BACH’s

ST. MATTHEW

PASSION James Kim, Artistic Director June 14th at 7:30PM Edna Rizley Griffin Concert Hall 1400 Remington Street, Fort Collins, Colorado 80524

June 15th at 7:30PM King Center Concert Hall 855 Lawrence Way, Denver, Colorado 80204

x WELCOME The Colorado Bach Ensemble was founded in 2011 to establish a voice for the music of Bach and his contemporaries in Colorado. The CBE is the only organization in Northern Colorado dedicated to performing vocal masterworks of Johann Sebastian Bach and his contemporaries with fully professional choirs and musicians. Our inaugural 2012 concerts of Bach's B Minor Mass and Handel's Messiah successfully contributed to the cultural life of our community by offering rarely performed masterworks and connecting us to the rich tradition of Western music.

To me, the St. Matthew Passion is one of the most influential masterworks in the entire western music history. Bach himself called it the “Great Passion” and revised it several times. Only after Felix Mendelssohn revived the St. Matthew Passion in 1829 with 158 singers in the chorus, did the music of Bach’s vocal masterworks begin to receive public and scholarly attention. I have come across many musicians who claim that their experience as a performer or as an audience member of Bach’s music was truly life-changing. I am no exception. I still vividly remember the sound of his music when I first heard it and now it has become part of me. A Swiss composer, Frank Martin, heard a performance as a young prodigy and decided to compose an oratorio similar to the St. Matthew Passion, Golgatha.

Our greatest objective is to offer Colorado the beauty of Bach's music. For centuries his works have been essential to our culture, and they are, in James Kim's words, "not a luxury, but a necessity." Bach's music has the power to move audiences intellectually, spiritually, and artistically, and his works have done so for many generations. The CBE offers the Coloradoan community the opportunity to be one of the uncounted audiences that have been touched by Bach's music in the last 300 years.

I’m not sure if there is any musician who was not influenced or touched by Bach’s music in one form or another. There are, of course, many different ways to perform this wonderful music. Some of our past geniuses such as Otto Klemperer and Karl Richter presented Bach’s music with mass choirs and orchestras. In recent years, the performances of John Eliot Gardiner and Phillipe Herreweghe were more sensitive to what Bach might have had at his disposal in Leipzig. The size of the ensemble can vary and the interpretation of any musical work should vary. However, the music and its content remain the same. Although the St. Matthew Passion is part of a sacred genre performed during Holy Week, I believe that its dramatic power and message speak to all of us, regardless of age, religion, and background.

James Kim has studied with some of the great Bach interpreters of our time in Germany and Belgium, and his conducting follows and adds to the long and rich tradition of Bach scholarship and performance. Under his direction, Coloradoans have the opportunity to hear and see Bach's music performed at the highest artistic level. The CBE is dedicated to the importance of live performances and seeks to invite not just the traditional classical music audiences but to offer tickets at low prices, especially to children in order to encourage the attendance of young families at our concerts. It is our explicit goal to raise another generation of concert goers who know and appreciate the great works of Bach and his contemporaries.

I hope you too will find this performance by the Colorado Bach Ensemble a life-changing experience as we continue our efforts to bring Bach’s music live to Colorado audiences. Enjoy! James Kim, Artistic Director

Florian Hild, Board Member

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x PROGRAM Part One 1. Coro I & II & Chorale: Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig 2. Evangelist, Jesus: Da Jesus diese Rede vollendet hatte 3. Chorale: Herzliebster Jesu, was hast du verbrochen 4a. Evangelist: Da versammleten sich die Hohenpriester und Schriftgelehrten 4b. Coro I & II: Ja nicht auf das Fest 4c. Evangelist: Da nun Jesus war zu Bethanien 4d. Coro I: Wozu dienet dieser Unrat? 4e. Evangelist, Jesus: Da das Jesus merkete, sprach er zu ihnen 5. Recitativo (alto): Du lieber Heiland du 6. Aria (alto): Buß und Reu 7. Evangelist, Judas: Da ging hin der Zwölfen einer mit Namen Judas Ischarioth 8. Aria (soprano): Blute nur, du liebes Herz! 9a. Evangelist: Aber am ersten Tage der süßen Brot 9b. Coro I: Wo willst du, daß wir dir bereiten das Osterlamm zu essen? 9c. Evangelist, Jesus: Er sprach: Gehet hin in die Stadt 9d. Evangelist: Und sie wurden sehr betrübt 9e. Coro I: Herr, bin ich's? 10. Chorale: Ich bin's, ich sollte büßen 11. Evangelist, Jesus, Judas: Er antwortete und sprach 12. Recitativo (soprano): Wiewohl mein Herz in Tränen schwimmt 13. Aria (soprano): Ich will dir mein Herze schenken 14. Evangelist, Jesus: Und da sie den Lobgesang gesprochen hatten 15. Chorale: Erkenne mich, mein Hüter 16. Evangelist, Peter, Jesus: Petrus aber antwortete und sprach zu ihm 17. Chorale: Ich will hier bei dir stehen 18. Evangelist, Jesus: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane 19. Recitativo (tenor & Coro II: O Schmerz! Hier zittert das gequälte Herz – Was ist die Ursach aller solcher Plagen? 20. Aria (tenor and Coro II): Ich will bei meinem Jesu wachen – So schlafen unsre Sünden ein

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21. Evangelist: Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete 22. Recitativo (basso): Der Heiland fällt vor seinem Vater nieder 23. Aria (basso): Gerne will ich mich bequemen, Kreuz und Becher anzunehmen 24. Evangelist, Jesus: Und er kam zu seinen Jüngern und fand sie schlafend 25. Chorale: Was mein Gott will, das gscheh allzeit 26. Evangelist, Jesus, Judas: Und er kam und fand sie aber schlafend 27a. Aria (soprano, alto) and Coro II: So ist mein Jesus nun gefangen – Laßt ihn, haltet, bindet nicht! 27b. Coro I & II: Sind Blitze, sind Donner in Wolken verschwunden? 28. Evangelist, Jesus: Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus 29. Chorale: O Mensch, bewein dein Sünde groß

Intermission Part Two 30. Aria (alto) and Coro II: Ach, nun ist mein Jesus hin! – Wo ist denn dein Freund hingegangen 31. Evangelist: Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas 32. Chorale: Mir hat die Welt trüglich gericht't 33. Evangelist, Witnesses, High Priest: Und wiewohl viel falsche Zeugen herzutraten, fanden sie doch keins. 34. Recitativo (tenor): Mein Jesus schweigt zu falschen Lügen stille 35. Aria (tenor): Geduld, Geduld! Wenn mich falsche Zungen stechen 36a. Evangelist, High Priest, Jesus: Und der Hohenpriester antwortete 36b. Coro I & II: Er ist des Todes schuldig! 36c. Evangelist: Da speieten sie in sein Angesicht und schlugen ihn mit Fäusten 36d. Coro I & II: Weissage uns, Christe, wer ists, der dich schlug? 37. Chorale: Wer hat dich so geschlagen

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x PROGRAM

CONTINUED

38a. Evangelist, Maid, Peter, Maid II: Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd 38b. Coro II: Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich. 38c. Evangelist, Peter: Da hub er an sich zu verfluchen und zu schwören 39. Aria (alto): Erbarme dich, mein Gott, um meiner Zähren Willen! 40. Chorale: Bin ich gleich von dir gewichen 41a. Evangelist, Judas: Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat 41b. Coro I & II: Was gehet uns das an? Da siehe du zu! 41c. Evangelist, High Priests: Und er warf die Silberlinge in den Tempel 42. Aria (basso): Gebt mir meinen Jesum wieder! 43. Evangelist, Pilate, Jesus: Sie hielten aber einen Rat und kauften einen Töpfersacker 44. Chorale: Befiehl du deine Wege 45a. Evangelist, Pilate, Pilate's wife: Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben Coro I & II: Barrabam! 45b. Coro I & II: Laß ihn kreuzigen! 46. Chorale: Wie wunderbarlich ist doch diese Strafe! 47. Evangelist, Pilate: Der Landpfleger sagte 48. Recitativo (soprano): Er hat uns allen wohlgetan 49. Aria (soprano): Aus Liebe will mein Heiland sterben 50a. Evangelist: Sie schrieen aber noch mehr und sprachen 50b. Coro I & II: Laß ihn kreuzigen! 50c. Evangelist, Pilate: Da aber Pilatus sahe, daß er nichts schaffete 50d. Coro I & II: Sein Blut komme über uns und unsre Kinder. 50e. Evangelist: Da gab er ihnen Barrabam los 51. Recitativo (alto): Erbarm es, Gott! Hier steht der Heiland angebunden. 52. Aria (alto): Können Tränen meiner Wangen 53a. Evangelist: Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich 53b. Coro I & II: Gegrüßet seist du, Jüdenköenig! 53c. Evangelist: Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.

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54. Chorale: O Haupt, voll Blut und Wunden 55. Evangelist: Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus 56. Recitativo (basso): Ja, freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein 57. Aria (basso): Komm, süßes Kreuz, so will ich sagen 58a. Evangelist: Und da sie an die Stätte kamen mit Namen Golgatha 58b. Coro I & II: Der du den Tempel Gottes zerbrichst 58c. Evangelist: Desgleichen auch die Hohenpriester spotteten sein 58d. Coro I & II: Andern hat er geholfen und kann ihm selber nicht helfen. 58e. Evangelist: Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren. 59. Recitativo (alto): Ach Golgatha, unselges Golgatha! 60. Aria (alto) and Coro II: Sehet, Jesus hat die Hand uns zu fassen aus gespannt, kommt! – Wohin? 61a. Evangelist, Jesus: Und von der sechsten Stunde an war eine Finsternis über das ganze Land 61b. Coro I: Der rufet den Elias! 61c. Evangelist: Und bald lief einer unter ihnen, nahm einen Schwamm 61d. Coro II: Halt! Laß sehen, ob Elias komme und ihm helfe. 61e. Evangelist: Aber Jesus schrie abermal laut und verschied. 62. Chorale: Wenn ich einmal soll scheiden 63a. Evangelist: Und siehe da, der Vorhang im Tempel zerriß in zwei Stück 63b. Coro I & II: Wahrlich, dieser ist Gottes Sohn gewesen. 63c. Evangelist: Und es waren viel Weiber da, die von ferne zusahen 64. Recitativo (basso): Am Abend, da es kühle war 65. Aria (basso): Mache dich, mein Herze, rein 66a. Evangelist: Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand 66b. Coro I & II: Herr, wir haben gedacht, daß dieser Verführer sprach 66c. Evangelist, Pilate: Pilatus sprach zu ihnen 67. Recitativo (basso, tenor, alto, soprano) and Coro II: Nun ist der Herr zur Ruh gebracht. – Mein Jesu, gute Nacht! 68. Coro I & II: Wir setzen uns mit Tränen nieder

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x PROGRAM

NOTES

“Come.” “See Him.” With these words, the opening chorus of Johann Sebastian Bach’s St. Matthew Passion issues an invitation to singers, musicians, congregants, and all audience members not only to listen, but also to invest in the retelling of the story of Christ’s final days. It is a story of both Jesus’ humanity and divinity, one in which Bach leads us to a place not simply of observance, but of participation and ultimately responsibility. The passion tradition in German speaking lands extended back hundreds of years into the Middle Ages. The earliest passions consisted of simple singing of the scriptures. By the time Bach began composing, it was standard for the passion story to be presented as a full musical production, a culmination of the Lutheran Holy Week services. The passion as a genre had evolved into one with striking similarities to oratorio, with recitative, arias, soloists, and choruses, accompanied by ensembles of strings, winds, and continuo. The text was no longer limited to scriptures only, but provided additional commentary for listeners. For his librettist, Bach chose Christian Friedrich Henrici, a Leipzig government official who wrote under the pen name Picander. Henrici wrote the texts of all the arias in the work and their accompanying recitatives, as well as some of the choruses. In addition to these original texts that comment on the story, Bach set Martin Luther’s German translation of the Gospel of St. Matthew, chapters 26 and 27, and at least five traditional Lutheran chorales that his congregants would have known well. Like most passions, the story only recounts the events of Holy Week: Jesus’ anointment by the woman at Peter’s house, the Last Supper, the events in the Garden, Peter’s betrayal, the trial, the crucifixion, and Jesus’ ultimate death and burial. The resurrection story is omitted and left for the Sunday to follow. In this way, the passion was a dramatic ending to the most important week of the liturgical year and it figuratively served as the darkest hour, one that represented the despair of death that was foiled by the joy of Easter morning to come. Though the St. Matthew Passion is now regarded as one of the greatest works in all of Western classical music literature, in Bach’s day it was simply another, expected musical offering for the observance of Good Friday. In fact, during Bach’s life, and for almost a hundred years after, it was heard less than a handful of times, and then only by the congregations of the churches Bach served in Leipzig. (Though Bach did use portions of it for a memorial service for his former employer, Anhalt-Cöthen’s Prince Leopold.) It was only after a young Felix Mendelssohn revived the piece in 1829, in a much-abridged version, that true recognition of the composition’s virtues and greatness was set into motion. Much of Bach’s music was not published in his lifetime and the composer left no catalog of specific performances, so dating his compositions can be difficult. However, many scholars now agree that Bach first composed his St. Matthew Passion for the Good Friday service of 1727. It was likely revived in 1729, and we know that Bach revised and presented the service again in 1736, and possibly in the 1740s. It is the carefully prepared 1736 version that is most often heard today and the one that you will hear

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tonight. In this version, Bach abandoned the use of a simple chorale to end the first half and inserted a skillfully composed full chorus, “O Mensch, bewein dein Sünde gross” (O man, thy grievous sins bemoan) that he borrowed from his St. John Passion. Here the composer reveals his understanding of dramatic architecture, one that moves the experience beyond its intended church setting to an almost theatrical realm. With over sixty separate musical sections, the entire work takes about three hours to perform. Yet, in its first presentations the experience would have lasted much longer. There would have been hymn singing before the passion story began, an hour-long sermon inserted at the midpoint of the work, and more congregational singing afterward. Bach set his “great passion,” as his family referred to it, for two separate choruses who perform both separately and together. A third, soprano choir is added for the opening chorus and was probably sung by boys in its first incarnation. Soloists are dedicated to the roles of the narrating Evangelist and of Jesus and there are arias for additional soprano, alto, tenor, and bass soloists. Most of the recitative is accompanied by continuo only, but when Jesus sings, strings are added, creating what is often referred to as a “halo” effect. The one moment when the strings noticeably disappear is when Jesus sings his final words of the work, “Eli, Eli, lama asabthani?” (My God, my God, why have you forsaken me?), a nod to his most “human” moment on earth. There are other smaller solo roles sung by members of the choir. Bach also scored the accompaniment for two separate orchestras in his later versions. Included among the instruments were several that are rarely heard today, such as the viola da gamba (a small, six string cello-like instrument), two oboes d’amore, oboes da caccia, and two recorders that were played by the transverse flute players. With the exception of the oboe d’amore, as in many modern productions, these parts are performed tonight on modern instruments. Bach wrote at least five passions during his life, but the music of only the St. Matthew Passion and the St. John Passion survive to us today. Though the St. Matthew Passion would hold its place in the great monuments of history on its musical merits alone, it is difficult to separate Bach’s original motivation for the work from the music itself. A deeply religious man, Bach surely viewed this type of composition as the fulfillment of his calling. In the St. Matthew Passion, Bach vividly portrays the struggle, the disbelief, and the pain of the story: Disbelief that a guiltless man could be killed in such a torturous way, that a woman would waste a jar of precious oils to anoint the Holy One, that a disciple would hand over the one he claimed to love for a mere thirty pieces of silver; and Jesus’ pain that the cup could not be taken from him, pain of false judgment, and pain in the humiliation of being mocked and derided. Bach’s ultimate success might be found in his use of the choruses and arias, that again and again shift the focus between the story itself and the reaction to the text. Through this method, he reminds his listeners that we all share in the guilt and the pain and the disbelief. For both believers and non-believers, the drama is palpable, and the music serves to elevate it to a truly spiritual dimension. Dr. Dawn Grapes

Assistant Professor of Music at Colorado State University

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x THE

DIRECTOR

As the artistic director of the Colorado Bach Ensemble, James Kim has dedicated himself to performing the music of Johann Sebastian Bach and his contemporaries at the highest artistic level for American audiences. He has studied and worked with some of the greatest Bach interpreters of our time, such as Phillipe Herreweghe and Helmuth Rilling, with whom he spent two years in Stuttgart, Germany. Building on the rich history of Bach scholarship and performance, James Kim brings his own approach and commitment to the music he performs in Colorado. A recent review captures Kim's desire to perform and teach the music of Bach: "James Kim is one of the few conductors that I have ever known who has the stamina and courage to present a lecture concert... I am sure that this is extremely useful for the members of the audience at large who might not have been trained musicians. I know they appreciated it for they gave The Colorado Bach Ensemble a standing ovation. Both the lecture and the performance were superb.”

ADRIANA Contino » GUEST CELLIST Adriana Contino was professor of cello, baroque cello and chamber music at the Hochschule fuer Musik in Freiburg, Germany where she taught and concertized from 1991 to 2012. She moved back to the United States in 2011 and is teaching at the Jacobs School of Music at Indiana University in Bloomington Indiana. From 1987 to 1991 she was principal cellist of the Stuttgart Chamber Orchestra with which she toured world wide as soloist. She was also principal cellist of the Bach Collegium under Helmuth Rilling. Her musical endeavors include five years as a free-lance cellist in New York City during which time she founded the Bach Chamber Soloists and was a member of the Caecilian Trio. She performed with the New York Chamber Orchestra, the Brooklyn Philharmonic, the Group for Contemporary Music, the New York New Music Ensemble, the jazz ensemble String Fever and her improvisation duo with Richard Shulman. In 1976, having completed her studies at Indiana University with Janos Starker, she was appointed to the Pittsburgh Symphony Orchestra under the direction of Andre Previn. She was that orchestra’s youngest member and the Stuttgart Chamber Orchestra’s first female principal. Currently she is living in Indianapolis, Indiana where she lives with her daughter and is writing a book on pedagogy, concertizing and teaching. She is an active performer as well as a sought after pedagogue. As a volunteer she has been intensely involved with hospice and education.

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x Soloists Dann Coakwell » Evangelist Dann Coakwell, tenor, performs as a soloist internationally and domestically under such acclaimed conductors as Helmuth Rilling, Masaaki Suzuki, William Christie, Nicholas McGegan, Matthew Halls, and Craig Hella Johnson. Prominent roles Coakwell has performed include Evangelist and tenor arias in all of J.S. Bach’s major oratorios (St. Matthew Passion, St. John Passion, Christmas Oratorio, Mass in B-Minor) and many of Bach’s cantatas; solo tenor in Britten’s Serenade for Tenor, Horn, and Strings, Mendelssohn’s Elijah, Handel’s Alexander’s Feast, and the title role in Handel’s Judas Maccabaeus; as well as Almaviva in Rossini’s Il Barbiere di Siviglia. Also in regular demand as the tenor soloist for Handel’s Messiah, recent and notable productions include with Masaaki Suzuki and Philharmonia Baroque in San Francisco, at Duke Chapel in Durham, with Conspirare and Ensemble VIII in Austin, and upcoming under John Scott at Saint Thomas Church Fifth Avenue, New York (2013). Coakwell holds an Artist Diploma in Vocal Performance from Yale University and the Yale Institute of Sacred Music, an M.Mus. from Texas Tech University, and a B.Mus. from the University of Texas at Austin.

PAUL MAX TIPTON » JESUS Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, is building a fine career in opera, oratorio, and early music. Mr. Tipton trained on full fellowship at the University of Michigan School of Music in Ann Arbor. He sang the role of Judas in Bach’s St. Matthew Passion under Helmuth Rilling at Carnegie Hall in 2007, and soloed under Leonard Slatkin on the Naxos recording of William Bolcom’s Songs of Innocence & of Experience, a project that won three Grammys in 2006. He has sung Schaunard with the New York Opera Society while on tour in Toulouse, and has worked closely with composer Ricky Ian Gordon, joining him twice in recital in Ann Arbor and Florence, Italy. Mr. Tipton is based in Boston, and is a 2010 graduate of the Yale University Institute of Sacred Music.

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x Soloists CLARA ROTTSOLK » SOPRANO “Pure and shining” (Cleveland Plain Dealer) soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” In a repertoire extending from the Renaissance to the contemporary, her solo appearances with orchestras and chamber ensembles have taken her across the United States, Japan and South America. She specializes in historically informed performance practice, singing with ensembles such as American Bach Soloists, Tempesta di Mare, Les Délices, St. Thomas Church Fifth Avenue, Magnificat Baroque, Baltimore Chamber Orchestra, Bach Sinfonia, Piffaro—The Renaissance Wind Band, Trinity Wall Street Choir,Handel Choir of Baltimore, Buxtehude Consort, and the Masterwork Chorus under the direction of conductors including Joshua Rifkin, Bruno Weil, Paul Goodwin, Jeffrey Thomas, John Scott, David Effron, and Andrew Megill. Among her stage roles are Micaëla (Carmen), Semele (Semele), Dido (Dido and Aeneas), Arminda (La finta giardiniera) and Laetitia (The Old Maid and the Thief). Ms. Rottsolk earned her music degrees at Rice University and Westminster Choir College, and was awarded for musical excellence by the Metropolitan Opera National Council (Northwest Region). Currently she is based in Philadelphia and teaches voice at Swarthmore, Haverford and Bryn Mawr Colleges.

ERIC JURENAS » COUNTERTENOR Proclaimed as “the real deal,” (Grand Rapids Press) and defined as having a “rich, mature voice,” (Third Coast Digest) with “incredible power,” (Opus Colorado) American countertenor Eric Jurenas is quickly making a name for himself in both the opera and concert scene. Eric has worked with several groups as a featured soloist, including American Bach Soloists, Colorado Bach Ensemble, Kentucky Bach Choir, Bel Canto Chorus of Milwaukee, UC Davis Ensembles, St. Andrews Arts Council, and Cincinnati-area groups. 2012-2013 season engagements include performances with American Bach Soloists (Handel/Vivaldi), The Dayton Philharmonic (Messiah), Calvin College Choirs (Messiah), Colorado Bach Ensemble (Bach’s St. Matthew), Opera Philadelphia’s Annual Gala, and Michigan Opera Theatre (Handel’s Giulio Cesare) where he was applauded by Opera News for his “performances of admirable gusto.” He will be covering David Daniels in the title role of a newly commissioned opera production,Oscar, with Santa Fe Opera in summer 2013. He is currently based in Cincinnati, Ohio after graduating from the College-Conservatory of Music (CCM) at the University of Cincinnati. He is a student of William McGraw and George Gibson, including early studies with his mother Joan Jurenas.

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STEVEN SOPH » TENOR A “sweetly soaring tenor” (Dallas Morning News) with “impressive clarity and color” (New York Times), Steven Soph performs as a soloist and chamber musician throughout the United States. Solo appearances this season include Handel’s Dettingen Te Deum as a 2012 Young American Artist with Robert Shafer’s City Choir of Washington; Beethoven’s Choral Fantasy in Alice Tully Hall with Musica Sacra conducted by Kent Tritle; Bach cantata arias (BWV 70 & 181) on Trinity Wall Street’s Bach at One series with Julian Wachner; arias in Bach’s St. Matthew Passion with Dennis Keene’s Voices of Ascension; Uriel in Haydn’s Creation, arias in Bach’s St. Matthew Passion, and Monteverdi’s Vespers of 1610 with the Yale Schola Cantorum and Juilliard 415 under Masaaki Suzuki; Zadok in Handel’s Solomon with Simon Carrington; Gabriel in the world premier of Robert Kyr’s The Annunciation with the Yale Camerata and Maggie Brooks; and Lurcanio in Handel’s Ariodante with American Bach Soloists Academy under Jeffrey Thomas. Steven is on the rosters of New York’s Musica Sacra, Miami’s Seraphic Fire, Austin’s Conspirare, Cut Circle, and Yale Choral Artists, and appears on numerous recordings including Blue Heron’s “Hugh Aston: Three Marian Antiphons.” Steven earned a BA in Music from the University of North Texas and is a 2012 graduate of Yale’s School of Music and Institute of Sacred Music where he studied with renowned tenor, James Taylor.

DAVID KIM » BARITONE Korean-born baritone David Dong-Geun Kim has made several important concert and recital debuts since coming to the United States. His recent recital, Schubert’s “Winterreise”, was described as “One of the most moving, powerful and accomplished recital of the year” by conductor Simon Carrington. On the concert stage, Kim has been a featured soloist in works ranging from Monteverdi, Schütz, Bach, and Handel to Mendelssohn, Brahms and Philip Glass. His performances of Philip Glass’s Symphony No. 5 “Requiem, Bardo, Nirmanakaya” led the composer himself to praise the “special character” of Mr. Kim’s “rich voice.” Recent performances include a role in Stravinsky’s “Les Noces,” which was his first major foray into the Russian repertoire. From the summer of 2008, Kim has been appearing as a soloist for Discovery Concert series at the Oregon Bach Festival (OBF). Recently he appeared as a bass soloist of 4 Messiah concerts in Connecticut conducted by William Boughton. Mr. Kim received a Master of Music degree from the University of Cincinnati College-Conservatory of Music, where he is currently completing a DMA. In addition, he finished an Artist Diploma at Yale University’s Institute of Sacred Music, specializing in Baroque Music, German Oratorio and Chamber Ensemble.

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x CHORUS

& ORCHESTRA

CHORUS I

CHORUS II

ORCHESTRA I

ORCHESTRA II

Soprano Elise Greenwood Bahr – (Pilate's Wife) JoAnn Gudvangen-Brown Ashley Hoffman Suzanne Morrison

Soprano Santana Bartoldus Cynthia Henning – (Maid I) Nicole Lamartine – (Maid II) Julia Stacer Melady

1st Violin Hee-Jung Kim (Principal) Susie Peek Myroslava Bartels Desiree Cedeño-Suarez

Alto Marjorie Bunday – (False Witness I) Gloria Choi Leila Heil Tara Mianulli U’Ren

Alto Jane Burgchardt Wright Amy Sager Lee Ann Scherlong Donna Wickham

1st Violin Margaret Soper Gutierrez (Concertmaster) Tena White Thomas Hanulik Chris Short

Tenor Joel Bejot CJ Jeffrey Westin Sorrel Gene Stenger – (False Witness II)

Tenor Brian Bartoldus Matt Bentley Zachary Vreeman John Wright

Bass Miles Canaday Stuart Dameron – (Judas) Christopher Maunu – (Peter) Nathan Payant

Bass John Bosick Daekwang Kim – (Pilate) Joshua Ooms – (High Priest II) Matt Sommer – (High Priest I)

Sopranos in Ripieno

Marianne Buccino • Mady Carroll • Autumn Dern • Gabby Dolan Nikki Finnman • Sarah Gloor • Gabby Melli • Sarah Morain Rachel Nelson • Sofya Norman • Hailey Richmond • Julia Richmond Lindsey Roberts • Shannon Seale • Bomsaerah Seong Olivia Sponsler Shannon Tivona • Amy Welsh • Sarah Worley Chorus prepared by Kaitlin Miles Director of Choirs, Fort Collins High School

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2nd Violin Paul Primus (Principal) Chris Jusell Leah Mohling Viola Barbara Hamilton (Principal) Aniel Caban Cello Adriana Contino (Principal) Becky Kutz Osterberg Bass Forest Greenough (Principal) Flute Michelle Stanley (Principal) Cobus du Toit Oboe Monica Hanulik (Principal) Jason Lichtenwalter Bassoon Tristan Rennie (Principal) Keyboard Kenrick Mervine (Principal)

2nd Violin Leslie Sawyer (Principal) Debra Holland Ingird Peoria Viola Mary Cowell (Principal) Philip Stevens Cello Mary Artmann (Principal) Bass Karl Fenner (Principal) Flute Ysmael Reyes (Principal) Kristin Sommer Oboe Max Soto-Sibaja (Principal) Miriam Kapner Bassoon David Schwartz (Principal) Keyboard Gabriele Korndorfer (Principal)

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x BOARD

OF DIRECTORS

Dr. Howard Skinner, President • David Pyle, Secretary • Lee Cord, Treasurer Cynthia Vaughn • Florian Hild • Dr. Michael Thaut • John Parfrey

x Our

Patrons

Season Sponsor Dr. Donald K. Park II Maestro Circle | $5000 and more Dr. and Mrs. Howard Skinner • Griffin Foundation • Colorado State University Benefactors |$1000 to $2499 Armstrong Hotel • Fort Collins Convention and Visitors Bureau Magnolia Music Studio • Stewart and Sheron Golden Patrons | $500 to $999 Dr. James Kim • Kristen and Lee Cord • David and Tina Pyle • Dr. Michael Thaut Associates | $250 to $499 John & Mary Parfrey • Arturo Steely • Alan Clark • Barbara Cavarra Grant and Grace Kim Fellows | $100 to $249 Frank and Elizabeth Amigo • Loretta A. Carlson and Dr. Aida Sahud Norman and Pam Haglund • Florian Hild • Karen Lampke Tom and Sheri Linnell • Jerry and Marilyn Kopp • Donelson Lawry Bernard Levinger • Ward Swinson • Joe and Beverly Winsett

x UPCOMING

CONCERTS

Bach Cantata Series

September 20 2013, 7:30pm; First United Methodist Church, Boulder, CO September 21 2013, 7:30pm; Trinity Lutheran Church, Fort Collins, CO September 22 2013, 3:00pm; Bethany Lutheran Church, Cherry Hills Village, CO

Handel's Messiah

December 20 2013, 7:00pm; Trinity United Methodist Church, Denver, CO December 21 2013, 7:00pm; First United Methodist Church Boulder, CO December 22 2013, 4:00pm; Griffin Concert Hall, Fort Collins, CO

PROFESSIONAL CHORUS AUDITIONS 2013

Colorado Bach Ensemble will be holding chorus auditions for the 2013 Season: • Saturday, June 22nd • Saturday, July 13th • Saturday, September 21st For more information please visit:

http://www.coloradobachensemble.org/ensemble-auditions-2013

x SPECIAL

thanks

Barbara Cavarra • Dr. Todd Queen • PHOCO (Shane Miles) Beverley Skinner • Jennifer Clary • Laura Marshall • Ashlyn Dunn • Eileen Krebs Design & artwork by Shane Miles, PHOCO

Friends | $1 to $99 Rogene Buchholz • Carl Bunderson • Mary Flammer • Barbara Hamilton Robin Hause • Cynthia Henning • Nora Jacquez • Merlin and Laurie Kooiman John T. Lake • Stephen and Magdalena Levin • John Locker • Lynn D. Mason Mary and Peter Schultz • Jeffrey Ken Smith • Sorrell Family • Fred and Jean Starr Trent Stiles • John Thompson • Mark Thompson • Ginny R. Threefoot Trois Coeurs Foundation

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St. Matthew Passion

M U S I C

St. Matthew Passion

S T U D I O

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Requiem – Dvorak Sunday, June 23, 2013 Concert at 3:00 p.m.

Pre-Concert Lecture at 2:00 p.m.

Festival Choir & Orchestra Bethany Lutheran Church 4500 East Hampden Ave. Cherry Hills Village (Denver) Adults $15 Seniors & Students $10 Tickets available at door or call 970.392.2540

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St. Matthew Passion

St. Matthew Passion

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ColoradoBachEnsemble.org JAMES KIM, ARTISTIC DIRECTOR