WASHINGTON BACH CONSORT - FOUNDATION: BACH AND THE REFORMATION - DR. J. REILLY LEWIS, FOUNDER - WETA
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W A S H I N G TO N B A C H C O N S O RT
D R . J. R E I L LY L EW I S , F OU N D ER
FOUNDATION: BACH AND THE REFORMATION
NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC
SUNDAY, SEPTEMBER 17, 2017, AT 3:00 P.M.WASHINGTON BACH CONSORT
2017–2018 SEASON
NATIONAL PRESBYTERIAN CHURCH | WASHINGTON, DC
SUNDAY, SEPTEMBER 17, 2017, AT 3:00 PM
FOUNDATION: BACH AND THE REFORMATION
Richard Giarusso, conductor & artistic director candidate
Amy Nicole Broadbent, soprano
Chris Dudley, countertenor
Patrick Kilbride, tenor
Mark Duer, bass
Orchestral Suite No. 4 in D, BWV 1069 Johann Sebastian Bach
Ouverture (1685–1750)
Bourrée
Gavotte
Cantata: Gott der Herr ist Sonn und Schild, BWV 79
1. Chorus: Gott, der Herr, ist Sonn und Schild
2. Aria (Alto): Gott ist unser Sonn und Schild
3. Chorale: Nun danket Alle Gott
4. Recitative (Bass): Gottlob! Wir wissen den rechten Weg zur Seligkeit
5. Aria (Soprano, Bass): Gott, ach Gott, verlaß die Deinen nimmermehr
6. Chorale: Erhalt uns in der Wahrheit
Cantata: Die Himmel erzählen die Ehre Gottes, BWV 76, Part 1
1. Chorus: Die Himmel erzählen die Ehre Gottes
2. Recitative (Tenor): So läßt sich Gott nicht unbezeuget!
3. Aria (Soprano): Hört, ihr Völker, Gottes Stimme
4. Recitative (Bass): Wer aber hört
5. Aria (Bass): Fahr hin, abgöttische Zunft!
6. Recitative (Alto): Du hast uns, Herr, von allen Straßen
7. Chorale: Es woll uns Gott genädig sein
Intermission
Cantata: Unser Mund sei voll Lachens, BWV 110
1. Chorus: Unser Mund sei voll Lachens
Orchestral Suite No. 4 in D, BWV 1069
Menuet
Réjouissance
Cantata: Ein feste Burg, BWV 80
1. Chorus: Ein feste Burg ist unser Gott
2. Aria (Bass) and Chorale (Soprano): Alles, was von Gott geboren
3. Recitative (Bass): Erwäge doch, Kind Gottes, die so große Liebe
4. Aria (Soprano): Komm in mein Herzenshaus
5. Chorale: Und wenn die Welt voll Teufel wär
6. Recitative (Tenor): So stehe dann bei Christi blutgefärbten Fahne
7. Aria (Alto, Tenor): Wie selig sind doch die, die Gott im Munde tragen
8. Chorale: Das Wort sie sollen lassen stahn
Tamera Luzzatto & David Leiter and Shannon & James Davis, underwriters
3TEXTS & TRANSLATIONS
TEXTS AND TRANSLATIONS
Cantata: Gott der Herr ist Sonn und Schild, BWV 79
1. Chor 1. Chorus
Gott der Herr ist Sonn und Schild. Der Herr gibt Gnade und God the Lord is sun and shield. The Lord gives grace and
Ehre, er wird kein Gutes mangeln lassen den Frommen. honor, He will allow no good to be lacking from the
Psalm 84:12 righteous.
2. Arie A 2. Aria A
Gott ist unsre Sonn und Schild! God is our sun and shield!
Darum rühmet dessen Güte Therefore this goodness
Unser dankbares Gemüte, shall be praised by our grateful heart,
Die er für sein Häuflein hegt. which He protects like His little flock.
Denn er will uns ferner schützen, For He will protect us from now on,
Ob die Feinde Pfeile schnitzen although the enemy sharpens his arrows
Und ein Lästerhund gleich billt. and a vicious hound already barks.
3. Choral 3. Chorale
Nun danket alle Gott Now let everyone thank God
Mit Herzen, Mund und Händen, with hearts, mouths, and hands,
Der große Dinge tut Who does great things
An uns und allen Enden, for us and to all ends,
Der uns von Mutterleib Who has done for us from our mother's wombs
Und Kindesbeinen an and childhood on
Unzählig viel zugut many uncountable good things
Und noch itzund getan. and does so still today.
"Nun danket alle Gott," verse 1
4. Rezitativ B 4. Recitative B
Gottlob, wir wissen Praise God, we know
Den rechten Weg zur Seligkeit; the right way to blessedness;
Denn, Jesu, du hast ihn uns durch dein Wort gewiesen, for, Jesus, You have revealed it to us through Your word,
Drum bleibt dein Name jederzeit gepriesen. therefore Your name shall be praised for all time.
Weil aber viele noch Since, however, many yet
Zu dieser Zeit at this time
An fremdem Joch must labor under a foreign yoke
Aus Blindheit ziehen müssen, out of blindness,
Ach! so erbarme dich ah! then have mercy
Auch ihrer gnädiglich, also on them graciously,
Daß sie den rechten Weg erkennen so that they recognize the right way
Und dich bloß ihren Mittler nennen. and simply call You their Intercessor.
5. Arie (Duett) S B 5. Aria (Duet) S B
Gott, ach Gott, verlaß die Deinen God, ah God, abandon Your own ones
Nimmermehr! never again!
Laß dein Wort uns helle scheinen; Let Your word shine brightly for us;
Obgleich sehr although harshly
Wider uns die Feinde toben, against us the enemy rages,
So soll unser Mund dich loben. yet our mouths shall praise You.
4TEXTS & TRANSLATIONS
6. Choral 6. Chorale
Erhalt uns in der Wahrheit, Uphold us in the truth,
Gib ewigliche Freiheit, grant eternal freedom,
Zu preisen deinen Namen to praise Your name
Durch Jesum Christum. Amen. through Jesus Christ. Amen.
"Nun laßt uns Gott, dem Herren," verse 8
Cantata: Die Himmel erzählen die Ehre Gottes, BWV 76, Part 1
Erster Teil Part One
1. Chor 1. Chorus
Die Himmel erzählen die Ehre Gottes, und die Feste verkün- The heavens declare the glory of God, and the firmament
diget seiner Hände Werk. Es ist keine Sprache noch Rede, da shows His handiwork. There is no speech or language, where
man nicht ihre Stimme höre. their voices are not heard.
Psalm 19:2,4
2. Rezitativ T 2. Recitative T
So läßt sich Gott nicht unbezeuget! Thus God does not leave Himself unwitnessed!
Natur und Gnade redt alle Menschen an: Nature and grace speak to all mankind:
Dies alles hat ja Gott getan, God has indeed done all this,
Daß sich die Himmel regen so that the heavens move
Und Geist und Körper sich bewegen. and spirits and bodies stir themselves.
Gott selbst hat sich zu euch geneiget God Himself has leaned down to you
Und ruft durch Boten ohne Zahl: and calls to you through countless messengers:
Auf, kommt zu meinem Liebesmahl! rise up, come to My feast of love!
3. Arie S 3. Aria S
Hört, ihr Völker, Gottes Stimme, Hear, you people, God's voice,
Eilt zu seinem Gnadenthron! hasten to His throne of grace!
Aller Dinge Grund und Ende The source and end of every thing
Ist sein eingeborner Sohn: is His only begotten Son:
Daß sich alles zu ihm wende. so that all might turn to Him.
4. Rezitativ B 4. Recitative B
Wer aber hört, Yet who listens,
Da sich der größte Haufen when the greatest crowds
Zu andern Göttern kehrt? turn to other gods?
Der ältste Götze eigner Lust The willful desires of the oldest idols
Beherrscht der Menschen Brust. rule the hearts of mankind.
Die Weisen brüten Torheit aus, The wise are hatching foolishness,
Und Belial sitzt wohl in Gottes Haus, and Belial sits right in God's house,
Weil auch die Christen selbst von Christo laufen. since even Christians themselves run from Christ.
5. Arie B 5. Aria B
Fahr hin, abgöttische Zunft! Away, idolatrous guild!
Sollt sich die Welt gleich verkehren, Although the world be perverted,
Will ich doch Christum verehren, yet I will honor Christ,
Er ist das Licht der Vernunft. He is the light of reason.
5TEXTS & TRANSLATIONS
6. Rezitativ A 6. Recitative A
Du hast uns, Herr, von allen Straßen You have, Lord, from all paths
Zu dir geruft called us to You
Als wir im Finsternis der Heiden saßen, as we sat in heathen darkness,
Und, wie das Licht die Luft and, as light enlivens
Belebet und erquickt, and refreshes the air,
Uns auch erleuchtet und belebet, we are also enlightened and enlivened,
Ja mit dir selbst gespeiset und getränket indeed with You Yourself fed and quenched
Und deinen Geist geschenket, and given Your spirit,
Der stets in unserm Geiste schwebet. which continually hovers in our souls.
Drum sei dir dies Gebet demütigst zugeschickt: So may this prayer be humbly delivered to You:
7. Choral 7. Chorale
Es woll uns Gott genädig sein May God be gracious to us
Und seinen Segen geben; and grant us His blessing;
Sein Antlitz uns mit hellem Schein may His countenance, with bright radiance,
Erleucht zum ewgen Leben, shine upon us for eternal life,
Daß wir erkennen seine Werk, that we may recognize His work,
Und was ihm lieb auf Erden, and what is dear to Him on earth,
Und Jesus Christus' Heil und Stärk and that Jesus Christ's blessing and strength
Bekannt den Heiden werden be known to the heathens
Und sie zu Gott bekehren! and convert them to God!
"Es woll uns Gott genädig sein,", verse 1
Cantata: Unser Mund sei voll Lachens, BWV 110
1. Choral 1. Chorus
Unser Mund sei voll Lachens und unsre Zunge voll Rühmens. May our mouths be full of laughter and our tongues full of praise.
Denn der Herr hat Großes an uns getan. For the Lord has done great things for us.
Psalm 126:2-3
Cantata: Ein feste Burg ist unser Gott, BWV 80
1. Chor 1. Chorus
Ein feste Burg ist unser Gott, Our God is a secure fortress,
Ein gute Wehr und Waffen; a good shield and weapon;
Er hilft uns frei aus aller Not, He helps us willingly out of all troubles,
Die uns itzt hat betroffen. that now have encountered us.
Der alte böse Feind, The old, evil enemy
Mit Ernst er's jetzt meint, is earnestly bent on it,
Groß Macht und viel List great strength and much deceit
Sein grausam Rüstung ist, are his horrid armaments,
Auf Erd ist nicht seinsgleichen. there is nothing like him on earth.
"Ein feste Burg ist unser Gott," verse 1
6TEXTS & TRANSLATIONS
2. Arie B und Choral S 2. Aria B and Chorale S
Alles, was von Gott geboren, Everything that is born of God
Ist zum Siegen auserkoren. is destined for victory.
Mit unsrer Macht ist nichts getan, Nothing can be done through our strength,
Wir sind gar bald verloren. we are soon already lost.
Es streit' vor uns der rechte Mann, The righteous Man battles for us,
Den Gott selbst hat erkoren. that God himself has elected.
Wer bei Christi Blutpanier Whoever, with the bloody banner of Christ
In der Taufe Treu geschworen, is sworn into the fealty of baptism,
Siegt im Geiste für und für. conquers in the spirit again and again.
Fragst du, wer er ist? You ask, who is He?
Er heißt Jesus Christ, He is called Jesus Christ,
Der Herre Zebaoth, the Lord of Sabaoth,
Und ist kein andrer Gott, and there is no other God,
Das Feld muß er behalten. He must control the battlefield.
Alles, was von Gott geboren, Everything that is born of God
Ist zum Siegen auserkoren. is destined for victory.
"Ein feste Burg ist unser Gott," verse 2
3. Rezitativ B 3. Recitative B
Erwäge doch, Kind Gottes, die so große Liebe, Only consider, child of God, that such great love,
Da Jesus sich which Jesus Himself
Mit seinem Blute dir verschriebe, with His blood signed over to you,
Wormit er dich through which He,
Zum Kriege wider Satans Heer und wider Welt, und in the war against Satan's host and against the world and
Sünde sin,
Geworben hat! has won you!
Gib nicht in deiner Seele Do not make a place in your soul
Dem Satan und den Lastern statt! for Satan and depravity!
Laß nicht dein Herz, Do not let your heart,
Den Himmel Gottes auf der Erden, God's heaven on earth,
Zur Wüste werden! become a wasteland!
Bereue deine Schuld mit Schmerz, Repent your guilt with pain,
Daß Christi Geist mit dir sich fest verbinde! so that Christ's spirit may firmly bind itself to you!
4. Arie S 4. Aria S
Komm in mein Herzenshaus, Come into my heart's house,
Herr Jesu, mein Verlangen! Lord Jesus, my desire!
Treib Welt und Satan aus Drive the world and Satan out
Und laß dein Bild in mir erneuert prangen! and let your image, shine forth renewed in me!
Weg, schnöder Sündengraus! Away, comtemptible horror of sin!
7TEXTS & TRANSLATIONS
5. Choral 5. Chorale
Und wenn die Welt voll Teufel wär And if the world were full of the devil
Und wollten uns verschlingen, and would devour us,
So fürchten wir uns nicht so sehr, even then we would not be so fearful,
Es soll uns doch gelingen. we should even then succeed.
Der Fürst dieser Welt, The prince of this world,
Wie saur er sich stellt, however sour he might be,
Tut er uns doch nicht, yet can do nothing to us,
Das macht, er ist gericht', since he is already judged,
Ein Wörtlein kann ihn fällen. a little word can topple him.
"Ein feste Burg ist unser Gott," verse 3
6. Rezitativ T 6. Recitative T
So stehe dann bei Christi blutgefärbten Fahne, Then stand with Christ's bloodstained flag,
O Seele, fest o soul, firmly
Und glaube, daß dein Haupt dich nicht verläßt, and believe that you will not lose your Leader,
Ja, daß sein Sieg indeed, that His victory
Auch dir den Weg zu deiner Krone bahne! will also pave the way to your crown!
Tritt freudig an den Krieg! March joyfully to war!
Wirst du nur Gottes Wort If you only keep God's word
So hören als bewahren, as you hear it,
So wird der Feind gezwungen auszufahren, then the enemy will be driven out forcibly,
Dein Heiland bleibt dein Hort! your Savior remains your treasure!
7. Arie (Duett) A T 7. Aria (Duet) A T
Wie selig sind doch die, die Gott im Munde tragen, How happy are they, who bear God in their mouths,
Doch selger ist das Herz, das ihn im Glauben trägt! yet happier is the heart that bear Him in faith!
Es bleibet unbesiegt und kann die Feinde schlagen It remains unconquered and can strike at the enemy
Und wird zuletzt gekrönt, wenn es den Tod erlegt. and will be crowned at last, when it captures death.
8. Choral 8. Chorale
Das Wort sie sollen lassen stahn They shall put His word aside
Und kein' Dank dazu haben. and give no thanks for it.
Er ist bei uns wohl auf dem Plan He is with us indeed in strategy
Mit seinem Geist und Gaben. with His spirit and His gifts.
Nehmen sie uns den Leib, If they take our bodies from us,
Gut, Ehr, Kind und Weib, possessions, honor, child, wife,
Laß fahren dahin, let them take them away,
Sie habens kein' Gewinn; they have no spoils;
Das Reich muß uns doch bleiben. our riches yet remain with us.
"Ein feste Burg ist unser Gott," verse 4
Translations ©Pamela Dellal, courtesy of Emmanuel Music, Boston, MA www.emmanuelmusic.org
8FOUNDATION: BACH AND THE REFORMATION
About the Music
J. S. Bach and the Celebration of the Reformation
Tension between Roman Catholic and Lutheran confessions in German-speaking lands were ever-present in the eighteenth
century, and they contributed to the strong continuing consciousness of historical events of the Reformation. Lutherans took
careful note of anniversaries of the most symbolic moments, commemorating them in liturgy and music.
The year 1755 saw the two hundredth anniversary of the Peace of Augsburg, the 1555 agreement between Lutherans and the
Holy Roman Emperor that put an end to confessional war, at least for a time. The compromise solution was the doctrine
"cuius regio, eius religio"—that the faith of one's ruler determined the faith of the land. Bach, who died in 1750, did not live
to see this anniversary, but he had his say: the two principal Leipzig churches heard a performance of his cantata Erhalt uns,
Herr, bei deinem Wort, BWV 126. Confessional matters were not entirely settled, though, even after 200 years; the cantata’s
opening movement retained the original words of Martin Luther's hymn: “Preserve us, Lord, by your word/And control the
murderous Pope and Turk. This was despite ecclesiastical instructions not to sing this hymn or Ein feste Burg ist unser Gott at
anniversary celebrations that year.
A couple of decades earlier came the anniversary of the Augsburg Confession, the articles of Lutheran faith codified by the
theologian Melanchthon and presented to the Holy Roman Emperor on June 25, 1530. The Augsburg Confession was a
living document to Lutherans in Bach's time, having been incorporated into the so-called Book of Concord, a document that
reconciled several strains of reformed Christianity. Bach, as a condition of his employment in Leipzig, was examined on its
theological content and had to sign a statement of his adherence to it. The two hundredth anniversary in 1730 was observed
in Leipzig with three days of religious celebration, a duration that put it on par with Christmas, Easter, and Pentecost, the
principal feasts of the year. Bach performed a cantata on each of the three days: Singet dem Herrn ein neues Lied, BWV 190a,
Gott, man lobet dich in der Stille, BWV 120b, and Wünschet Jerusalem Glück, BWV Anh. 4a. Complete printed texts for these works
survive but no musical sources, though some of the music is known from Bach's use of it in other works. (Another famous
piece is connected to an anniversary of this event: Felix Mendelssohn’s Reformation Symphony composed for the tercentennial
in 1830, and quoting Martin Luther’s tune Ein feste Burg ist unser Gott.)
And 1717 marked the two hundredth anniversary of the most famous Reformation event of all: the appearance of Martin
Luther's Disputation on the Power and Efficacy of Indulgences, an academic and theological position paper on the nature of
repentance. The publication was elevated in popular church history by its identification as a defining moment, Luther's
nailing of his 95 theses on the topic to the Wittenberg church door on October 31, 1517. Modern scholarship tends to
understand this as being more like a posting on a bulletin board than the defiant act it sounds like today (there’s a book of
popular history called The Reformation: How a Monk and a Mallet Changed the World), but the event took on a symbolic role as the
beginning of the Lutheran Reformation and was celebrated accordingly.
At the time of the 1717 anniversary Bach was in the last months of his employment at the court of Weimar. The reigning
Duke arranged elaborate commemorations, which happened to fall just a day after his own birthday, also ordering
commemorative currency and establishing a charity. There is no indication that Bach was the composer of any of the music
heard at the liturgical events marking the occasion, perhaps because relations between Bach and his employer were fraying.
Bach had received an offer for a more prestigious and better-paying job at the court of Cöthen, and in fact the tone of his
demand to be released led to his month-long imprisonment just a few days after the Reformation bicentennial.
Even outside the anniversary year, from 1667 the event was commemorated annually with a special liturgy on October 31
throughout Lutheran lands. For Leipzig, Bach composed two cantatas for the occasion:
9FOUNDATION: BACH AND THE REFORMATION Ein feste Burg ist unser Gott, BWV 80, possibly as early as 1724; and Gott, der Herr, ist Sonn und Schild, BWV 79 in 1725. There is also evidence that another work may also have been used for Reformation Day: the first part of the cantata Die Himmel erzählen die Ehre Gottes, BWV 76, a two-part work for the Second Sunday after Trinity that Bach composed and performed just after taking up his duties in Leipzig in 1723. It is not certain that the Reformation Day use of this piece took place under Bach, as the evidence dates from after his lifetime. Whoever made BWV 76 a Reformation Day piece recognized a connection between its opening text from Psalm 19 (“The heavens tell the glory of God, and the skies proclaim the work of his hands; there is no speech nor language where their voice is not heard”) and a reading specified for the end of the Reformation Day liturgy derived from the next verse of the psalm: “Their sound has gone out into all lands; alleluia.” This statement refers to the theme of God’s word and its spread, a topic closely associated with the Reformation and its celebration. In place of a gospel reading, the festival called for verses from the Book of Revelations, and they, too, take up this theme: “Then I saw an angel flying through the heavens, who had an eternal gospel to proclaim to those who live on earth, and all nations, tribes, languages and peoples.” Another feature that made BWV 76 appropriate is its concluding chorale by Martin Luther himself. Worshippers would have been fully aware of its origin, as hymnals of the time carefully noted Luther’s authorship of the oldest and most venerated hymns. The cantata’s festive character, with trumpet and an extensive opening psalm chorus of praise, also fit the celebratory character of Reformation Day. The first part of BWV 76 was easily pressed into service for the occasion. Gott der Herr ist Sonn und Schild, BWV 79, composed in 1725, was intended for Reformation Day from the start. Its festive scoring with two horns and drums (and with flutes in addition to oboes in a later performance) reflect the high solemnity of the feast, and its opening psalm chorus of praise is also fitting. The stanza of Nun danket alle Gott in the middle of the work was sung on Reformation Day (and on many other days as well). The aria Gott, ach Gott, verlass die Deinen nimmermehr refers explicitly to God’s word, the familiar Reformation topic. And the aria’s next lines promise praise “even though the enemy rages hard against us.” This theme—the threat from enemies—appears several times in the cantata and relates to another Reformation Day topic: the vulnerability of the Lutheran Church, persecuted (in its view) by the Pope. This is the subject of Martin Luther’s hymn Erhalt uns, Herr, bei deinem Wort and the Bach cantata based on it heard in 1755. Bach’s other work for Reformation day, Ein feste Burg ist unser Gott, BWV 80, might be his most famous cantata of all. It centers on Martin Luther’s hymn, whose four verses appear in the opening chorus, in the soprano voice in the following bass aria, in the unison chorale in the fifth movement, and as the concluding chorale harmonization. Besides its close association with Luther and its specification for the Reformation Day liturgy, it invokes the timely theme of protection from enemies. In fact this topic runs through the first three stanzas of the hymn, cast in military terms: a mighty fortress, weapons and arsenals, the field of battle, the defeat of the enemy. This theme is reflected musically in the bass aria, a rage piece whose agitated violin line is a conventional eighteenth-century emblem of conflict; and in the unison chorale, whose string material presents the same topic associated with strife. The last stanza of the hymn invokes the familiar Reformation Day theme of God’s word. The military topic of the cantata’s music was reinforced by Bach’s eldest son Wilhelm Friedemann, who made Latin-language adaptations of the opening chorus and unison chorale for the celebration of a military victory. He added trumpets and drums; these lines, which never had anything to do with J. S. Bach’s cantata, were mistakenly incorporated back into the Reformation Day work in the nineteenth century, and this is the form in which the piece became famous. The opening movement of BWV 80, grand even without the added instruments, is cast in a very old-fashioned musical style—it’s a chorale motet with two instrumental presentations of the tune in long notes—reflecting the venerability of Martin Luther’s hymn. This movement was, strikingly, an afterthought. The history of this cantata is immensely complex and 10
FOUNDATION: BACH AND THE REFORMATION
not fully understood, but Bach probably added the chorus in the 1730s to a work that may have dated from his first years in
Leipzig. One earlier version—he appears to have revised the cantata several times—had a simple chorale harmonization as its
first movement. There is even a prehistory to that version: Bach adapted much of its music and text from a cantata he had
composed in Weimar. That work was no longer useful to him because it was for a Lenten Sunday; Leipzig forbade elaborate
music during Lent, so Bach recycled the work, which referred several times to the tune Ein feste Burg and thus was a good
starting point for a Reformation Day piece.
Two of the three Bach cantatas for the occasion were thus adaptations, each prompted by thematic connections to
Reformation observance. These adaptations aren’t audible—we hear only the piece performed for us, not its hidden
ancestors—but they do point us to the topics Bach and his librettists thought were most relevant to the celebration of Martin
Luther’s Reformation.
Rounding out the program is one of Bach’s so-called orchestral suites. This kind of piece, of which Bach’s contemporary
Georg Philipp Telemann was the acknowledged master, was known in the eighteenth century as an “Ouverture.” The term
refers to the opening movement, the kind of instrumental piece that opened French operas, with a stately slow beginning and
a lively following section. This movement is followed by a suite of dances, also mostly derived from French music. Bach’s
fourth Ouverture is among his grandest works, and the effect comes largely from the inclusion of trumpets and drums. These
turn out to be additions—probably Bach’s—to a work originally calling only for strings and woodwinds. The festive
expanded version makes a fitting companion to music celebrating the 500th anniversary of the Lutheran Reformation.
Daniel R. Melamed
11WASHINGTON BACH CONSORT
Meet the Artists
With a voice that "shimmers," (DC Metro Theater Arts), Washington, DC-based soprano Amy Nicole
Broadbent has garnered recognition as a versatile performer.
The 2017–2018 season includes her subscription series solo debut with the Washington Bach
Consort, Mozart’s Requiem with the New Dominion Chorale, and the Pergolesi Stabat Mater. Recently,
at the invitation of artistic director Matthew Halls, Broadbent was a 2016 Vocal Fellow at the Oregon
Bach Festival, singing as soloist for Bach’s Christmas Oratorio and Haydn’s St. Nicholas Mass. Other solo
concert work includes Haydn’s Creation, Bach’s Magnificat, Mozart’s Requiem, Brahms’ Requiem,
Britten’s Rejoice in the Lamb, Howells’ Requiem, Bach’s Coffee Cantata, Arvo Pärt’s Passio, Reich’s Tehillim,
and numerous sacred Bach cantatas.
As an ensemble musician, Amy has performed with many of the nation’s top professional choral
groups, and holds the rank of Musician First Class in the United States Navy Band’s vocal ensemble,
the Sea Chanters. Ms. Broadbent holds degrees from the University of Maryland, College Park.
Chris Dudley, countertenor, has been a soloist with numerous groups in the Washington, DC, metro
area since 2001, when he came over here from England.
Chris has Bachelors in Music from the University of East Anglia, and is a graduate of the Masters of
Music, Performance & Pedagogy Program of the Peabody Institute of Johns Hopkins University. He
is also the Artistic Director of The District Eight, a group of eight+ singers that performs music of all
genres.
Outside of singing, Chris is a real estate agent and runs a successful team with Berkshire Hathaway, is
an EMT & Emergency Ambulance Driver with the Bethesda-Chevy Chase Rescue Squad, and enjoys
some occasional free-lance music-making on the side.
"One of many upsides was countertenor Chris Dudley. His straight-tone voice, with an effortless if not otherworldly
patina, could have filled two auditoriums." Alfred Thigpen - The Washington Post.
Tenor Patrick Kilbride pursued his undergraduate studies in voice at Northwestern University, and
his graduate studies in opera at the University of Maryland Opera Studio. He was a fellow for three
summers at the Aspen Music Festival, and a Vocal Fellow at the Tanglewood Music Center. He
made his debut in the U.S. in Monteverdi’s Il Ritorno d’Ulisse in Patria with the Boston Early Music
Festival. Winning the 24th International Concours de Chant in Clermont-Ferrand, France, he made
his debut in Europe in Handel’s Acis and Galatea in 2015-2016 with the opera houses of Montluçon,
Avignon, Clermont-Ferrand, Rennes and Chaise-Dieu. Most recently, he made his debut with
Festival d'Aix-en-Provence in Cavalli's Erismena, which will tour Europe in the 2017-2019 seasons to
include the opera houses of Luxembourg, Paris, and Versailles. Spring 2018 he debuts in the United
Kingdom in Handel's Theodora with the Aldeburgh Festival, and this season also marks his solo debut
at the Kennedy Center in Monteverdi’s Il Combattimento di Tancredi e Clorinda and selected madrigals
with Opera Lafayette.
12WASHINGTON BACH CONSORT
Hailed by The New York Times as a “particularly agile” singer, baritone Mark Duer’s poignant lyric
vocalism has been heard in solo engagements with the American Virtuosi, Washington Bach Consort,
New York Chamber Ensemble, Cleveland Opera, Ash Lawn Opera, Greensboro Opera, Ensemble
for Early Music, Cleveland Orchestra, West Virginia Symphony, Berkshire Choral Festival, Lower
East Side Performing Arts, Woodstock Fringe Festival, Apollo’s Fire, Musica Sacra, and at Weill Hall,
Carnegie Hall, Tanglewood, and the La Jolla, CA, Streisand Festival. Mr. Duer has also sung and
recorded with leading vocal ensembles including the Washington Bach Consort, Bach Sinfonia,
Handel & Haydn Society, Voices of Ascension, Chantry, and seventeen seasons as a member of the
renowned a capella ensemble, Pomerium. He has recorded on the Gothic, Delos, DG/Archiv, Dorian,
and Glissando labels. Media appearances include CBS Sunday Morning, NBC’s Today Show, and
radio broadcasts as soloist with Pipedreams (NPR), and the Cleveland Orchestra.
Chorus
Soprano Alto Tenor Bass
Katelyn G. Aungst Kristen Dubenion-Smith Gary Glick Joshua Michael Brown
Amy Nicole Broadbent Chris Dudley Patrick Kilbride Steven Combs
Rebecca Kellerman Barbara Hollinshead Robert Petillo Mark Duer
Laura Choi Stuart Sarah Davis Issaelkhoury Kyle Tomlin Jason Widney
Orchestra
Violin I Violin II Viola Cello Bass
Andrew Fouts Tatiana Chulochnikova Scott McCormick John Moran Jessica Powell Eig
Fiona Hughes David McCormick Risa Browder Amy Domingues
Evan Few Annie Loud Marta Howard
Leslie Nero Caroline Levy
Flute Oboe Bassoon Horn Trumpet
Colin St-Martin Geoffrey Burgess Anna Marsh Bradley Tatum Josh Cohen
Kathryn Roth Meg Owens Paul Hopkins Joelle Monroe
Sarah Huebsch Dennis Ferry
Timpani Organ/Harpsichord
Michelle Humphreys+ Leon Schelhase
13ARTISTIC DIRECTOR CANDIDATE SPOTLIGHT
Richard Giarusso maintains a rewarding career as a conductor,
singer, educator, and scholar. He is music director of the
Georgetown Chorale northwest DC and artistic director of the
Voce Chamber Singers in northern Virginia. He served previously
as artistic director of The Maryland Choral Society. Guest
conducting appearances have included the The New Opera
(Williamstown, Massachusetts), Hubbard Hall Opera Theatre
(Cambridge, New York), the Aoede Consort (Albany, New
York), Williams College, and CONCORA (Connecticut Choral
Artists) in Hartford. Praised by The Washington Post for his
“expressive and perfectly controlled voice,” he maintains an
active career as a baritone and is well-known to Bach Consort
audiences as a long-time member of the ensemble and frequent
soloist.
Before moving to the Washington area ten years ago, Dr.
Giarusso’s career was based in his home state of Massachusetts.
He served for many years as a member of the faculty at Berkshire
Choral International, sang with acclaimed ensembles in Boston,
and appeared frequently throughout the area as both a singer and
conductor. He returns to Boston later this fall to sing the role of
Apollo in a special performance of Monteverdi’s Orfeo at Harvard in honor of Thomas Forrest Kelly.
Dr. Giarusso holds degrees in music and English from Williams College and the Ph.D. in historical
musicology from Harvard University. He is proud to count Kenneth Roberts, E. Wayne Abercrombie,
Keith Kibler, Pamela Dellal, Edith Ho, Reinhold Brinkmann, J. Reilly Lewis, Elizabeth Daniels, and
Michael McCarthy among those teachers and mentors who have been most essential to his development
as a musician. An award-winning teacher, he is Chair of the Department of Musicology at the Peabody
Conservatory of the Johns Hopkins University, where he is a past recipient of the Excellence in Teaching
Award from the JHU Division of Advanced Academic Programs. A specialist in the German lied, his
article on Schubert’s Schwanengesang was published last year as part of a volume of essays from Oxford
University Press, and he was recently invited to contribute to a new book on Winterreise that is
forthcoming from Cambridge University Press. Performances of the same repertoire, with both historical
and modern instruments, have been a staple of his professional activity for nearly twenty years. A skilled
and dynamic speaker, Dr. Giarusso is also a frequent lecturer for arts organizations throughout the mid-
Atlantic, having presented talks for the Philadelphia Museum of Art, the Baltimore Symphony, the
Washington Bach Consort, the Handel Choir of Baltimore, the Shriver Hall Concert Series, and the
Baltimore Museum of Art. He has also served as a music panelist for the National Endowment for the
Arts. Dr. Giarusso resides in Silver Spring, with his wife, Allison, his son, Adrian, and three cats.
14WASHINGTON BACH CONSORT
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.
2017–2018 40th Anniversary Season
The Series at National Presbyterian Church Noontime Cantata Series
National Presbyterian Church Church of the Epiphany
4101 Nebraska Avenue NW, Washington DC 1317 G Street NW, Washington DC
FOUNDATION: BACH AND THE REFORMATION OCTOBER 3, 2017
Sunday, September 17, 2017, 3:00 p.m. Was Gott tut, das ist wohlgetan, BWV 100
Festive music for two anniversaries Prelude and Fugue in D, BWV 532
Richard Giarusso, conductor & artistic director candidate Matthew Dirst, organist & conductor
CELEBRATION: CHRISTMAS ORATORIO NOVEMBER 7, 2017
Saturday, December 9, 2017, 6:00 p.m. Nun danket alle Gott, BWV 192
The quintessential Bach holiday experience Prelude and Fugue in E-flat, BWV 552
Dana Marsh, conductor & artistic director candidate Todd Fickley, organist & conductor
COMMEMORATION: ST. JOHN PASSION DECEMBER 5, 2017
Tritt auf die Glaubensbahn, BWV 152
Sunday, March 18, 2018, 3:00 p.m.
Bach the musical dramatist at his best Meine Seele erhebt den Herren, BWV 648
Matthew Dirst, conductor & artistic director candidate Fuga: sopra il Magnificat (á5), BWV 733
Dana Marsh, organist & conductor
CULMINATION: MASS IN B MINOR MARCH 6, 2018
Sunday, April 29, 2018, 3:00 p.m. Sie werden aus Saba alle kommen, BWV 65
The summation of a life’s work Prelude and Fugue in C, BWV 547
Gwendolyn Toth, conductor & artistic director candidate Jeremy Filsell, organist
Richard Giarusso, conductor
The Chamber Series APRIL 3, 2018
First Congregational United Church of Christ Ich habe genug, BWV 82a
945 G Street NW, Washington DC Prelude and Fugue in G, BWV 541
Julie Vidrick Evans, organist
FROM THE ARCHIVES John Moran, conductor
Friday, October 20, 2017, 7:00 p.m.
Music from our first concert in 1977, including the Brandenburg Concerto No. 6 MAY 1, 2018
Gelobet sei der Herr, mein Gott, BWV 129
VIRUOSITY AND INNOVATION Prelude and Fugue in B minor, BWV 544
Friday, February 23, 2018, 7:00 p.m. Gwendolyn Toth, organist & conductor
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!
15The Washington Bach Consort wishes to thank its generous donors.
This list represents gifts made between September 1, 2016 and September 1, 2017.
If you notice an error in your listing, please accept our apologies and contact Alex Interlandi at 202.429.2121 during business hours so we may correct it.
BACH SOCIETY Stephen C. Wright &
The Washington Bach Consort Thomas Woodruff Linda Fienberg &
$15,000 TO $24,999
honors the members of the Jeffrey Bauman*
Robert Beizer &
1685 Society Janet Risseeuw*
Reverend Elizabeth L. Carl &
ARTIST’S CIRCLE
$2,500 TO $4,999
Nancy Folger*
Margaret & David Gardner
L. Brent & Norma Bozell Victoria Hill Donald Baker & Neil E. Graham
Mr. & Mrs. David P. Condit Shannon & Jim Davis* Nina McLemore Lindy Hart*
Shannon & Jim Davis Chris & Susan DeMuth Dallas Morse Coors Alex Hoehn-Saric &
Susan Dillon Deutsche Telekom, Inc.* Foundation for the Loren Mayor
Neil Graham Mrs. J. Reilly Lewis* Performing Arts in honor of John D.
Jill E. Kent & Mark E. Solomons Tamera Luzzatto & Mark Esherick Rockefeller IV
Dr.† & Mrs. J. Reilly Lewis David Leiter* Captain & Mrs. Don P. Michael Horowitz &
Mary Elizabeth Lewis The Morris & Gwendolyn Johnson Devra Marcus*
Tamera Luzzatto & David Leiter Cafritz Foundation Anna Karavangelos* Joseph & Embry Howell*
Dr. Brian R. McNeill & Mary Elizabeth Lewis* Christopher C. Jennings &
Kathryn McKenzie Jan Montgomery
CONDUCTOR’S CIRCLE Stonehall Farm*
Julia O’Brien Dr. Brian R. McNeill & in honor of John D.
Michael Ochs $10,000 TO $14,999
Book Arts* Kathryn McKenzie Rockefeller IV
Laura E. Phillips† Bradley J. Olson, K.N.O. & Clete & Shelia Johnson
Charles Reifel & Janie Kinney L. Brent & Norma Bozzell*
Rosemary Monagan Martha A. Olson in honor of John D.
Cecil “Cy” & Pearl Richardson† Lilian M. Penna Rockefeller IV
William T. & Sally Semple Park Foundation
in honor of John D. James E. Rich, Jr. Erna & Michael Kerst*
Margaret Shannon Ivan & Martha Schlager David A. Klaus
Bernice & Reynold Stelloh† Rockefeller IV
Cy & Pearl Richardson† in honor of John D. in memory of Margaret Anthon
Lynn Trundle Rockefeller IV Alan J. Kreigel*
Pierre & Claire Wagner Steven & Barbara Rockefeller
in honor of John D. Joy F. & Jeff Spragens David & Becky Legge*
Isabel T. Wallop The Walt Disney Company Jan & Elizabeth
Margaret W. Webb Rockefeller IV
Toyota Motor North America, Reinhard Wieck* Vickery Lodal*
Sally Wells John C. Wohlstetter* Robert & Beatrice Newkirk
John C. Wiecking Inc.
in honor of John D. Marian Pillsbury
Stephen C. Wright in honor of John D.
Rockefeller IV PATRONS
$1,000 TO $2,499 Rockefeller IV
† In memoriam David Post & Nancy Birdsall
DIRECTOR’S CIRCLE Admiral & Mrs. Charles Abbot
Anonymous Frances H. Pratt*
$5,000 TO $9,999 Barbara Pryor & Brad Gehrke
Richard & Beth Ayres* Amy Berger
ANGELS in honor of John D. in honor of John D.
Betty J. Beard Rockefeller IV
$25,000 AND ABOVE Margarita Brose Rockefeller IV
Arcana Foundation Drs. Henry & Rachel Brem Laura Quinn & Charles
The Cleveland Foundation* Sweeney
AT&T David & Margaret Condit* in honor of John D.
Billy Rose Foundation Rockefeller IV & Tamera in honor of John D.
Glen S. Fukushima* Rockefeller IV
DC Commission on the Arts Mary Ann Gardner Luzzatto & David Leiter
Humanities Kathleen A. Brion* Mark & Jean† Raabe*
in memory of Bruce L. Gardner Edward Rahal
Jetran Jill Kent & Mark Solomons* Mary Martha Churchman*
in honor of John D. Robert W. Crandall & in honor of John D.
Hope P. McGowan* Rockefeller IV
Rockefeller IV Charles Reifel & Janie Kinney* Barbara Bankoff
The Millstream Fund Thomas A. Daschle Alfred S. Regnery
Ann Roberts William D. & Annette D.
in honor of John D. in honor of John D. in honor of John D.
Rockefeller IV Rockefeller IV Reilly
Rockefeller IV Charles P. Rockefeller
The National Endowment Shell Oil Company Sarah Dash &
for the Arts Jeremy Tomasulo in honor of John D.
Catherine Ann Stevens* Rockefeller IV
The Honorable & Mrs. Sally L. Wells in honor of John D.
John D. Rockefeller IV* Rockefeller IV * Gift made in honor of Dr. J. Reilly Lewis
Todd Fickley* † In memoriam
16Mark K. Hingston Ann I. Schneider* John H. Doles III
Frederick S. Hird* Dr. Nicole L. Stout Beckley David M. Dorsen
Jason Rylander Theodore Hirt Anna Eberly
William T. & Sally Semple Ed Howard Mr. & Mrs. Viguen Mr. & Mrs. Nicholas
in honor of John D. in honor of John D. Ter-Minassian Eberstadt
Rockefeller IV Rockefeller IV Heike Terrell David & Elizabeth Edminster
Mr. & Mrs. McKim Paul Joffe Lynn Trundle* David & Barbara Ehrlich*
Symington* in honor of John D. Benjamin & Emily Tsai Murray Eisenberg
Bob Van Heuvelen Rockefeller IV Hans N. Tuch Emerson & Joyce Elliott
in honor of John D. Lou Ann Johnson Dr. Arina van Breda Daniel Elmer &
Rockefeller IV in honor of John D. Drs. Richard & Elizabeth Christopher J. Hoh*
John & Dariel† Van Wagoner* Rockefeller IV Waugaman* Jane Finn
Pierre & Claire Wagner David & Anna-Lena Mark Willey & Joy Garbutt Mr. & Mrs. Karl Flicker*
Isabel T. Wallop* Kamenetzky Anita L. Woehler Jeanne Folstrom
Margaret Whitehead Lisa Kaplowitz Margot Young* Mary D. Foster
in honor of John D. Dr. & Mrs. Howard E. Frost
BENEFACTORS Rockefeller IV FRIENDS Nadine Gabai-Botero
$500 TO $999 Norris & Miriam Keeler* $100 TO 499 J. William Gadzuk
Gilbert C. Adams Charles L. Kinney Eleanor M. Adams* Paul & Anita Gallagher
Jon Adelstein Dr. William M. Leach* Thomas & Gisela Ahern Marilyn Wong Gleysteen
in honor of John D. Reverend & Mrs. Leigh Alexander* Gary L. Glick*
Rockefeller IV Wayne J. Lehrer* Jennifer Allen* Margaret Gonglewski &
Reverend Father & Mrs. Martha Stecher Lewis Carolyn Alper John Heins*
Alister Anderson in honor of Beth A.V. Lewis Eric Andersen & Susan Grad
Anonymous Dan Martino* W. David Young II* Tom & Margaret Greene
Kerry Ates Nancy & Herb Milstein Anonymous (4) Susan Grosser
in honor of John D. Randall Moorhead Kathleen Bacskay Maria Gullo
Rockefeller IV in honor of John D. David & Livia Bardin* in honor of Emmy Lewis
Gregg & Kristina Auby Rockefeller IV Bob & Peggy Barry* Anne Gwaltney*
Mark Bailen Jeffrey Mora & Wendy Thomas & Laurie Barthold Dr. Judith M. Harper,
in honor of John D. Fuller-Mora* Catherine H. Beauchamp* Oberlin 1967*
Rockefeller IV Wendy Morigi Irene L. Berns Dr. Miriam Harrington*
David & Nancy Barbour in honor of John D. Sam Black Martha Harris
Judith Barnett Rockefeller IV Kate Blackwell* in memory of Scott Harris
Mary Bissell Sarah Nealley Thomas Bleha Kevin & Kristie Hassett
in honor of John D. in honor of John D. Christa & Robert Bluehdorn David R. Hearn*
Rockefeller IV Rockefeller IV Inga C. Blust Patricia Hevner*
Howard M. Brown* Julia O'Brien N. Prentice Bowsher & The Honorable Eric L.
C. John & Janet Buresh John Odling-Smee & Sally Steenland* Hirschhorn
Joan Challinor Carmela Veneroso* Irene Braam Thomas Holzman & Allison
Colonel & Mrs. Tim Barbara N. Opper James & Judith Bromley Drucker
Christenson in honor of John D. Janet Brown Patricia H. Horan*
Alan Coffey & Janet S. Potts* Rockefeller IV William & Michelle Bukowski* John S. Howe Jr.
Ms. Marcia P. Crandall Mary Ella Payne Michael F. Butler Edward Hurwitz*
William Craven in honor of John D. Michael Calingaert* Gregory Jackson
Stanley & Ann Degler Rockefeller IV Richard L. Carlson Steven Jackson &
Susan Dillon* Ronald & Deborah Peverill Eric N. Chafin Cynthia Wayne*
Mary Eccles Carole Pratt James Chin Peter† & Carol Jobusch
in honor of John D. in honor of John D. in honor of John D. Gabriel P. Johnson
Rockefeller IV Rockefeller IV Rockefeller IV Dr. Nancy E. Johnson*
Drs. & Mrs. Barry Eisenstein Ann Reilly George M. Coburn Richard C. & Suzanne
Michel Farquhar in honor of John D. Clark Conkling* Johnson
Judith Feder Rockefeller IV Frank & Hanne Correl in honor of Colonel Ron
in honor of John D. William Reinsch Linda Cunniff Villafranco
Rockefeller IV in honor of John D. Albert & Nancy Currier* Catherine Jones
Stephenie Foster Rockefeller IV Elizabeth Daniels Donald L. Jones
Timothy M. Gay Lydia Rice Dimitri Darras Kay Jones
in honor of John D. Peter D. & Connie Robinson Jolly F. de Give Erika R. Joyce*
Rockefeller IV John D. Rockefeller V Nelson C. & Ruth S. Louis E. & Ruth Kahn
Karen L. Handorf in honor of John D. Denlinger Dennis F. Kaspar
Jeanette Hantke Rockefeller IV E. Lynne D'Eustachio Mr.† & Mrs. Francis Keenan
Louis Hering Mrs. Milton M. Rose* Sharrill Dittmann * Gift made in honor of Dr. J. Reilly Lewis
in honor of Barbara G. Hering James & Madeleine Schaller* Carleen Dixon Webb* † In memoriam
17Robert H. Kessler & Mark Mattucci & Lloyd & Claudia Randolph L. Bradley Stanford
Swanee Busic* Judith Furash* Eva Ravitz* Isle M. Stauffer
David Keto Susan McCloskey in memory of Larry Ravitz Philip M. & Marlene L. Teigen
Pamela King* Celia McEnaney* John Noel Reifel Judith Tickner
Michael Knable David R. McGown & in honor of Charles M. Reifel Jane T. Udelson
Cathy & Mark Knepper* Mary Ruth Keller Raymond P. Rhinehart & Frederik van Bolhuis*
Dale Krumvide Mr. & Mrs. David E. Miller Walter Smalling Jr.* George Vercessie &
Richard & Sally Kuisel* Catherine Millian Fred & Linda Richards Barbara Preston*
Dominique Lallement* Dan Moore Eleanor Roberts in memory of Colonel Ron
David W. Lankford Tom Morante & Markley Roberts* Villafranco
Jon H. Larimore* Marianne Splitter Bruce Roinson Dr. Sara Wedeman
Willard & Carolyn Larkin Dr. William B. Munier Jo Ellen & Mark Roseman* in memory of Miles &
Webber Lauh Sondra Myers* Douglas & Karen Rumble Martha Hall Wedeman
Steve & Rosalie Learned Bernard F. & Elizabeth Nass George Ruttinger & Michelle & Michael Weinsch
Kendrick R. Lee George Newman & Camille Larson Herbert & Judith Weintraub
Gary Leggett* Barbara Fairchild* Susan Santa Cruz Heinrich & Frauke Westphal*
Ray† & Eleanor Lewis Yoshie Ogawa* Robert L. Savage* Dorothy B. Wexler
Mr.† & Mrs. James Lockard Lorraine P. Okun* William & Diana Schmidt George Whitley &
Mr. & Mrs. George Londeree* David M. & Glenna D. Mary Schoelen Candace Ballard
Sieglinde B. Lord Osnos* in honor of John D. Scott D. Widmeyer
Kenneth Lowenberg Ann Overlin Severy* Rockefeller IV in honor of John D.
Chip & Laurie Lubsen* Laurence D. Pearl Gregory K. Schoepfle* Rockefeller IV
Walter Lubsen Jr. James Pepper Kathryn Seddon* Elsa B. Williams
Frances M. Lussier B. Dwight & Suzanne Perry David Seidman Dr. Katherine J. Williams*
Gisela Marcuse* Elizabeth A. Peterson Mark & Theresa Shaltanis Edith C. Wolff*
Mark & Hope Foster in honor of Laura Choi Stuart John & Linda Sibert Drs. Jack & Susan Yanovski
Charitable Giving Fund Lawrence A. Plumlee Michael C. Sieverts Mr. & Mrs. Michael M. Zazanis*
Hanna Marks in memory of Doris & Carol M. Sikkelee Stephen Zilliacus
Mary Lynne Martin Chester Plumlee Daniel B. Silver*
Lindsay Mataya* David Pozorski & Russell Smith
in honor of Charles M. Reifel Anna Romanski Thomas M. Sneeringer* * Gift made in honor of Dr. J. Reilly Lewis
† In memoriam
Lawrence & Jean Matthews Susannah F. Prindle* Irene M. Solet
18BOARD OF DIRECTORS OUR MISSION
Stephen Wright, President The Washington Bach Consort is a professional choral and orchestral
Tamera Luzzatto, Vice President ensemble based in Washington, DC, that is committed to ensuring that
current and future audiences experience the music of Johann Sebastian
Charles Reifel, Treasurer Bach and his contemporaries by:
performing the music of Bach and his contemporaries to the highest
Richard Ayres artistic standards,
Sandra Baer sharing the joy of Bach’s music by broadening audiences in the
nation’s capital,
Donald I. Baker
nurturing the appreciation of Bach’s music through education and
Robert Beizer community outreach activities, and
L. Brent Bozell III interpreting the music of Bach for audiences of today, thereby
ensuring his legacy.
Shannon Davis
Glen S. Fukushima
Jill Kent GIVING BACH
Mary Elizabeth Lewis
Throughout its history the Washington Bach Consort has made music
Christopher Putala education programs and audience outreach activities central to its mission.
Alfred Regnery Its Giving Bach to the Community initiatives have offered a range of
free or low-cost educational and enrichment activities to residents of the
James E. Rich greater Washington, DC area. Designed to bring the mastery of Bach’s
The Honorable John D. Rockefeller IV 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
Joy Spragens be regular attendees at any classical music concert, the program includes
Catherine Ann Stevens Bach to School, the Noontime Cantata Series, Talking Bach, and our
newest education program the Wunderkind Projekt. These programs
Reinhard Wieck showcase the talents of Consort musicians, guest artists and guest lectur-
John Wohlstetter ers, and provide thousands of DC area residents with the opportunity to
hear, learn and be inspired by top-notch classical music performances.
STAFF Institutional Partners
Carolyn Davies, Operations Manager This program is brought to you in part by these generous sponsors.
Marc Eisenberg, Executive Director
Alex Interlandi, Development Manager
Genevieve McGahey, Patron Services Associate
Janey Moskowitz, External Affairs Manager
Billy Rose Foundation
Morris and Gwendolyn Cafritz Foundation
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