive fidèle to the faithful shore
Où l’on aime toujours! where one loves forever!
Cette rive, ma chère, That shore, my dear,
On ne la connaît guère is almost unknown
Au pays des amours. in the land of love.
Où voulez-vous aller? Where do you want to go?
La brise va souffler. The breeze begins to blow.
25Richard Bratby, program annotator for the Liverpool Philharmonic Orchestra, introduces these songs this way:
Think Berlioz, and you think spectacular. This is the composer who wrote a symphony based on opium-fueled hallu-
cinations; scored a requiem for four brass bands and a choir of thousands; raced across Italy disguised as a woman
on a mission to assassinate an unfaithful lover, and started riots at the Paris opera. And then wrote about it all in
memoirs that are probably the spiciest, funniest and most candid book ever written by a great composer. Les nuits
d’été is the opposite of all that.
These songs (six of them in the complete set) were written with piano accompaniment only. Gradually, and over time, first
one, and then the others were orchestrated. The poems were written by Théophile Gautier, a good friend of the composer,
and one whose poetry Berlioz admired deeply. These love poems caught the spirit of Berlioz’ state of mind when he wrote,
“Love cannot give an idea of music; music can give an idea of love. But why separate them? They are the two wings of the
soul.”
The concept of an orchestral song cycle had not been used prior to Les nuits d’été. Berlioz’ choice of orchestral colors is
from a limited palate: delicate, highly expressive, and intimate. He wrote many songs over his lifetime, though he is rarely
thought of as an art song composer. Les nuits d’été should dispel any doubts about his expertise with song. Melodies are
exquisite; poetry well-chosen and aptly set. “This understated song-cycle takes us as close as we’re ever likely to be to Ber-
lioz’s troubled, poetic and deeply romantic soul,” observes Bratby.
Night Scene, from Roméo et Juliette, Op. 17 [1839] Hector Berlioz
After winning the Prix de Rome in composition in 1830, Berlioz spent a significant number of months in Italy, absorb-
ing Italian history and culture, a culture that found its way into a number of his compositions: Harold in Italy, Roméo et
Juliette, Benvenuto Cellini, Les Troyens, and Béatrice et Bénédict. Over this time, he developed a deep love for the work
of Shakespeare (partly due to a love interest in a Shakespearean actress). He spent much of 1839 turning Shakespeare’s play
into “something splendid on a grand and original plan, full of passion and imagination” (his words). His work was supported
through the generosity (20,000 francs!) of violinist Niccolò Paganini. This orchestral segment, Night Scene, is delicately and
beautifully scored. This interlude comes after the ball at the home of the Capulets, where Romeo has seen and recognized
Juliet. Romeo wanders in the forest, thinking fondly of Juliet. The famed balcony scene between the two follows shortly
after this interlude.
INTERMISSION – 20 MINUTES
Desserts and drinks are available on the patio.
26La création du monde, Op. 81 [1923] Darius Milhaud
1892 – 1974
Overture
1er tableau: Chaos before Creation: slow and mysterious, gradually growing in intensity
2e tableau: The lifting darkness and creation of trees, plants, insects, birds and beasts
3e tableau: Man and woman created: increase of movement and excitement
4e tableau: The desire of man and woman
5e tableau: The man and woman kiss: a beautiful conclusion, ending with softly fluttering flutes with a tender
goodbye from the saxophone
Mary Kay Adams & Carol Warner, flutes
Sandra Gerster, oboe
Leslie Nicholas & Lynda Dembowski, clarinets
Ryan Romine, bassoon
David Wick, horn
Judith Saxton & Susan Messersmith, trumpets
Jay Crone, trombone
Marvin Mills, piano
Eric Guinivan, percussion
Joan Griffing & Amy Glick, violins
Ryan Kauffman, saxophone
Paige Riggs, cello
Peter Spaar, bass
When Darius Milhaud made his first visit to the U.S., a friend took him to hear jazz at a Harlem night club. Later he wrote,
“The music was completely different, the melodic lines set off by the percussion, overlapping contrapuntally in a throbbing
mixture of broken, twisted rhythms.” He heard a blues singer whose voice seemed to “come from the depths of the centu-
ries.” Milhaud was entranced by the sounds and sights: “Its effect on me was so overwhelming that I could not tear myself
away. From then on, I frequented other Negro theaters and dance halls…. I never missed the slightest opportunity of visit-
ing Harlem.”
In 1923, Milhaud composed La création du monde for seventeen instrumentalists, influenced by the jazz idioms he had
heard in Harlem. The score was created for a Parisian ballet company. Its subject is based on various African tribal myths
about the creation of the world:
“The curtain rises on a dark stage, heaven and earth have just been separated, and three deities move about in a
clearing: Nzamé, Mébère and N’Kwa, the three masters of creation. Insects, apes, rainbirds, and other animals be-
gan to take form. As each new creature appears, it rushes to join the round dance of animals encircling the deities.
At last, creation stirs again; a monstrous leg is seen and a hairy head, then two torsos rise and stand facing each
other. They are Man and Woman, Sékoumé and Mbongwé. They execute the primal dance of desire, culminating in
a kiss.”
The five scenes are played without interruption, and they are each briefly described above.
27(from Frederick Starr, Gottschalk biographer)
Before his death at the age of forty in 1869, Louis Moreau Gottschalk achieved a stunning list of ‘firsts’. He was the
first American composer to be hailed in Europe; the first American virtuoso (on piano) to be saluted by the likes of
Chopin; the first American musician to erase the hardline dividing “serious” from “popular” genres; the first to intro-
duce American themes into European classical music; the first Pan-American artist in any field; and among the first
American artists to champion such causes as abolitionism, public education, and popular democracy. Above all, he
was the first to capture the syncopated music of South Louisiana and the Caribbean in enduring works that antici-
pate ragtime and jazz by half a century.
(notes condensed from www.louismoreaugottschalk.com biography)
Born in New Orleans in 1829, Louis Moreau Gottschalk grew up in a neighborhood where he was exposed to the Cre-
ole music with its African-Caribbean rhythms and the melodious folk songs that would later become a characteristic
ingredient of much of his own music. The house where he was born still stands at the southwest corner of Esplanade
and Royal streets in New Orleans, and it was from this rather unassuming place that his brilliant career started, a
career that would eventually spur him on to international fame.
Some of his past biographers have taken the idea of his childhood home as the “geographical center” of his musical
inspiration quite literally. One describes vividly how young Gottschalk would listen to the music that filled the streets
of New Orleans in the 1830s at many of the ubiquitous Sunday afternoon public dances held by slaves across the
city. He was exposed to the music also within the household; via his Grandmother Buslé and his nurse Sally, both of
whom were natives of Saint-Domingue.
However, none of this is to suggest that Gottschalk´s later work was derivative: When he borrowed from traditional
sources he did so openly and acknowledged his sources, and at any rate such occasional “quotations” are outweighed
by his playful inventiveness and creativity. An example of this is his informal début at the (then) new St. Charles Hotel
in 1840, at a time when despite his numerous recitals in salons of wealthy New Orleans households he had not yet
performed in public concerts. The program described Gottschalk as “a young Creole” and his début already foreshad-
owed his later work: Taking a Latin dance tune and performing a series of variations on the tune, thus combining the
popularity of the tune and subjecting it to a very Gottschalkian treatment, he charmed the audience, and the début
became an instant success.
In 1842 he left the United States and sailed to Europe, realizing that a classical training would be required to achieve
his musical goals. While such professionalism in a thirteen-year old would normally be the result of the parents´ am-
bitions, it is clear from Gottschalk´s letters that he himself was the driving force. In a letter to his mother, for example,
he wrote that “I definitely expect that in two years or perhaps less I shall be earning a living on my own.” In Europe,
however, Gottschalk had a rather bumpy start, as the Conservatoire in Paris rejected his application. In the years to
follow, despite the initial rejection by the musical establishment, he built a first career as a pianist virtuoso, prompt-
ing Frédéric Chopin to predict that Gottschalk would soon become one of the foremost pianists of the century.
In 1853, Gottschalk returned to the United States, possibly trying to escape an environment that he regarded as be-
ing dominated by egotism and vanity. Re-adjusting to American culture seems to have been accompanied by some
problems (and, typically for Gottschalk, by rather caustic criticism on his side, culminating in remarks such as “New
Jersey is the poorest place in the world to give concerts, except Central Africa”), and in the years to come he would
28travel extensively throughout the United States and Canada to earn a living. In 1854 he also spent an extensive pe-
riod of time in Cuba, his musical interest gradually shifting towards Central and South America.
In the 1860s, he had established himself again as a major figure in American musical life, partly as a result of tremen-
dous hard work as is evident from his travel schedule which, at one point in 1862, included eighty-five concerts (all
at different locations) in just four and a half months. What life under such pressure was like is best summed up by the
following remark in Gottschalk´s diary: “Arrived half past eight at the hotel, took in a hurry a cup of bad tea, and away
to business. One herring for dinner! nine hours on the train! and, in spite of everything, five hundred persons who
have paid that you may give them two hours of poesy, of passion, and of inspiration. I confess to you secretly that
they certainly will be cheated this evening.”
In September 1865, his career took a sharp turn when Gottschalk had to leave the United States after a scandal about
his relationship with a student at Oakland Female Seminary. Gottschalk left the country, embarking on what would
become his last (and perhaps most successful) tour, during the course of which he travelled to Santiago de Chile,
Buenos Aires, and Rio de Janeiro (and many other less well-known locations). His concerts were tremendously suc-
cessful all across South America and sometimes took the form of “monster concerts” involving up to 650 performers.
Louis Moreau Gottschalk died Saturday, December 18, 1869, in Tijuca (Brazil), three weeks after collapsing during one
his concerts.
La nuit des tropiques, Night in the Tropics, D. 104 [1852, rev. 1858] Louis Moreau Gottschalk
1829 – 1869
Andante: Nuit dans les tropiques
Allegro molto: Une fête sous les tropiques: Fiesta criolla
Louis Moreau Gottschalk was born in 1829 in New Orleans, a slave port at the time. His father was a Jewish business man
from London, and his mother was French Creole. As detailed above in the biographical notes, he took Paris by storm, was
endorsed enthusiastically by Chopin and Berlioz, called the “Chopin of the Creoles.” Chopin, on having heard Gottschalk
play his Piano Concerto in E Minor, congratulated him, saying, “Give me your hand, my child; I predict that you will
become the king of pianists.” Berlioz, writing as a music critic, said, “He phrases soft melodies with perfect grace and has
mastered the keyboard’s delicate traits…. His playing dazzles and shocks. In the presence of a musically civilized public, Mr.
Gottschalk’s success is immense.” North American audiences preferred European music and performers. Although he was
prolific and popular, he is nearly unknown today.
Gottschalk called La nuit des tropiques his Symphony No. 1. The first movement (Andante) pays musical homage to one
of his mentors, Berlioz. It was finished in 1858 and premiered two years later in Havana. The second movement (Allegro
molto) was written in 1859, and is clearly in a festive Latin mode, with tropical rhythms of various countries, and Latin
percussion instruments (a new thing at that time). For the Cuban premiere, players from a large Afro-Cuban percussion
ensemble joined the full symphonic orchestra, an unusual occurrence for the mid-nineteenth century, and much to the
pleasure and delight of the Havana audience. In 1860, Gottschalk arranged this work for two pianos.
29SUMMER: FESTIVAL SEASON
June 25 - September 10
3 GREAT PLAYS.
2 GREAT AUTHORS.
1 GREAT STORY.
See them in any combination, but don’t miss this epic
journey in the lives of Caesar, Cleopatra, Antony,
and the history of the Roman Empire.
JULIUS CAESAR
by William Shakespeare
ANTONY AND
CLEOPATRA
by William Shakespeare
CAESAR AND
Madeline Calais. Photo by Lauren Rogers Parker.
CLEOPATRA
by George Bernard Shaw
Blackfriars Playhouse
10 South Market Street, Staunton, VA
1.877.Much.Ado | americanshakespearecenter.com
30SATURDAY NOON CONCERT
15 June 2019, Asbury United Methodist Church
This concert is underwritten in part by Rosemary King.
Suite for Oboe, Clarinet & Viola [1941] Randall Thompson
1899 – 1984
Gaio
Adagio assai
Allegro
Lento religioso
Grave – Allegretto
Kevin Piccini, oboe
Lynda Dembowski, clarinet
Diane Phoenix-Neal, viola
from Two-Part Inventions Johann Sebastian Bach
1685 – 1750
Nos. 14, 2, 9, 6 & 8
Phil Stoltzfus, violin
Eric Stoltzfus, cello
Lament for Two Violas [1912] Frank Bridge
1879 – 1941
Amadi Azikiwe & Diane Phoenix-Neal, violas
31Six Elizabethan Songs [1962] Dominick Argento
1927 – 2019
Winter
Dirge
Sleep
Spring
Diaphenia
Hymn
Christine Fairfield, soprano
Mary Kay Adams, flute
Sandra Gerster, oboe
Amy Glick, violin
Paige Riggs, cello
Marvin Mills, harpsichord
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33Department of Music
at Bridgewater College
In the Department of Music at Bridgewater College, you will be quickly
immersed into a supportive musical environment that will help you hone your
skills to reach your career goals. Through ensembles, applied lessons, and other
academic music courses, you will explore many facets in the field of music.
Music majors may specialize in Music Performance or Music Pedagogy (Music
Pedagogy leads to a certification to teach vocal and/or instrumental music in
the public schools). The music minor has the flexibility to fit the interest and
goals of all students.
Music Ensembles are open to all students on campus:
• A Cappella Choirs • Jazz Combo
• Chamber Ensembles • Jazz Ensemble
• Chamber Strings • Oratorio Choir
• Chorale • Pep Band
• Concert Choir • Praise Band
• Gospel Choir • Symphonic Band
• Handbell Choir
Music scholarships are available to all students, regardless of major.
bridgewater.edu/music
The use of any photography, video
or audio recording devices is
not permitted in the auditorium.
34FESTIVAL CONCERT 3
Saturday evening, 15 June 2019, Lehman Auditorium
This concert is underwritten in part by Sidney Bland and Linda Heatwole Bland and Janet S. Einstein.
Listening to Haydn’s The Creation, a thoroughly optimistic late eighteenth-century work, through the ears of 2019, the
perfection described by Haydn’s creation can elicit a sigh of nostalgia (e.g., How beautiful it used to be!). Or it can remind us
of what creation is now – endangered and abused, with its original beauties willfully defaced and sullied. One might hope
that this performance in 2019 might call us to care more deeply about our creation. These words of the poet Wendell Berry
can help to focus our minds, our ears, and our senses:
The divine mandate to use the world justly and
charitably, then, defines every person’s moral
Nobody can predicament as that of a steward. But this
discover the world predicament is hopeless and meaningless unless
for somebody else. it produces an appropriate discipline: stewardship.
And stewardship is hopeless and meaningless
Only when we unless it involves long-term courage, perseverance,
discover it for ourselves devotion, and skill. This skill is not to be confused
does it become a common bond with any accomplishment or grace of spirit or of
intellect. It has to do with everyday proprieties in
and we cease to be alone. the practical use and care of the created things –
[from A Place on Earth] with “right livelihood.”
[from The Gift of Good Land]
To live, we must daily break the body
The care of the earth
and shed the blood of creation.
is our most ancient and
When we do it knowingly,
most worthy and, after all,
lovingly, skillfully, reverently,
our most pleasing responsibility.
it is a sacrament.
To cherish what remains of it,
When we do it ignorantly,
and to foster its renewal, is our
greedily, destructively,
only legitimate hope.
it is a desecration.
[from The Art of the Commonplace]
[from The Art of the Commonplace]
35The Creation, Hob. XXI:2 [1796-98] Franz Joseph Haydn
1732 – 1809
Sharla Nafziger, soprano (Gabriel, Eve)
Corey Shotwell, tenor (Uriel)
David Newman, baritone (Raphael, Adam)
Barbara Rearick, mezzo-soprano
Festival Chorus
Festival Orchestra
Introduction: The Representation of Chaos
Recitative [Raphael, Chorus & Uriel]
In the beginning, God created the heaven and the earth;
and the earth was without form, and void; and darkness was upon the face of the deep.
And the Spirit of God moved upon the face of the waters.
And God said: Let there be light. And there was light.
And God saw the light, that it was good; and God divided the light from the darkness.
Aria [Uriel & Chorus]
Now vanished by the holy beams,
the ancient, ghostly, shuddering darkness; the first of days appears.
Confusion yields and order shines most fair.
Aghast, the fiends of hell confounded fly,
down they sink in the deep of abyss to endless night.
Convulsion, rage and terror engulf their monstrous fall.
A new created world springs forth at God’s command.
Recitative [Raphael]
And God made the firmament, and divided the waters, which were under the firmament,
from the waters, which were above the firmament. And it was so.
Then howling raged the blast of the tempest,
the clouds were driven like chaff in the wind,
the lightnings slashed the heavens asunder,
the crashing thunder resounded on high.
From the waters rose at God’s command
the all-refreshing rain, the devastating hail, the light and gentle snow.
Aria [Gabriel] & Chorus
What wonder does his work reveal to heaven’s host in joyful throng:
and loud resounds throughout the skies the praise of God, and of the second day.
36Recitative & Aria [Raphael]
And God said:
Let the waters under the heaven be gathered together in one place, and let the dry land appear.
And it was so.
And God called the dry land earth, and the gathering of waters he called seas;
and God saw that it was good.
Rolling in foaming billows, tumultuous swells the raging sea.
Highland and headland uplifted, through clouds their towering summits rise.
Through broad and ample plains full flows the gathering stream, and winding wanders.
Lightly murmuring, gently glides through the silent glade the crystal brook.
Recitative & Aria [Gabriel]
And God said:
Let all the earth bring forth grass, the herb yielding seed,
and the fruit-tree yielding fruit after his kind, whose seed is in itself, upon the earth.
And it was so.
Now robed in cool refreshing green the fields their new enchantment wear,
and more to charm the sight arise the flowers in bright array.
Here herbs of every leaf abound, here dwells a healing grace.
The burdened boughs their golden fruit afford, here arbors spread their vaulted restful shade,
and lofty hills are crowned with kingly groves.
Recitative [Uriel]
And the heavenly host proclaimed the third day, praising God, and saying:
Chorus
Awake the harp, ye choirs awake!
Rejoice in God, the mighty God, surely the heavens and the earth has he girded with splendor and light.
Recitative [Uriel]
And God said:
Let there be lights in the firmament of heaven to divide the day from the night,
and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years.
He made the stars also.
In shining splendor radiant now the sun bestrides the sky;
a wondrous, joyful bridegroom, a giant proud and glad, he runs his ordered course.
With softer steps and wistful shimmer steals the moon through still enshadowed night.
The boundless vaults of heaven’s domain shine with unnumbered magnitude of stars.
And the hosts of heaven rejoiced in the fourth day in chorus divine, praising God’s great might, and saying:
37Chorus & Trio [Gabriel, Uriel & Raphael]
The heavens are telling the glory of God.
With wonders of his works resounds the firmament.
Revealed are his ways from day unto day, from night that is gone, to following night.
In every land is known the word, every ear will hearken, never tongue be dumb.
Recitative & Aria [Gabriel]
And God said:
Let the waters bring forth abundantly
the moving creature that has life, and fowl that fly above the earth in the open firmament of heaven.
On mighty wings now circling soars the eagle proud, and cleaves the air with swift exulting flight to greet the sun.
At morn the lark his cheerful welcome sings, adoring coos the tender turtle dove.
From every bush and grove pours now the nightingale her sweetest carol; no grief has ruffled yet her breast,
nor yet to sorrow has been turned her charming rondelay.
Recitative [Raphael]
And God created great whales, and every living creature that moveth, and God blessed them, saying:
Be fruitful all, and multiply,
ye creatures of the sky, be multiplied, and fill the air with singing;
multiply, ye creatures of the waters, and fill each watery deep, be fruitful, grow, and multiply!
Rejoice in the Lord your God!
And the angels struck their immortal harps, and the wonders of the fifth day sung.
Trio [Gabriel, Uriel & Raphael] & Chorus
In fairest raiment now, with verdure green adorned, the rolling hills appear.
From deep and secret springs, in fleeting crystal flow, the cooling brook doth pour.
In joyful garlands borne on wheeling tides of air, upwings the feathered host.
The myriad feathers’ gleam reflects in shimmering flight the golden sun’s pure light.
From sparkling waters leap the fish, and twisting flash in ceaseless motion round.
From deepest ocean home waltzes up Leviathan in foaming waves to play.
How many are thy works, O God! Who may their numbers tell?
The Lord is great, and great his might, and ever stands his name.
INTERMISSION – 20 MINUTES
Desserts and drinks are available on the patio.
Recitatives [Raphael] & Aria
And God said:
Let the earth bring forth every living creature after its kind, cattle,
and creeping things, and beasts of the earth, after their kind.
38Straight opening her fertile womb, the earth brings forth at God’s command
unnumbered living creatures in perfect forms, and fully grown.
Triumphant, roaring, stands the lion there; with a lightning leap the tiger appears;
bounding with branching head, the nimble stag.
With snorting and stamping, flying mane, appears in might the noble steed.
In pleasant pastures, quietly the cattle graze on meadows green,
and o’er the ground, as growing there, abide the fleecy gentle sheep.
As clouds of dust arise, in swarms assembled the hosts of insects.
Unnumbered as the sands, in whirls arose the host
in long dimension creeps with sinuous trace, the worm.
Now heaven in fullest glory shone; earth smiled in all her rich attire.
The air is filled with soaring processions, the water swelled by swarming legions,
the ground is trod by wondrous beasts.
But all the work was not complete; there wanted yet that wondrous being,
that God’s design might thankful see, and grant his goodness joyful praise.
Recitative [Uriel] & Aria
And God created man in his own image; in the image of God created he them,
male and female created he them.
And God breathed into his nostrils the breath of life, and man became a living soul.
In native worth and honor clad, with beauty, strength and courage formed,
toward heaven raised uprightly, stands a man, the lord and king of nature all.
His broad and arching noble brow proclaims of wisdom’s deep abode,
and in his eyes with brightness shines the soul, the breath and image of his God.
And to his breast he softly holds one of and for him formed, his otherself, his pure delight.
With virgin grace so sweetly given as springtime’s charms bestowed, she loves him, yields her joy and bliss.
Recitative [Raphael]
And God saw everything that he had made, and behold, it was very good.
And the heavenly choir, loud rejoicing, raised their song of praise, and hailed the sixth day.
Chorus & Trio [Gabriel, Uriel & Raphael]
Fulfilled at last the glorious work, the Maker sees with sure delight.
Let all our joy resound aloud Eternal praise to him accord!
From thee, O Lord, doth all proceed; all nature must thy bounty wait; if open be thy hand, its fullness feedeth all.
But if thy face be turned away, a ghostly terror fills the night;
the living breath is gone and dust returns to dust.
Thy breath, O Lord, is felt again, and life awakes with sweet surprise.
Renewed is all the earth, refreshed its charm and might.
Fulfilled at last the glorious work, eternal praise to him accord!
Glorious be his name forever, for he alone doth reign exalted. Alleluia!
39Recitative [Uriel]
In rosy mantle, bright awakened by the sweetest tones, the morning, young and fair, appears.
From heaven’s vaulted realm streams purest harmony to earth below.
Behold the happy pair, as hand in hand they go, and from their eyes radiant shines the thanks they owe.
Full soon their tongues shall tell the louder praise of God;
then let our voices ring, united with their song!
Duet [Adam and Eve] & Chorus
By thee with grace, O bounteous Lord, are earth and heaven restored.
This world, so great, so wonderful, thy mighty hand has framed.
O blessed be his holy might, his praise we sing eternally!
Thou star of morning, O, how fair thy tidings of the day,
what radiance rare, O sun, is thine, thou eye and soul of all.
Proclaim, in your extended course, your Maker’s power and glory birth.
And thou, the tender queen of night, and all ye starry host,
proclaim in every land his praise in heaven’s harmonies!
Ye mighty elements, by his power, your endless changes make;
ye misty vapors, which the wind doth spin and roll through heaven.
O, sing the praise of God the Lord!
O, sing the praise of God the Lord! Great is his name, and great his might.
Soft flowing fountains tune his praise, and trees adoring bow;
ye fragrant plants, ye flowers fair, with sweetness fill the air.
Ye that on highest mountains climb, and ye that lowly creep,
ye whose flight doth cleave the skies, and ye that swim the deep;
ye creatures of our God and King, praise him, all breathing life!
ye creatures of our God and King, praise him, all breathing life!
Ye shadowed woods, ye hills and vales, your thanks with ours unite,
the echo loud from morn to eve our joyful hymn of praise.
Hail, mighty God, Creator, hail!
The world springs forth at thy command, adoring earth and heaven stand.
We praise thy name forevermore.
Recitative [Uriel]
O happy pair! And happy evermore if not misled by false conceit to covet more than you have,
and more to know than you should.
Chorus
Sing to God, ye hosts unnumbered. Thanks for wonders new created.
Praise his name in song unending, loud in festival rejoicing!
The Lord is great, he reigns forevermore. Amen!
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