ross w. duffinartistic director

QuireCleveland

Ross W. Duffin, Artistic Director

theSt. Matthew Passion

by Richard Davyfeaturing guest soloists

Jeffrey StrauSS & Owen McIntOSh

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

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

SING in the shower • HUM around the houseCROON in the car • WARBLE at workYODEL in the yard • BELT at the bar

HARMONIZE with humanity— and always keep a song in your heart!

Beverly SimmonsExecutive Director & Alto

QThank you for coming! Performing for you gives us joy in singing.

But we have these small requests:

• Please turn off cell phones & other noisemakers.

• Please refrain from photography and audio/video recording.

• If you’re suffering from a cough, DO help yourself to the cough drops available from the

ushers and DON’T sit near a microphone.

April 8, 2017St. Bernard Parish, Akron

April 9, 2017Historic St. Peter Church, Cleveland

St. Paul’s Episcopal Church, Cleveland Heights

PROGRAM the concert will be performed without intermission

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

Ah, gentle Jesu! Sheryngam (fl.1500)

QUIRE CLEVELAND

Ross W. Duffin, ConductorOwen McIntosh, Evangelist

Jeffrey Strauss, Jesus

Soprano: Margaret Carpenter Haigh, Donna Fagerhaug, Christine Jay, Elena Mullins, Gail West

Alto: John McElliott, Joseph Schlesinger, Beverly Simmons, Jay White

Tenor: Evan Bescan, Nathan Dougherty, Bryan Munch, Corey Shotwell

Bass: Daniel Fridley, Nathan Longnecker, Brian MacGilvray, Michael McKay

QuireCleveland

Ross W. Duffin, Artistic Director

ABOUT QUIRE CLEVELAND

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

ARTISTIC DIRECTOR

Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook (both published by WW Norton), have gained international renown.

In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; A Performer’s Guide to Medieval Music; and the St. Matthew Passion by Richard Davy, which is being recorded in concert, to be issued next season as a CD. He has sung with Apollo’s Fire since its inception in 1992.

GUEST SOLOISTS

Acclaimed as a “lovely, tender high tenor” by the New York Times, Owen McIntosh has enjoyed a diverse career of chamber music and solo performance—ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. A native of remote Northern California, Owen has shared the stage with the country’s finest ensembles including Apollo’s Fire, Blue Heron, Boston Baroque, Carmel Bach Festival, Les Canards Chantants, New Vintage Baroque, Staunton Music Festival, TENET, Trident Ensemble, True Concord, San Diego Bach Collegium and the Grammy-nominated Choir of Trinity Wall Street.

Among Owen’s recent solo engagements are: Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s chamber opera L’isola Disabitata with the American Classical Orchestra, Monteverdi Vespers of 1610 with Apollo’s Fire and Green Mountain Project, Bach’s St. Matthew Passion with Grand Rapids Symphony, Monteverdi’s Il Ritorno d’Ulisse in Patria with Opera Omnia and Boston Baroque, and the Evangelist in Bach’s St. John Passion with Tucson Chamber Artists. This season, Cleveland audiences have enjoyed hearing Owen McIntosh sing with Apollo’s Fire and Les Délices, as well as Quire Cleveland.

Jeffrey Strauss, baritone, an “authoritative artist” (Plain Dealer) whose performances have been praised as “captivating” (Chicago Tribune) and “serenely beautiful” (New York Times), has appeared with numerous period-instrument ensembles. These include Apollo’s Fire, The Consort of Musicke with Emma Kirkby, the Taverner Consort under Andrew Parrott, Tafelmusik, the Handel & Haydn Society (Boston), Seattle Baroque, Tempesta di Mare (Philadelphia), and the Newberry Consort (Chicago).

He made his concert début at the age of 17 with the Buffalo Philharmonic and studied voice with Elsa Charlston in Chicago, Yvonne Rodd-Marling in London, and Gérard Souzay in Paris. An accomplished stage actor, favorite projects include the title role in Monteverdi’s L’Orfeo, Jesus and Pilate in the J. S. Bach Passions, Méphistophélès in Berlioz’s Damnation of Faust, and Apollo in Handel’s Apollo e Dafne. His 2014 portrayal of Tevye in Fiddler on the Roof was hailed by the Buffalo News as “masterful.”

Jeffrey Strauss’s CD recordings with Apollo’s Fire include the Monteverdi Vespers of 1610; Handel’s Messiah; Sephardic Journey, which debuted in February 2016 at #2 on the Billboard World Music chart; and Bach’s St. John Passion, released this year.

NOTES

We know very little about the composer Richard Davy. He was a student at Magdalen College, Oxford around the time it opened its doors on the present site, and he was informator choristarum (master of the choirboys) there from 1490–92. After that, we’re not sure. He may have worked at Exeter Cathedral, may have worked for the Boleyn family, and he probably ended his days at Fotheringhay, famous as the later site of the trial and beheading of Mary, Queen of Scots. But that’s all we know.Davy’s setting of the St. Matthew Passion is the earliest by a known composer. It is preserved in the Eton Choirbook, a splendid music manuscript from the early 16th century, mostly containing motets in honor of the Virgin Mary, one of which is described as composed in a single day by Davy while he was at Magdalen College. At the very end of the book is this very unusual piece—out of the norm, not only for this manuscript, but for musical composition in general up to that time. Following the tradition of Passion performance in the Middle Ages, Davy’s Evangelist and Jesus sing their parts using Sarum chant for the Passion, which is to say, according to the Rite of Salisbury, which was preferred over the Roman Rite in England up to the Reformation in the mid-16th century. The sayings of everyone else—the disciples, Peter, Judas, Pilate and his wife, the Pharisees, the Centurion, and the crowd (the turba)—are set by Davy in polyphony, with four voice parts.The music style of the Eton Choirbook demonstrates clearly that the brilliant English choral writing we know, from Byrd to Purcell to Howells to Mealor, was already flourishing in the early Renaissance. There are soaring treble lines, originally written for boy sopranos—high above the alto—vibrant syncopations, and flashes of florid writing with rare, but highly effective, homophonic passages (where all the voices sing the same rhythm). It’s truly an emotional and dramatic rendering of the Gospel for the Passion. Unfortunately, the pages containing the beginning of the piece in the Eton Choirbook have been lost, and of the forty-two original short movements, the book as it survives lacks the first eleven movements completely, and has only alto and bass voices for the next twelve. Starting in 1921, scholars have tried reconstructing the missing portions. The movements at the beginning have been created by using the music from later movements and substituting the missing words. I have done the same, although my choices have been based on analytical criteria that do not seem to have been used by earlier scholars. The next twelve movements require composing the two missing voices, according to the style of the rest of the piece. All of that makes the work performable. The further wrinkle for our version is that I have set Davy’s music, not to the original Latin words, but to the early English Gospel translation by William Tyndale.Tyndale began writing his translation of the Bible while he was still a student at Magdalen in the early 16th century, so his work comes from the same artistic milieu as Davy’s music, although it is probably just a few years later. Translating scripture was still illegal and eventually caused Tyndale to be martyred as a heretic—strangled and burned at the stake—even though a Bible in English, largely his work, was authorized by Henry VIII just three years later. Not only was Tyndale’s English translation so poetic that it eventually became the basis for the King James Bible in 1611, but Tyndale was so adept at capturing the essence of natural spoken dialogue, that the story seems vivid and real, and, I believe, helps the work come alive for us today.The Passion of St. Matthew concludes, based on the Gospel reading for Palm Sunday, after the Evangelist describes the visit to the tomb by the three Marys. Immediately afterwards, we sing an

Easter carol by the composer Sheryngam, whom we know only from two pieces in the Fayrfax Manuscript (from the same period as the Eton Choirbook). Late medieval English mystery plays sometimes followed the crucifixion with an imagined dialogue between Jesus and another character or characters. Sheryngam’s Ah, Gentle Jesu serves a similar purpose here. In this case, the dialogue is with “a sinner,” who appears in the refrain, or burden, and in the final verse. The rest of the lyric is Jesus, admonishing the sinner to contemplate the crucifixion and what it means.Performing passion music, particularly settings that have not previously been recognized as “official” masterpieces, has become a controversial act in modern times, since it may revive old prejudices and perpetuate the blaming of the Jews for Christ’s death. The point, for me, is to show what beautiful music was composed to set the passion 500 years ago, and how surprisingly vivid and heartfelt—and human—the presentation can be for modern audiences. Each character plays a crucial part—Jesus, the disciples, the chief priests, the rabble, and Pilate—and without any one of them there would be no passion: no crucifixion, no resurrection, no salvation, no Christianity. There is no orchestra in Davy’s passion, as there is in Bach, no extended movements of grandeur and agony, no exquisite instrumental obbligato or poignant aria—just the purity of unaccompanied solo and choral voices. But Davy’s work is equally profound in its eloquent juxtaposition of the dignified chant and brief flashes of dramatic polyphony, and deserves to be heard as an extraordinary work of art, and a pioneering venture in setting the passion story to music.

—Ross W. Duffin

2016 / 17 8 t h s e a s o n

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

ocT 15 & 16, 2016

songs Without Words

Jan 20, 2017

Mozart in Paris

MaRcH 11 & 12, 2017 Machaut’s Remede

de Fortune

aPRil 8 & 9, 2017

Fated Lovers

Western Reserve ChoraleDavid Gilson, Artistic Director

Isn't it Romantic?Great choral settings from the

Romantic Period

Sunday, June 4, 3:30 p.m.Cedar Hill Baptist Church, Cleveland Heights

Tuesday, June 6, 7:30 p.m.Church of the Resurrection, Solon

westernreservechorale.org216-791-0061

25th Anniversary Season 2016-2017

Tenor Evan Bescan holds a Bachelor of Music degree from Capital University in Columbus, Ohio, along with a Methodology Diploma from the Kodály Institute in Kecskemét, Hungary. He cur-rently resides in Grafton, Ohio, and is a full-time music teacher at Elyria

Community Elementary School. Evan is a chorister at the Cathedral of St. John the Evangelist and is also a consultant of the Freda Joyce Brint Foundation, using music to enhance learning and life in people with Alzheimer’s and dementia.

Soprano Margaret Carpenter Haigh has performed as a soloist with the Oxford Bach Soloists, Simon Carrington Chamber Singers, and Apollo’s Fire. Recent and up-coming engagements include her Messiah debut with the Memphis (TN) Symphony Orchestra, singing and narrating David

Del Tredici’s An Alice Symphony with the Portland (ME) Symphony, and performing as a Britten-Pears Young Artist at the Aldeburgh Festival. Alongside her husband, Nicolas Haigh, she founded L’Académie du Roi Soleil, an ensemble specializing in French baroque music. Margaret was a Gates Cambridge Scholar at Clare College and is earning her doctorate in Historical Performance at CWRU. www.margaretcarpenter.org

Tenor Nathan Dougherty recently be-gan his DMA in Historical Performance Practice at Case Western Reserve. In the summer of 2016, he completed a mas-ter’s degree in Early Music Performance at the University of Southern California, where he sang with the Baroque Sinfonia

and Collegium. In 2012, Nathan graduated with Music Department Distinction from St. Olaf College, with a degree in Vocal Performance. He also performed with the Lyric Theater Department, with roles includ-ing Rinuccio in Gianni Schicchi and Don Curzio in Le

nozze di Figaro.

Soprano Donna Fagerhaug holds a Master of Arts degree in Church Music from Trinity Lutheran Seminary and a Bachelor of Music from the Conservatory at Capital University, both in Columbus, Ohio. In addition to

Quire, she sings with Apollo’s Singers and Contrapunctus, and is soprano soloist at Lakewood Congregational Church. Donna also works as a vocal coach in the Rocky River City Schools. She lives in Rocky River with her husband and three children.Daniel Fridley, bass-baritone, Daniel Fridley, bass-baritone, is finishing his master’s degree at the Cleveland Institute of Music, studying with Dean Southern. His roles there have included Figaro in Mozart’s Le nozze di Figaro and Don Pedro in Berlioz’s Béatrice et Bénédict. He also performed as Speaker of the Temple in Opera Circle Cleveland’s production of Mozart’s Die Zauberflöte. With Apollo’s Fire at the Metropolitan Museum of Art in December, he made his New York début as bass solo-ist in Messiah. He has recently been accepted into the DMA program in Historical Performance Practice at CWRU, and looks forward to continuing his studies in Cleveland.Christine Jay, soprano, is a fifth-year double degree student at the Oberlin College and Conservatory studying voice, baroque flute, and comparative litera-ture. She has performed with the Oberlin Baroque Orchestra, Opera Theatre, and Historical Performance Departments, notably as La Musique in Charpentier’s Les plaisirs de Versailles at the Smithsonian and Boston Early Music Festival in 2015. Over the past five summers Christine attended Oberlin in Italy, Venice Opera Project, Oberlin Baroque Performance Institute, Songfest, American Institute of Musical Studies in Graz, Austria, and most recently Opera Neo in San Diego.Nathan Longnecker, bass, stud-ied voice and organ, has sung with the University Circle Chorale, Cleveland Orchestra Chorus, Apollo's Fire, Cleveland Opera Chorus, Cantores Cleveland, Contrapunctus, as well as directing a few church choirs. He lives in North Collinwood, and when he is not singing, he tends gar-dens as The Quiet Gardener. Baritone Brian MacGilvray is currently teaching mu-sic history at Case Western Reserve University and the

SINGERS’ BIOGRAPHIES

Cleveland Institute of Music. He holds a Ph.D. in musicology from CWRU and de-grees in voice from Northwestern University and the University of Kentucky. Along with Quire, he sings regularly with the Trinity Cathedral Choir and Chamber Singers. His previous choral experience includes

Chicago Music of the Baroque, the Chicago Symphony Chorus, and the Grant Park Symphony Chorus.

John McElliott, countertenor, holds undergraduate degrees in voice and or-gan performance from the University of Akron. He spent a year abroad as a cho-ral scholar at Winchester Cathedral in the UK. John is a soloist/section leader at Trinity Episcopal Cathedral in Cleveland

and sings with several choral ensembles in Northeast Ohio, including Apollo’s Fire and the Trinity Chamber Singers. He is also president of Karen McFarlane Artists, Inc., where he manages concert careers for many of the world’s great concert organists and choirs. A versatile vocalist, he sings alto, tenor, and baritone parts. John is a co-founder of Quire Cleveland and serves as the organization’s Secretary.

Michael McKay, baritone, is office manager in the Performing Arts, Music, and Film department at the Cleveland Museum of Art. Having studied voice with Noriko Paukert and organ with Margaret Scharf, he graduated summa cum laude with a bachelor of music from Cleveland

State University. He has performed with Apollo’s Fire, Old Stone Singers, St. Paul’s Episcopal Church Choir, and CWRU Early Music Singers, as well as in various Cleveland-area chamber ensembles. He served as asso-ciate organist at the Cathedral of St. John the Evangelist from 1998 to 2012. He resides in Cleveland with his wife and two children.

Elena Mullins, soprano, has wide-ranging interests in the field of early mu-sic. She has sung with The Newberry Consort, Apollo’s Fire, Three Notch’d Road, Generation Harmonique, and Quire Cleveland, and is currently the director of the Case Western Reserve University Early

Music Singers. In 2013, Elena co-founded Alkemie, an ensemble specializing in medieval music for voices and

instruments. A voice student of Ellen Hargis, she holds a DMA in Historical Performance Practice from CWRU and a BA in Musical Arts from the Eastman School of Music. In addition to singing and conduct-ing, Elena is an avid performer and teacher of baroque dance, and served on the faculty of the Oberlin Baroque Performance Institute last summer.

Bryan Munch received his engineer-ing degree and MBA from Case Western Reserve University, where he partici-pated in many vocal groups including Early Music Singers. When he is not playing with his kids, he plays with data at Progressive Insurance.

Joseph Schlesinger, countertenor, began his musical education playing prin-cipal trumpet in the Augustana College Symphony, where he completed a Bachelor of Arts in Finance and Asian Studies. After earning his Masters in Music from DePaul University, he received a Netherlands-America/Fulbright Fellowship to study baroque music at the Royal Conservatory, The Hague. His repertoire includes baroque, opera, and contemporary repertoire. Upon returning to the United States, he is delighted to have joined Quire Cleveland, Apollo’s Fire, and Contrapunctus in Cleveland, Chicago’s Music of the Baroque, Seattle Pro Musica, and Madison Bach Musicians.

Tenor Corey Shotwell is celebrated for his performance of 17th- and 18th-century music. He was praised for his Evangelist in J. S. Bach’s St. John Passion and another Bach Evangelist in the modern-era premiere of C. P. E. Bach’s St. Luke Passion of 1775. Operatic credits include Chicago’s Haymarket Opera Company and the Boston Early Music Festival. He sings with Apollo’s Fire and Opera Circle, as well as Quire. Recent soloist engagements include appearances with the Newberry Consort, Bella Voce, Bach Collegium-Fort Wayne, and Chicago Bach Ensemble. A native of Michigan, he is a graduate of the Cleveland Institute of Music and Western Michigan University. coreyshotwell.com

Beverly Simmons is a mezzo-soprano, graphic de-signer, and Executive Director of Quire Cleveland,

which she co-founded. She earned a doctorate in early music at Stanford University, before moving to Cleveland in 1978. Her career has included stints as a CWRU music professor, WCLV radio announcer, international artist manager, concert producer, arts administrator, and

mother of two. She founded the CWRU Early Music Singers and has sung with Apollo’s Fire, as well as St. Paul’s Episcopal Church and Temple Tifereth-Israel. Bev is also half of the cabaret duo, Rent-a-Yenta.

Soprano Gail West has worked with such eminent artists as Julianne Baird, Emma Kirkby, Suzie LeBlanc, Paul Hillier, and Benjamin Bagby. Currently a voice student of Ellen Hargis, she has been a member of Apollo’s Fire since its founding. Gail has

been a member of CWRU’s Early Music Singers for over 20 years and is a soprano soloist at Church of the Good Shepherd. She lives in Cleveland Heights with her husband and three children.Countertenor Jay White sang 8 seasons with the internationally acclaimed en-semble Chanticleer, recording 14 albums and garnering two Grammy Awards. As an interpreter of medieval, Renaissance, and baroque repertoire, he has appeared at festivals worldwide and has been fea-tured on national and international radio. Trained at Indiana University’s Early Music Institute and the University of Maryland, he taught at the University of Delaware and DePauw University. Jay is now Associate Professor of Voice at Kent State University.

conductor John Drotleff special guests Choral scholars from area high schools

HayDn’s “Harmoniemesse” anD Dvorak’s “Te Deum”

magnifiCaT CenTer for THe Performing arTs, 20770 HilliarD BlvD., roCky river, oH

sunDay, aPril 23, 2017 - 7:30 Pm

Tickets $15, Students of all ages freeTickets at the door, online at westshorechorale.org or call 216-373-7773

Parking is free and handicap accessible

*

TEXTSGospel Translation by William Tyndale (1525–36)

[Regular font = Evangelist; Boldface = Chorus; Italics = Jesus]

The Passion of our Lord Jesus Christ according to St. Matthew

[Chap. XXVI] 1. And it came to pass, when Jesus had finished all these

sayings, he said unto his disciples: 2. Ye know, that after two days shall be Easter, and the son

of man shall be delivered, to be crucified. 3. Then assembled together the chief priests and the

scribes, and the elders of the people, to the palace of the high priest which was called Cayphas:

4. and held a council how they might take Jesus by subtlety, and kill him.

5. But they said: Not on the holy day. Lest any uproar arise among the people.

6. When Jesus was in Bethany, in the house of Simon the leper,

7. there came unto him a woman which had an alabaster box of precious ointment, and poured it on his head as he sat at the board.

8. When his disciples saw that, they had indignation, saying: What needed this waste?

9. This ointment might have been well sold, and given to the poor.

10. When Jesus understood that, he said unto them: Why trouble ye the woman? she hath wrought a good work upon me.

11. For ye shall have poor folk always with you, but me shall ye not have always.

12. And in that she casted this ointment on my body, she did it to bury me withal.

13. Verily I say unto you, wheresoever this gospel shall be preached throughout all the world, there shall also this that she hath done be told, for a memorial of her.

14. Then one of the twelve, called Judas Iscariot, went unto the chief priests,

15. and said: What will ye give me, and I will deliver him unto you? And they appointed unto him thirty pieces of silver.

16. And from that time, he sought opportunity to betray him.

17. The first day of sweet bread, the disciples came to Jesus, saying unto him: Where wilt thou that we prepare for thee, to eat the Easter lamb?

18. And he said: Go into the city unto such a man, and say to him, The master sayeth, My time is at hand; I will keep mine Easter at thy house with my disciples.

19. And the disciples did as Jesus had appointed them, and made ready the Easter lamb.

20. When the even was come, he sat down with the twelve.

21. And as they did eat, he said: Verily I say unto you, that one of you shall betray me.

22. And they were exceeding sorrowful, and began every man to say unto him: Is it I, Master?

23. He answered, and said: He that dippeth his hand with me in the dish, the same shall betray me.

24. The son of man goeth, as it is written of him; but woe be to that man, by whom the son of man shall be betrayed; it had been good for that man if he had never been born.

25. Then Judas, which betrayed him, answered, and said: Is it I, Master? He said unto him: Thou hast said.

26. As they did eat, Jesus took bread, and gave thanks, brake it, and gave it to the disciples, and said: Take, eat; this is my body.

27. And took the cup, and gave thanks, and gave it them, saying: Drink of it every one:

28. For this is my blood of the new testament, that shall be shed for many, for the remission of sins.

29. I say unto you, I will not drink henceforth of this fruit of the vine tree, until that day when I shall drink it new with you, in my father’s kingdom.

30. And when they had said grace, they went out into mount Olivet.

31. Then said Jesus unto them: All ye shall be offended by me this night; for it is written, I will smite the shepherd, and the sheep of the flock shall be scattered abroad.

32. But after I am risen again, I will go before you into Galilee.

33. Peter answered, and said unto him: Though all men should be offended by thee, yet would I never be offended.

34. Jesus said unto him: Verily I say unto thee, that this same night before the cock crow, thou shalt deny me thrice.

35. Peter said unto him: If I should die with thee, yet would I not deny thee. Likewise also said all the disciples.

36. Then went Jesus with them into a place which is called Gethsemane, and said unto the disciples: Sit ye here, while I go and pray yonder.

37. And he took with him Peter and the two sons of Zebedee, and began to wax sorrowful, and to be in agony.

38. Then said Jesus unto them: My soul is heavy even unto the death; tarry ye here, and watch with me.

39. And he went a little apart, and fell flat on his face, and prayed, saying: O my father, if it be possible, let this cup pass from me; nevertheless, not as I will, but as thou wilt.

40. And he came unto his disciples, and found them asleep: and said to Peter: What, could ye not watch with me one hour?

41. Watch and pray, that ye fall not into temptation; the spirit is willing, but the flesh is weak.

42. He went away once more, and prayed, saying: O my father, if this cup cannot pass away from me, but that I drink of it, thy will be fulfilled.

43. And he came, and found them asleep again; for their eyes were heavy.

44. And he left them, and went again, and prayed the third time, saying the same words.

45. Then came he to his disciples, and said unto them: Sleep henceforth, and take your rest; take heed! the hour is at hand, and the son of man shall be betrayed into the hands of sinners.

46. Rise, let us be going; behold, he is at hand that shall betray me.

47. While he yet spake, Lo! Judas, one of the twelve, came, and with him a great multitude, with swords and staves, which were sent from the chief priests, and elders of the people.

48. And he that betrayed him, had given them a token, saying: Whomsoever I kiss, that same is he; lay hands on him.

49. And forthwithal he came to Jesus, and said: Hail, Master! And kissed him.

50. And Jesus said unto him: Friend, wherefore art thou come? Then came they, and laid hands on Jesus, and took him.

51. And behold! One of them which were with Jesus stretched out his hand, and drew his sword; and struck a servant of the high priest, and smote off his ear.

52. Then said Jesus unto him: Put up thy sword into his sheath; for all they that lay hand on the sword, shall perish with the sword.

53. Either thinkest thou that I cannot now pray to my father, and he shall give me more than twelve legions of angels?

54. But how then should the scriptures be fulfilled? For so must it be.

55. The same time said Jesus to the multitude: Ye be come out as it were unto a thief, with swords and staves, for to take me; I sat daily teaching in the temple among you, and ye took me not.

56. All this was done, that the scriptures of the prophets might be fulfilled. Then all his disciples forsook him, and fled.

57. And they took Jesus, and led him to Cayphas, the high priest, where the scribes and the elders were assembled.

58. And Peter followed him afar off, unto the high priest’s place; and went in, and sat with the servants, to see the end.

59. The chief priests, and the elders, and all the council sought false witness against Jesus, for to put him to death:

60. but found none, in so much that when many false witnesses came, yet found they none. At the last, came two false witnesses,

61. and said: This fellow said: I can destroy the temple of God, and build the same in three days.

62. And the chief priest arose, and said to him: Answerest thou nothing? How is it that these bear witness against thee?

63. But Jesus held his peace. And the chief priest answered, and said to him: I charge thee in the name of the living God, that thou tell us whether thou be Christ, the son of God.

64. Jesus said to him: Thou hast said; nevertheless I say unto you, hereafter shall ye see the son of man sitting on the right hand of power, and come in the clouds of the sky.

65. Then the high priest rent his clothes, saying: He hath blasphemed; what need we of any more witnesses? Lo! Lo! now have ye heard his blasphemy, now have ye heard his blasphemy;

66. What think ye? They answered, and said: He is worthy to die!

67. Then they spat in his face, and buffeted him with fists; and others smote him with the palm of their hands on the face,

68. saying: Tell us, thou Christ, who is he that smote thee?

69. Peter sat without in the palace; and a damsel came to him, saying: Thou also wast with Jesus, with Jesus of Galilee.

70. But he denyed before them all, saying: I wot [know]not what thou sayst.

71. When he was gone out into the porch, another wench saw him, and said unto them that were there: This fellow was also with Jesus of Nazareth.

72. And again he denyed with an oath that he knew the man.

73. And after a while, came unto him they that stood by, and said unto Peter: Surely, surely thou art even one of them; for thy speech, thy speech bewreyeth [betrayeth] thee.

74. Then began he to curse, and to swear that he knew not the man. And immediately the cock crew.

75. And Peter remembered the words of Jesu, which said unto him: “Before the cock crow, thou shalt deny me thrice.” And went out at the doors, and wept bitterly.

[Chap. XXVII] 1. When the morning was come, all the chief priests

and the elders of the people held a council against Jesu, to put him to death.

2. And brought him, bound, and delivered him unto Pontius Pilate, the deputy.

3. Then when Judas, which betrayed him, saw that he was condemned, he repented himself, and brought again the thirty plats of silver to the chief priests and elders,

4. saying: I have sinned, betraying the innocent blood. And they said: What is that to us? see thou to that.

5. And he cast down the silver plats in the temple, and departed, and went and hung himself.

6. And the chief priests took the silver plats, and said: It is not lawful for to put them into the treasury, because it is the price of blood.

7. And they took counsel, and bought with them a potter’s field, to bury strangers in.

8. Wherefore that field is called the field of blood, until this day.

9. Then was fulfilled, that which was spoken by Jeremy

the prophet, saying: And they took thirty silver plats, the price of him that was valued, whom they bought of the children of Israel:

10. and they gave them for the potter’s field, as the Lord appointed me.

11. Jesus stood before the deputy; and the deputy asked him, saying: Art thou the king of the Jews? Jesus said unto him: Thou sayest.

12. And when he was accused of the chief priests and elders, he answered nothing.

13. Then said Pilate unto him: Hearest thou not, how many things they lay against thee?

14. And he answered him never a word, insomuch that the deputy marveled greatly.

15. At that feast, the deputy was wont to deliver unto the people a prisoner, whom they would desire.

16. He had then a notable prisoner called Barrabas. 17. And when they were gathered together, Pilate said

unto them: Whether will ye that I give loose unto you? Barrabas, or Jesus, which is called Christ?

18. For he knew well, that for envy they had delivered him.

19. When he was set down to give judgment, his wife sent to him, saying: Have thou nothing to do with that just man; I have suffered many things this day in a dream about him.

The RevoluTionaRy

BeethovenBaroque orchestra

j e a n n e t t e s o r r e l l

216.320.0012 | apollosfire.org

Noah Bendix-Balgley, violinJeannette Sorrell, conductor

APRIL 27-30

Apollo’s Fire’s 25th AnniversAry FestivAl

20. But the chief priests and the elders had persuaded the people that they should ask Barabbas, and should destroy Jesus.

21. The deputy answered, and said unto them: Whether of the twain will ye that I let loose unto you? And they said: Barrabas!

22. Pilate said unto them: What shall I do then with Jesus, which is called Christ? They all said to him: Let him be crucified!

23. Then said the deputy: What evil hath he done? And they cryed the more, saying: Let him be crucified!

24. When Pilate saw that he prevailed nothing, but that more business was made, he took water, and washed his hands before the people, saying: I am innocent of the blood of this just person; and that ye shall see.

25. Then answered all the people, and said: His blood be on us, and on our children.

26. Then let he Barabbas loose unto them, and scourged Jesus, and delivered him to be crucifyed.

27. Then the soldiers of the deputy took Jesus unto the common hall, and gathered unto him all the company:

28. and they stripped him, and put on him a purple robe: 29. and plaited a crown of thorns, and put upon his head,

and a reed in his right hand; and bowed their knees before him, and mocked him, saying: Hail, hail, king of the Jews!

30. And spitted upon him, and took the reed, and smote him on the head.

31. And when they had mocked him, they took the robe off him again, and put his own raiment on him, and led him away to crucify him.

32. And as they came out, they found a man of Cyrene, named Simon; him they compelled to bear his cross.

33. And when they came unto the place called Golgotha (that is to say, a place of dead men’s skulls),

34. they gave him vinegar to drink, mixed with gall; and when he had tasted thereof, he would not drink.

35. When they had crucifyed him, they parted his garments, and did cast lots, to fulfill that was spoken by the prophet: “They divided my garments among them, and upon my vesture did cast lots.”

36. And they sat and watched him there. 37. And they set up over his head the cause of his death,

written, “This is Jesus, the king of the Jews.” 38. And there were two thieves crucifyed with him, one

on the right hand, and another on the left. 39. They that passed by reviled him, wagging their heads, 40. and saying: Thou, thou that destroyest the temple

of God, and buildest it in three days; save thyself; if thou be the son of God, come down from the cross.

41. Likewise also the high priests, mocking him, with the scribes and elders, said:

42. He saved others, himself he cannot save; if he be the king of Israel, let him now come down from the cross, and we will believe him:

43. he trusted in God, let Him deliver him now, if He will have him; for he said, I am the son of God.

44. That same also, the thieves, which were crucifyed with him, cast in his teeth.

45. From the sixth hour was there darkness over all the land, unto the ninth hour.

46. And about the ninth hour, Jesus cryed with a loud voice, saying: Eli, Eli, lama asbathani. That is to say: My God, my God, why hast thou forsaken me?

47. Some of them that stood there, when they heard that, said: This man calleth for Elias.

48. And straightway one of them ran, and took a sponge, and filled it full of vinegar, and put it on a reed, and gave him to drink.

49. Others said: Let be; let us see whether Elias will come and deliver him.

50. Jesus cryed again with a loud voice, and yielded up the ghost.

51. And behold! The veil of the temple did rent in twain, from the top to the bottom, and the earth did quake, and the stones did rent:

52. and graves did open, and the bodies of many saints which slept, arose:

53. and came out of their graves after his resurrection, and came into the holy city, and appeared unto many.

54. When the Centurion, and they that were with him watching Jesus, saw the earth quake, and those things which happened, they feared greatly, saying: Of a surety, this was the son of God.

55. And many women were there beholding him afar off, which followed Jesus from Galilee, minist’ring unto him.

56. Among the which was Mary Magdalen, and Mary the mother of James and Joseph, and the mother of Zebedee’s children.

57. When the even was come, there came a rich man of Arimathaea, named Joseph, which same also was Jesus’ disciple.

58. He went to Pilate, and begged the body of Jesus. Then Pilate commanded the body to be delivered.

59. And Joseph took the body, and wrapped it in a clean linen cloth,

60. and put it in his new tomb, which he had hewn out, even in the rock; and rolled a great stone to the door of the sepulcher, and departed.

61. And there was Mary Magdalen and the other Mary, sitting over against the sepulcher.

“Ah, gentle Jesu!”“Who is that, that doth me call?”“I, a sinner, that oft doth fall.”“What wouldst thou have?”“Mercy, Lord, of thee I crave.”“Why, lovest thou me?”“Yea, my Maker I call thee.”“Then leave thy sin, or I nill thee,

and think on this lesson that now I teach thee.”“Ah, I will, I will, gentle Jesu.”

1. Upon the cross nailed I was for thee, Suffer’d death to pay thy ransom; Forsake thy sin, man, for the love of me; Be repentant, make plain confession. To contrite hearts I do remission; Be not despaired, for I am not vengeable; Gayne gostly enmys thynk on my passion; Why art thou froward, sith I am merciable? “Ah, gentle Jesu!”

2. My bloody wounds down railing by this tree, Look on them well, and have compassion; The crown of thorn, the spear, the nailes three, Pierc’d hand and foot of indignation, My heart riven for thy redemption. Let now us twain in this thing be treatable: Love for love be just convention. Why art thou froward, sith I am merciable? “Ah, gentle Jesu!”

3. I had on Peter and Mawdlin pity For thy contrite of thy contrition; Saint Thomas of Indes in crudelity He put his handes deep in my side adown. Role up this matter; grave it in thy reason! Sith I am kind, why art thou unstable? My blood best treacle for thy transgression; Be thou not froward, sith I am merciable. “Ah, gentle Jesu!”

4. Think again, pride, on my humility; Come to school; record well this lesson; ’Gainst false envy think on my charity, My blood all spent by distillation. Why did I this? To save thee from prison; Afore thine heart hang this little table, Sweeter than balm ’gainst ghostly poison: Be thou not afraide sith I am merciable. “Ah, gentle Jesu!”

5. Lord, on all sinful here kneeling on knee, Thy death rememb’ring of humble affection, O Jesu, grant of thy benignity That thy five welles plenteous of fusion, Called thy five wounds by computation, May wash us all from surfeits reprovable. Now for thy mother’s meek mediation, At her request be to us merciable. “Ah, gentle Jesu!”

ChoralArtsClevelandDirector,MartinKessler

Choral Arts is devoting its 42nd musical season to the environmental seasons with Haydn's oratorio The Seasons as the focal point. Movements of the oratorio will be presented throughout 2016-2017 along with selected companion pieces by composers such as Bob Chilcott, Paul Hindemith, Kurt Weill. The Seasons movements will be accompanied by orchestra with soloists Marian Vogel, soprano, Timothy Culver, tenor, and John Watson, bass. The Seasons “Autumn” movement: Sunday, November 20, 2016 The Seasons “Winter” movement:Sunday, February 26, 2017

The Seasons “Spring” and “Summer” movements: Sunday, May 7, 2017

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

Saturday, May 20, 2017 at 7:30 pm

Rock Around the Clock

Saturday, March 4, 2017 at 7:30 pm

There’s No Place Like Home

Highlighting influential musicians from the Renaissance to the Rock & Roll era.

The Many Moods of Christmas

Saturday, December 10, 2016 at 7:30 pm

singersclub.org

2016-17 SEASON

OF CLEVELAND

At the Breen Center for the Performing Arts2008 W. 30 St. & Lorain Ave.

Songs and stories from yesterday and today.

Music to ring in the season.

Group pricing is available!

QBoard of Directors

Richard Rodda, ph.d., President Diane Schwartz, Development

Fr. Robert Kropac, Community Outreach John McElliott, Secretary

Gerald P. Weinstein, ph.d., cpa, TreasurerRoss W. Duffin, d.m.a., Artistic Director

Beverly Simmons, d.m.a., Executive Director

Box Office Manager: Ann Levin

Recording Engineer: Michael Bishop

c Quire Cleveland a 501(c)(3) tax-exempt, nonprofit organization.

DECEMBER 6 ... JUILLIARD STRING QUARTETJANUARY 17 ... CHAMBER MUSIC SOCIETY OF LINCOLN CENTER FEBRUARY 7 ... BERLIN PHILHARMONIC WIND QUARTET

MARCH 21 ... JERUSALEM QUARTETAPRIL 18 ... TAKÁCS QUARTET

CLEVELAND CHAMBER MUSIC SOCIETY216.291.2777

www.ClevelandChamberMusic.org

ACKNOWLEDGMENTSQuire Cleveland is grateful to St. Bernard Parish, Fr. Dan Reed, Pastor; St. Paul’s Episcopal Church, The Rev. Jeanne Leinbach, Rector, and Karel Paukert, Director of Music; and to Historic St. Peter Church, Fr. Robert Kropac, Pastor, for hosting Quire Cleveland. We also wish to thank our generous donors:Magister $2,500+Billow Funeral HomesCuyahoga Arts & CultureOhio Arts CouncilSimmons/Duffin Family Fund

of the Dayton Foundation

Cantus $1,000–$2,499Janet Curry & Richard RoddaJohn McElliottElva RustDiane & Lewis SchwartzGerald P. Weinstein

Altus $500–$999Arthur V. N. BrooksShannon CanavinMichael Anne JohnsonBrenda Logan

in memory of Thomas KnabDr. Alan Rocke & Cristine RomSarah Steiner

Tenor $250–$499John & Laura Bertsch Becky Bynum & Phil Calabrese Eaton Corporation Charitable FundSteve & Carolyn KuerbitzJim & Jenny MeilE. William PodojilLarry Rosche & Judy Semroc

in honor of Dr. Lisa Rainsong

Bassus $100–$249AnonymousEdward AlixBonnie BakerClurie BennisJoanne BlazekLloyd Max Bunker & Anthony Bianchi Terry BoyarskyLucy Chamberlain Drs. Virginia & Matthew CollingsAnne CookDr. Roman & Dr. Diana Dale

Peter & Mary Gerhart David & Loraine HammackRichard & Bernice JefferisUrsula KorneitchoukAlexander Kuszewski Harriett R. Logan

in memory of Thomas KnabDr. & Mrs. Stephen Mahoney Richard Marschner & Wiley CornellGeraldine McElliottJean M. Minnick

in honor of Donna FagerhaugDr. Jenifer NeilsRussell OberlinElizabeth & David RothenbergLee & Brenda SkidmoreMr. & Mrs. William E. SpatzKathryn WestlakeContratenor up to $99Anonymous (6)Christa AckerTom & Beverly BarrPatricia BrownellDavid C. CarverLucy ChamberlainAnne CookGayle CrawfordEllen & Robert ErzenDavid & Kathleen FarkasPaul FergusonKristin Firth & Jay M. TaylorBruce GrasserMaureen & Francis GreiciusCharles GriffithByron & Elizabeth HaysLiz HuffDonald J. JacksonGale & Jim JacobsohnEric & Sue KischSarah & Michael KnoblauchClayton KoppesDorothy LungmusArlene & J. Adin Mann, Jr.

Michael Miller Antoinette S. MillerNancy M. MillerPaula Mindes & George GilliamDon NashFr. David NovakCarolyn & Perry PeskinJoanne PoderisGay & Quentin QuereauJane RichmondLinda RoyerCynthia SeamanRev. Dianne ShireyDean & Judith SieckShirley SimmonsNancy Stemmer & Laura SimsDaniel & Andrew Singer-SordsElizabeth SnyderRichard SnyderKent & Nancy SpelmanSarah SteinerNancy Stemmer & Laura SimsPhilip & Sarah TaylorNancy TuttleBancroft TwaddellVanessa VeselyMary WarrenRichard WeberSara Rouse WotmanJen & Chad WrightSheila WyseEdith YergerNancy ZambieDoreen A. ZiskaThanks also to the English-Speaking Union Cleveland Branch, John Rampe, Jr.; The Hermit Club; Case Western Reserve University Special Collections, Melissa Hubbard, Eleanor Blackman, Arnold Hirshon; 104.9 WCLV; 90.3 WCPN; WKSU 89.7; Ωort∞simo design; Micrologus Music Press; Spunmonkey Design; Beth Segal Photography.

Donors listed from the current seasons. Please let us know of any errors or omissions in attribution.

The Ohio Arts Council helped fund this program with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.

The St. Matthew Passion by Richard Davy is supported in part by the resi-dents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.

Act one begins

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

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

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Beck Center for the Arts

10QuireCleveland

announcing Quire Cleveland’s 10th Anniversary Season

2017–2018Thanks to you — our audience, donors, sponsors, and friends — Quire Cleveland celebrates a decade of glorious choral music with a tenth season of new & old favorites, plus some surprises!

Mark your calendars! And stay tuned — visit quirecleveland.org to get the latest updates and to join the Quire Cleveland email list for announcements & news.

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

October 29, 2017 Sing You After Me: Wondrous Rounds & Canons Holy Trinity Lutheran Church, Akron December 15–17, 2017 Carols for Quire from the Old & New Worlds ix Cleveland & Akron

April 27–29, 2018 Let the Heavens Rejoice: Celebratory Psalms for Voices & Instruments Cleveland & Akron

s A Collaboration between Quire Cleveland & Les Délices

*Programs and dates subject to change.

CD Sale! $10 each /

$5 with purchase of another CD*

*limit 1 $5 CD per full-price CD

Carols for Quire Volume 3

The Land of Harmony American Choral Gems

Madrigalian Motets from Jacobean England

Carols for Quire Volume 2

Take Quire home with you . . .

Ross W. Duffin Artistic Director

England’s PhœniX:William Byrdd i v i n e m u s i c f o r c h o i r

Mass for 5 Voices, Anthems & Motets

ClevelandQuire

New Release! England’s Phœnix: William Byrd

$15 each / 2 for $25*

& there’s lots of other great Quire bling

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