Young Artists ChorusYoung Artists Orchestra

PAUL HAAS, conductor

Saturday July 28, 20122:30pmSeiji Ozawa Hall

Boston UniversityTanglewood Institutepresents

COLLEGE OF FINE ARTS ADMINISTRATIONBenjamin E. Juarez, DeanRobert K. Dodson, Director, School of MusicJim Petosa, Director, School of Theatre ArtsLynne Allen, Director, School of Visual ArtsJohn Amend, Assistant Dean of Finance and AdministrationPatricia Mitro, Senior Assistant Dean of EnrollmentStephanie Trodello, Assistant Dean of Development and Alumni RelationsLaurel Homer, Director of Communications

DESIGN TEAM FOR SEIJI OZAWA HALLWilliam Rawn Associates, ArchitectLawrence Kierkegaard & Associates, AcousticianTheatre Projects Consultants, Inc., Theatrical Consultant

YOUNG ARTISTS ORCHESTRA PROGRAMFACULTY AND STAFFRyan McAdams, ConductorPaul Haas, Conductor Mark Berger, Viola Coach, String Chamber MusicAriana Falk, Cello Coach, String Chamber MusicMichael Israelievitch, Percussion CoachDavid Krauss, Brass Coach, Brass Chamber MusicHyun Min Lee, Cello Coach, String Chamber MusicKai-yun Lu, Winds Coach, Wind Chamber MusicLaura Manko, Viola Coach, String Chamber MusicMiguel Perez-Espejo Cardenas, Violin Coach, String CoordinatorBrian Perry, Double Bass Coach, String Chamber MusicCaroline Pliszka, Violin Coach, String Chamber MusicClara Shin, Piano Chamber Music CoachSamuel Solomon, Percussion Coordinator and CoachKlaudia Szlachta, Violin Coach, String Chamber MusicHsin-Lin Tsai, Violin Coach, String Chamber MusicRonald Barron, Private Lessons Instructor, TromboneDan Bauch, Private Lessons Instructor, PercussionKevin Owen, Private Lessons Instructor, HornAndrew Price, Private Lessons Instructor, OboeMike Roylance, Private Lessons Instructor, TubaLinda Toote, Private Lessons Instructor, FluteJanet Underhill, Private Lessons Instructor, BassoonTiffany Chang, Orchestra/Chamber Music ManagerKory Major, Orchestra Librarian/Assistant Manager

BUTI ADMINISTRATIONPhyllis Hoffman, Executive and Artistic DirectorShirley Leiphon, Administrative DirectorLisa Naas, Director of Operations and Student LifeDavid Faleris, Program Administrator Emily Culler, Development, Alumni Relations, and Outreach OfficerGrace Kennerly, Publications CoordinatorManda Shepherd, Office CoordinatorMandy Kelly, Office InternBen Fox, Private Lessons CoordinatorTravis Dobson, Stage Crew ManagerMatthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage CrewMichael Culler, Recording EngineerShane McMahon, Recording EngineerXiaodan Liu, Piano Technician

YOUNG ARTISTS VOCAL PROGRAM FACULTY AND STAFFPhyllis Hoffman, DirectorAnn Howard Jones, Chorus ConductorElissa Alvarez, Vocal CoordinatorJoy McIntrye, Artist in ResidenceGeorge Case, Assistant Chorus Conductor/ Voice FacultyJonathan Cole, Voice FacultyMeredeth Kelly, Voice Faculty Evangelia Leontis, Voice FacultyVera Savage, Voice FacultyDana Schnitzer, Opera Coordinator/Voice FacultyGregory Zavracky, Theory Coordinator/Voice FacultyJustin Blackwell, Choral PianistMichael Dauterman, Choral Pianist/Vocal CoachAugustine Gonzales, Pianist/Vocal CoachGretchen Peery-Hewitt, Pianist/Vocal CoachMaja Tremiszewska, Pianist/Vocal Coach

SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE IS PROVIDED BY:

Florence Gould AuditoriumSeiji Ozawa Hall

TanglewoodYoung Artists ChorusYoung Artists OrchestraPaul Haas, conductor

BERNSTEIN Symphony No. 1, “Jeremiah” Prophecy Profanation Lamentation

Tammy Coil, mezzo soprano

~Intermission~

BEETHOVEN Mass in C major, op. 86

Kyrie Gloria (Qui tollis – Quoniam) Credo Sanctus (Benedictus – Osanna) Agnus Dei (Dona nobis pacem)

Young Artists Chorus Ann Howard Jones, conductor Dana Schnitzer, soprano Vera Savage, mezzo soprano Gregory Zavracky, tenor Jonathan Cole, baritone

This program is supported in part by awards from the Jack Kent Cooke Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation Irving Caesar Fund, Zildjian, and the Bose

Foundation.

Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music.

Rehearsal space is provided In Kind by Lenox Commons.

PAUL HAAS, conductor

According to The New York Times, Paul Haas “is surely on the brink of a noteworthy career.” Time Out New York calls him a “visionary”. He is the Music Director of the Symphony of Northwest Arkansas (SoNA), and his guest conducting engagements have included performances with the Orchestra of St. Luke’s, San Antonio Symphony, the Rochester Philharmonic Orchestra, the Fort Worth Symphony Orchestra, and the New World Symphony, among others, as well as festival appearances. Recently, Paul’s performance with the National Symphony Orchestra and Itzhak Perlman as soloist caused the Washington Post to write:

“The young conductor Paul Haas was all about fresh thinking and visceral engagement. His musicmaking…revealed a keen musical mind and an impressive feeling for the natural pulse and trajectory of a score… Haas’s sensitivity to rhythmic and dynamic gradation, and his ability to marry heartfelt expression with disciplined playing from the NSO…would have been impressive in a conductor three times his age. If Thurs-day’s concert was an accurate barometer of his talents, Haas is headed for a significant podium career.”

As former Music Director of the renowned New York Youth Symphony, which performs regularly at Carnegie Hall, Mr. Haas and the NYYS were awarded the ASCAP-League of American Orchestras Leonard Bernstein Award for Educational Programming, the first and only time that coveted award has ever been presented to a youth orchestra. Recently, Mr. Haas was selected out of hundreds to perform in the League of American Orchestras’ prestigious National Conductor Preview.

Haas also enjoys an active composing career. He conducted the premiere of his “Matthew Says” for orchestra, chorus, and two violin soloists at Carnegie Hall in 2007 and has premiered nine other orchestral pieces of his in New York City during recent seasons. San Francisco-based Hope Mohr Dance commissioned a large-scale score by Haas, premiering the work (“The Unsayable”) in March 2011. Recently, New York Magazine singled out Haas as one of the “New New York School” of composers.

In addition to his orchestral engagements, Haas is the founder and Artistic Director of Sympho, a trailblazing concert production company that creates powerful and emo-tional musical experiences, collaborating with leading artists and using unexpected performance methods and unorthodox venues. “Refits the Classical Experience for a New Century,” proclaimed The New York Times headline for Sympho’s first concert. “Something momentous has occurred,” raved the San Francisco Chronicle. And Sym-phony Magazine declared, “Something important was happening, something with emotional stakes.”

In February 2011, Sympho and Haas created a critically-acclaimed concert event for the opening night of the Park Avenue Armory’s Tune-In Music Festival, ranked by New York’s WQXR FM as the “Top New Music Event of 2011”. Recent events include a site-specific concert commission for Ann Hamilton’s Tower, an 80-foot sculpture and per-

BOSTON UNIVERSITY COLLEGE OF FINE ARTS

The Boston University Tanglewood Institute is part of the educational and artistic pro-grams of the Boston University School of Music. Founded in 1873, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas.

Founded in 1839, Boston University is an internationally recognized private research university with more than 30,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multi-disciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and gradu-ate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intel-lectual activity.

formance venue in Sonoma County, California, whose past performances have featured the likes of Kronos Quartet and Meredith Monk. For more information about Sympho, please visit www.SymphoConcerts.org.

Paul Haas is a graduate of Yale University and The Juilliard School, where he studied conducting as a Bruno Walter Fellow with Otto-Werner Mueller. His other conducting teachers include Michael Tilson Thomas and Leonard Slatkin. He also studied opera conducting in Dresden, Germany, at the Hochschule für Musik. Haas currently resides in New York City with his wife and two daughters.

Young Artists ChorusANN HOWARD JONES, conductor

Ann Howard Jones is Professor of Music and Director of Choral Activities at Boston University. She conducts the Symphonic and Chamber Choruses, supervises conduct-ing students in the Concert Chorus and the Women’s Chorale, teaches graduate choral conducting, and administers the Master of Music and Doctor of Musical Arts programs in Choral Conducting. Dr. Jones is also the conductor of the BU Tanglewood Institute Young Artists Vocal Program Chorus, an auditioned ensemble of high school singers which rehearses and performs at Tanglewood in the summer.

Recognized as a distinguished clinician, adjudicator, teacher and conductor, she has led many all state and regional choruses, workshops and master classes in the US, Europe, South America, Canada, and Asia. She has been invited to teach and conduct at North Texas, Michigan State, Missouri, University of Miami, San Diego State, University of Missouri-Kansas City, Southern Methodist University, and Westminster Choir College of Rider University, University of Kentucky, and the University of New Mexico.

From 1984-1998, Dr. Jones was the assistant conductor to the late Robert Shaw and the Atlanta Symphony choruses, where she was Assistant Conductor for Choruses, sang in the alto section, assisted with the Robert Shaw Chamber Singers and helped to organize the Robert Shaw Institute. She sang and recorded with the Festival Singers both in France and in the U.S. The Festival Singers were also represented in perfor-mances of major works for chorus and orchestra at Carnegie Hall in a series of perfor-mance workshops. After Shaw’s death in 1999, Dr. Jones was invited to conduct the Robert Shaw Tribute Singers for the American Choral Directors Association confer-ences in San Antonio and Orlando.

Choruses at Boston University have been invited to appear at conventions of the American Choral Directors Association (ACDA) in Boston and New York City. Dr. Jones has traveled with a group of BU graduate students to Padua and Venice, Italy, to per-form and to study. A similar trip was made to Oslo and Bergen, Norway. In the spring of 2009, the graduate conducting students joined Dr. Jones at the national convention of ACDA in Oklahoma City, where she was invited to prepare and conduct the world premiere of a work by Dominick Argento. The conductors sang in the chorus and as-

BOSTON UNIVERSITY TANGLEWOOD INSTITUTE

The Boston University Tanglewood Institute is a program within the School of Music in the College of Fine Arts at Boston University.

In 1966, educational programs at Tanglewood were extended to younger students of high-school age, when Erich Leinsdorf invited the Boston University College of Fine Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk-shires.

Today, the Boston University Tanglewood Institute, in its unique association with the Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter-nationally as an outstanding educational opportunity for young artists. Under the guidance of dedicated, established professionals, and in the constant presence of the Boston Symphony Orchestra, young people devote themselves each summer to an artistic experience without parallel.

YOUNG ARTISTS PROGRAMS

Young Artists Orchestra and Chamber Music ProgramYoung Artists Vocal ProgramYoung Artists Composition ProgramYoung Artists Piano ProgramYoung Artists Wind Ensemble and Chamber Music ProgramYoung Artists Harp Seminar

INSTITUTE WORKSHOPS

Flute Workshop Saxophone Workshop Tuba/Euphonium WorkshopOboe Workshop Horn Workshop Percussion WorkshopClarinet Workshop Trumpet Workshop Double Bass WorkshopBassoon Workshop Trombone Workshop String Quartet Workshop

For further information about auditions and program offerings, please contact the BUTI office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan-glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August). You may also contact us via e-mail at tanglewd@bu.edu. Website: http://www.bu.edu/tanglewood

sisted in the preparations for the performance. Among the honors which Dr. Jones has received are the coveted Metcalf Award for Excellence in Teaching from Boston Univer-sity, a Fulbright professorship to Brazil, and a lectureship for the Lily Foundation. At the National Conference of the American Choral Directors Association on March 9, 2011, Dr. Jones was named the recipient of the Robert Shaw Choral Award for distinguished service to the profession, the highest award given by the association.

Dr. Jones is a native of Iowa, and her degrees are from the University of Iowa.

TAMMY COIL, mezzo soprano

Tammy Coil has been praised for her “engagement and amber warmth,” by Ann Midgette of the Washington Post. Most recently, her performance as Mercedes in Car-men with the Opera Company of Philadelphia, “was truly outstanding in both vocals and characterization.” (Bachtrach Reporter) Ms. Coil is equally at home in classical and contemporary music in both the opera and recital world. She spent the summer of 2010 as an apprentice artist with Santa Fe Opera. Ms. Coil was a member of the 2010 Opera on the Go! Program with the Opera Theater of St. Louis singing the role of Cherubino. Ms. Coil participated in the inaugural Chateauville Festival performing the role of Nancy in Albert Herring under the baton of Lorin Maazel. In 2009, she sang the roles of L’Ecureuil, La Bergere and La Chatte in L’enfant et les Sortileges as well as Zulma in L’Italiana in Algeri with the Opera Company of Philadelphia. Tammy holds the Master of Music Degree from The Curtis Institute where she sang numerous roles, each “summoning up vocal fire,” (Diane Burgwyn, Opera Now) including Margaret in Wozzeck and Lorca in Golijov’s Ainadamar in collaboration with the Opera Company of Philadelphia and the Kimmel Center. Other roles performed during her time at Curtis include Cherubino in Le Nozze di Figaro, Lady with a Hatbox in Postcard From Morrocco, and Sicle in L’Ormindo. Ms. Coil earned the Bachelor of Music degree from The Juilliard School where she sang Zwei Dame in Die Zauberflote with The Juilliard Opera Work-shop and Tasse Chinoise and the Libellule in L’enfant et les Sortileges with Juilliard Opera Center. She has also appeared with the Santa Fe Opera as an Apprentice Artist and with the Opera Theater of St. Louis as a member of the Gerdine Young Artist Program. Ms. Coil performed the title role in L’enfant et les Sortileges with the Opera Theater New Jersey in their premiere season. At the Chautauqua Institution she performed Octavia in L’incoronatizione di Poppea and Dorabella in Cosi fan tutte. Most recently, she was a soloist in the New York Philharmonic’s production of Candide and appeared at the Ken-nedy Center with Marvin Hamlisch and Lorin Maazel.

DANA SCHNITZER, soprano

Praised for her “stunning voice” that “rang clearly through the house” soprano Dana Schnitzer continues to amass accolades for her numerous operatic roles that include Fiordiligi in Cosi fan tutte; Rosalinda, in Die Fledermaus; and Giannetta in L’elisir d’amore , the latter performed at the prestigious Caramoor Festival In New York. She has also performed with Connecticut Lyric Opera, Commonwealth Opera and the Boston Opera

BOSTON UNIVERSITY TANGLEWOOD INSTITUTEUPCOMING EVENTS

Sunday, July 29, 4:00pm Ventfort Piano Recital Series BOAZ SHARON

Ventfort Hall Mansion

Monday–Wednesday, July 30–August 1, 6:00pm Young Artists OrchestraStudent Chamber Music Recital

Chamber Music Hall

Saturday, August 4, 11:00am Young Artists Piano Program Student Recital

West Street Theatre

Saturday, August 4, 2:30pm BUTI Honors RecitalSeiji Ozawa Hall

Sunday, August 5, 11:30am Young Artists Harp Program Student Recital

West Street Theatre

Sunday, August 5, 2:00pm Young Artists Vocal Program Student Recital

West Street Theatre

Sunday, August 5, 7:00pm Young Artists Composition Program Student Recital

West Street Theatre

Monday, August 6, 11:00am Young Artists Vocal Program Student Recital

West Street Theatre

Monday, August 6, 6:00pm Young Artists Vocal Program Student Recital

West Street Theatre

Tuesday, August 7, 2:00pm Tanglewood on ParadeYoung Artists Orchestra and Chorus

Tanglewood Main Grounds

For more information on our events, please contact our office at (413) 637-1431.

West Street Theatre, 45 West Street, Lenox, MassachusettsChamber Music Hall, Tanglewood Main Grounds

Seiji Ozawa Hall, Tanglewood Main GroundsVentfort Hall Mansion, 104 Walker Street, Lenox, Massachusetts

Collaborative. She recently covered the role of Leonora in Beethoven’s Fidelio with Opera Boston.

Highlights of Ms. Schnitzer’s concert and oratorio performances include Vaughan Wil-liams’s Sea Symphony, the Brahms Requiem and the Bach B Minor Mass with the Met-ropolitan Chorale; the Beethoven Mass in C with the Newton Choral Society; the Bach Magnificat, Mozart Requiem and Mendelssohn’s St. Paul with the Choral Art Society; Handel’s Messiah and Faure’s Requiem with the Masterworks Chorale; and Mahler’s Rückertlieder with the Arlington Philharmonic.

Ms. Schnitzer was awarded the 2012 St. Botolph Emerging Artist Grant for excellence in music. She was a finalist in the 2009 Liederkranz Competition and winner of the Ar-lington Philharmonic Competition, and was among the winners in the Boston Regional Auditions of the Metropolitan National Council Auditions. She has attended several young artists programs including the Caramoor Bel Canto Young Artists Program, POR-Topera Emerging Artists Program, the Britten-Pears Young Artist Programme, and the Brevard Music Center/Janiec Opera Company.

Dana Schnitzer holds the Bachelor of Music degree from UMASS Amherst, the Master of Music degree from the New England Conservatory, and will complete the Doctor of Musical Arts degree at Boston University in 2013. In addition to maintaining a large private voice studio, she is Founder/Artistic Director of Metro West Opera, adjunct fac-ulty at Mount Holyoke College, and a member of the faculty of the Young Artists Vocal Program at the Boston University Tanglewood Institute.

VERA SAVAGE, mezzo soprano

Vera Savage, mezzo soprano, recently performed the roles of the Prioress in Poulenc’s Dialogues of the Carmelites and Madeline Mitchell in Heggie’s Three Decembers in productions by the Boston University Opera Institute. The Boston Music Intelligencer described her portrayal of Mitchell as playing “ a convincing diva and… able to sing powerfully both operatically and as a Broadway baby”. And from the Bostonist, “ Vera Savage was “….stunning – a radiant and solid sound that brazenly approached even the most challenging moments of Heggie’s score”.

Ms. Savage has spent several summers as a young artist at the Caramoor Music Fes-tival where she covered the title role in Rossini’s Semiramide, Adalgisa in Norma, and the title role in Donizetti’s Maria di Rohan. Under stage director, Tito Capobanco, she performed the roles of Donna Elvira in Don Giovanni and Hannah Glawari in The Merry Widow.

A finalist in the Houston Grand Opera’s Eleanor McCollum Competition, Ms. Savage received the top vocal prize in the Arts and Letters competition at Bloomington, Indiana and second place in the Bel Canto Foundation of Chicago competition. She holds

*This list represents friends who supported the Boston University Tanglewood Institute between

July 2011 and June 2012.

If you are interested in joining the Friends of BUTI please contact Emily Culler, Development, Alumni

Relations, and Outreach officer at 617-353-8995 or ecc@bu.edu.

The Alabama Friends of BUTIBUTI salutes the Alabama Friends, a dedicated group of volunteers from the Montgomery Symphony, who demonstrate their passion for classical music and arts education by providing annual BUTI scholarships to stu-dents from Alabama. BUTI is also honored to participate annually in the Montgomery Symphony’s prestigious Blount-Slawson Young Artists Competition.

2012 Alabama Friends Teri A. Aronov Barbara B. Britton Dorothy D. Cameron Edith J. Crook Elizabeth B. Crump Dr. and Mrs. Benjamin J. Cumbus Dr. Dorothy M. DiOrio Eileene D. Griffith Mr. and Mrs. W. F. Joseph Jr.Mr. and Mrs. James E. Klingler Dae H. Miller Mr. and Mrs. Jerome T. Moore Jr.Beverly D. RossS. Adam Schloss Foundation, Inc. Winifred and Charles Stakely Helen J. Steineker Mr. and Mrs. Mose W. Stuart IIIElisabeth P. Thompson

The Kenneth L. Broad Memorial Scholarship FundThe Kenneth L. Broad Memorial Scholarship Fund awards a half-scholarship each year to a promising young baritone in the Young Artists Vocal Program. Founded by Laura Broad in 2009, in memory of her husband - a gifted baritone and passionate supporter of the arts and arts education - the fund is replenished each year by gifts from members and friends of the Broad family.

2012 Kenneth L. Broad Memorial Scholarship DonorsEsther-Ann AschLeonard AthertonBabson Capital ManagementRobert BarnesJames BoboLaura BroadHerta CarlinAudrey ChereskinRichard CoffeyNorma and Gilbert D’OliveiraWilliam DavidsonRachel DonnerBarbara GarveyMelvin GinsbergLynne and David HardingRandie HarmonTerence HeslinJohn LenardCarol LoneroSalvatore MacchiaMazotas FamilyStephen MooreLynn and Paul Morris

Allen MorrisonMichael MucciJoan NelsenEli NewbergerNortheast Utilities FoundationJeanne and Michael PaynePlumb FamilyBarbara RosenfeltHenry SalzKevin SchmidtAlan SchulmanSamuel SchulmanBarbara ShepetinPaul ShimerBarbara SimkinDavid SolomkinHugh TaylorHarry ThomasMarion WaleryszakHenry WalkerStephen WittenbergSamuel Zilka

ADVISORY BOARD OF THE BOSTON UNIVERSITY

TANGLEWOOD INSTITUTE

Richard BalsamEmily Borababy

Chester Douglass, chairWilbur Fullbright

Richard GrausmanSusan GrausmanEllen Highstein

Ellen Kazis-WalkerLucy Kim

Maureen MeisterJoy McIntyre

Beth MorrisonMichael Nock

Charles A. StakelyWinifred Stakely

the Bachelor of Music degree from the Oberlin Conservatory of Music, the Master of Music degree from Indiana University and is a candidate for the Doctor of Musical Arts degree at Boston University where she is a student of Penelope Bitzas.

Ms. Savage is currently a member of the faculty of the Young Artists Vocal Program at BUTI.

GREGORY ZAVRACKY, tenor

Gregory Zavracky, tenor, maintains an active career as performer, composer and teacher. His recent operatic roles include Count Almaviva in The Barber of Seville with Townsend Opera, Tamino in Boston Lyric Opera’s family production of The Magic Flute, Prince Dauntless in Once Upon a Mattress and Schmidt in Werther with Chautauqua Opera, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake George Opera, Ferrando in Così Fan Tutte and Camille in The Merry Widow with Cape Cod Opera, and Ernesto in Don Pasquale with Opera in the Heights in Houston. He has also recently been a soloist in Bach’s St John Passion, Mass in B Minor, and Magnificat, Handel’s Messiah, Mozart’s Mass in C minor and Vesperae de Dominica, Haydn’s Creation, Janácek’s Otcenás, and Orff’s Carmina Burana. A proponent of new music, Gregory has sung the premieres of Dan Shore’s Works of Mercy, Ketty Nez’s The Fiddler and the Old Woman of Rumelia, James Yannatos’ Rocket’s Red Blare, and Anthony de Ritis’ Three American Songs.

Currently a doctoral candidate in voice performance at Boston University, Gregory re-ceived Bachelor of Arts degree in music from Emory University, followed by Master of Music degrees from New England Conservatory in voice performance and opera stud-ies. At BU, he teaches class voice and private lessons for non-majors. He has taught private lessons for Norwood High School’s celebrated music program since 2001, and maintains a small private studio. This is his second summer teaching voice and theory for the Young Artists Vocal Program at BUTI. Among his recent compositions is the opera As You Like It from which he composed an act for the Young Artists opera scenes recital.

JONATHAN COLE, baritone

Jonathan Cole, baritone, is from Dallas, Texas and just completed two-year residency at the Boston University Opera Institute where, as a Phyllis Curtin Artist, he held the scholarship that honors Ms. Curtin, the founder of the Institute. The roles he per-formed with the Institute include the Marquis de la Force in Dialogues of the Carmelites, Count Robinson in Il Matrimonio Segreto, Mercutio in Romeo et Juliette, Charlie in Three Decembers (“As Charlie, Jonathan Cole nearly stole the show…..And his lament….was touching”), Guglielmo in Cosi fan tutte, Laurent in Therese Raquin, and Elder McLean in Susannah. With Central City Opera, he has performed as El Dancaire in Carmen, Mon-sieur Presto in Les mammelles de Tiresias, and the Father in Die sieben Totsunden.

FRIENDS OF THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE

$100,000 and aboveAnonymousJack Kent Cooke FoundationSurdna Foundation

$10,000 - $99,999National Endowment for the ArtsJohn Carey

$1,000 - $9,999ASCAP Foundation Irving Caesar FundBose FoundationRichard D. Carmel Charitable Remainder TrustChester and Joy DouglassMr. and Mrs. Peter EliopoulosDavid Feigenbaum and Maureen MeisterAnn and Gordon Getty FoundationSusan and Richard GrausmanPhyllis and Robert HoffmanEllen Kazis-WalkerElizabeth and Dean KehlerMargaret S. Lindsay FoundationJoy McIntyreKenneth D. Rudnick In memory of Diane T. Rudnick, Ph.D.The Ushers & Programmers Fund In honor of Robert and Dorothy DandridgeEllen and John Yates

$100 - $999 Samuel AdlerLorraine and Curtis AnastasioDaniel BalsamPaul BentelPhyllis BienerGeorge BorababyDavid N. BurnhamDeborah Burton Mr. and Mrs. Salvatore CaniaEmily and Michael CullerJane CarlsonBianca CarterKimberly CheikenMarjorie ClementBarbara CoburnMitchell CohenJohn Connor Robin DullIrma and Eli EtscovitzKathleen and Dennis FalerisRenee Plessner Fishman, Esq.Paula FolkmanLaurel FriedmanLorraine and Wilbur FullbrightSusan and Edward GoldsteinDeborah GrausmanMarian and Peter Hainsworth

Lynne and David HardingJohn HechtGudjonson Hermannsson and Yingxing WangYumi KendallLucy Kim and Dr. Matthew GuerrieriPhyllis and Harvey KleinRobert LeaDana and Yuri MazurkevichPeter McCallionMaryjane MinkinRoger MurrayCarl NathanSandra NicolucciPioneer InvestmentsAndrew PriceBenjamin Rudnick In honor of Kenneth D. Rudnick and in memory of Diane T. Rudnick, Ph.D.Sherri Rudnick In honor of Kenneth D. Rudnick and in memory of Diane T. Rudnick, Ph.D.Justine and Harvey SchusslerFenwick SmithChristine StandishSusan ThonisMr. and Mrs. Craig VickersLinda WildesCarol Woolman

Up to $99Anthony AccinnoLeslie BodenKatherine CanningJoel CaverlyDavid CohenDonna ConvicerBruce CreditorLaurence and Karen DusoldJacqueline FernandezLawrence FullertonJohn and Barbara GordonStephen HolzmanHelen HolzwasserAmy KawaJane KnoxBruce KozumaMichael LascoeChristopher LeeKathy MassaMarjorie MendelsohnCharles OvertonBrenda PattersonVicki M. and John R. RezzoEmma ShookJean StoutenboroughDavid TalleyStephanie Trodello

BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided full- and partial scholarships for our gifted young artists, as well as resources for new initiatives and special programs, for the 2012 season.*

YOUNG ARTISTS CHORUSAnn Howard Jones, conductorGeorge Case, assistant conductorMichael Dauterman, piano

SopranoVirginia Barefield, Port Saint Luci, FLMargaret Bickerstaff, Grosse Pointe, MIDesiree Dawson, Reisterstown, MDEmily Donato, Brooklyn, NYRebecca Finkelshteyn, Clive, IAChristine Jay, Norfolk, MALeah Kimball, Brooklyn, NYEvangelia Leontis*, Bowling Green, OhioKatherine Lerner Lee, Brooklyn, NYRebecca Lipstein, Suffern, NYRachel Liss, New York, NYMaggie McGuire, Tuscaloosa, ALKaren Notovitz, Great Neck, NYMallory Nuss, Vienna, VAIndia Rowland, Los Angeles, CAIvy Sanderfoot, Madison, WI Alexandra Selawsky-Group, Milton, MALucie Shelley, Washington, D.C.Hee So Son, New York, NYMargaret Tigue, Wantagh, NYAmy Weintraub, Fort Collins, COEmma Zyriek, Bel Air, MD

AltoLily Balshan, Atlanta, GaMadeline Bueter, Frisco, TXJulia Cohen, New Paitz, NYNicole Copeland, Kingwood, TXEmily D’Angelo, Toronto, OntarioRuby Dibble, Kansas City, MOTalia Fuchs, Brooklyn, NYAngela Gust, Clive, IASarita Gustely, Louisville, KYRosie Hughes, Atlanta, GASarah King, Riverside, CTHailey McAvoy, Natick, MAJessica Newman, Sudbury, MAHeather O’Donnell, Lake Oswego, ORBlossom Ojukwu, Brandywine, MDVera Savage*, Simsbury, CTRachel Steinberg, Stoughton, MAAntona Yost, Salt Lake City, UT

TenorIan Anstee, Havertown, PAIsaac Calvin, San Marino, CAGeorge Case*, Atlanta, GAEzekiel Covenant, Riverdale, MDChristian Davakis, Oradell, NJJohan Hartman, Glastonbury, CTMalik Lee, Baltimore, MDJoseph Lupa, Ludlow, MADavid McNeeley, Teaneck, NJGeorge Perry, Chevy Chase, MDRyan Schiller, La Canada Flintridge, CAIan Scott, Wilmington, DELucas Stilianos, Lynnfield, MAPharoah Williams, Philadelphia, PA

BassAlexander Bonner, Boca Raton, FLJonathan Cole*, Arlington, TXBenjamin Croen, New York, NYHenry Cummings, Milwaukee, WIAnthony Cutillo, Mansfield, MAMichael Dauterman*, Boston, MAJovon Eborn, Upper Marlboro, MDDylan Evans, Delray Beach, FLWilliam Krager, New Berlin, WIMatthias Kramer, Cary, NCMax Majillzadeh, Baltimore, MDMax Masuda-Farkas, Los Angeles, CAJackson Mitchell, Gig Harbor, WAAaron Overton, Wake Forest, NCEric Ritter, Baltimore, MDEvan Rocco, Valley Cottage, NYKyle Roeder, Jefferson, IAJuan Suarez, Boca Raton, FLJoshua Wolf, Elk River, MN

*denotes BUTI faculty/section leader

A proponent of new works, especially American opera, Jonathan Cole has had the op-portunity to work with eminent composers such as Carlisle Floyd, Jake Heggie, William Bolcom, Stephen Paulus, Lori Laitman, and Tobias Picker.

Mr. Cole is the winner of several competitions including the Crescendo Music Awards, the National M.T.N.A. and several Texas NATS competitions. He holds the Bachelor of Music degree from Baylor University, the Master of Music degree and the Opera Institute Certificate from Boston University. He will begin work as a candidate for the Doctor of Musical Arts degree at the University of Colorado, Boulder this fall. He is currently a member of the faculty of the Young Artists Vocal Program at the Boston University Tanglewood Institute.

ACKNOWLEDGEMENTS

Ann Howard Jones, conductor of the Young Artists Chorus, was to have conducted the chorus and orchestra in this performance of the Beethoven Mass in C but found it nec-essary to withdraw because of family illness. She has, however, continued her prepara-tion of the chorus for this concert for which we are deeply grateful.

We appreciate enormously that, on short notice, Paul Haas graciously accepted the responsibility for conducting this entire program.

We are pleased to present Tanglewood Music Center Vocal Fellow, Tammy Coil, mezzo soprano, in the solo role of the Bernstein Symphony No. 1, “Jeremiah” and we thank the TMC for supporting her preparation for this performance as part of her assignments for this season.

YOUNG ARTISTS ORCHESTRA

ViolinsHyunnew Choi, concertmaster #, Waban, MAJiayi Zheng, concertmaster +, Natick, MA Keanu Mitanga, principal 2nd #, Atlanta, GARay Anthony Trujillo, principal 2nd +, Elk Grove, CA

Ana Barrett, Irvington, NYEmelyn Bashour, Leverett, MAAnnie Chabot, Rimouski, QuebecShu-Chi Chang, Cypress, TXNaomi D’Amato, Duncanville, TXErin David, Miami, FLEvan De Long, Newbury Park, CAAlison Dooley, Cypress, TXJoanna Duncan, Tuscaloosa, ALSamuel Durben, Minneapolis, MNKathryn Drake, Burnet, TXDorian Elgers-Lo, Amherst, MAOliver Feng, Wayne, PAMichele Gardiner, Mesa, AZLia Hardy, Bainbridge Island, WAEmma Hathaway, Rutherford, NJItsva Hernandez, Roslindale, MAMelissa Ho, Miami, FLMinsoo Kim, Seoul, KoreaBrandon Lin, Kowloon Tong, KowloonJames Lin, Bridgewater, NJWilliam Lohrmann, Oslo, NorwayPio Molina, Miami, FLAlexis Shambley, Dallas, TXHarry Joo Hyung Song, Concord, NH Jeeyoung Sung, Phoenix, AZEmily Young, Bozeman, MT

ViolaLauren Brown, Boston, MASean Byrne, Chesterfield, MOEmilio Carlo, principal +, College Park, MDAlexander Chao, principal #, Seattle, WA Kenneth Chen, Needham, MA Claudia Huang, Pittsfield, NYBethany Lai, Temple City, CACarol Lee, Dix Hills, NYKatie Reinders, Portland, ORAri Shaw, West Palm Beach, FLSophia Sun, New York, NYJeremy Tonelli-Sippel, Whitinsville, MA Derek Yeung, Dix Hills, NY

CelloJacob Calix, principal #, South Pasadena, CAJames Cooper, Houston, TXEliot Haas, Shreveport, LAAlec Hon, principal +, Santa Ana, CAKang Huh, Nashville, TNTaylor Jensen, Bainbridge Island, WAErica Ogihara, Pinecrest, FLMitzi Okou, Norcross, GADavid Olson, Ashford, CTJeremy Steele, Seattle, WAMolly Steimle, Austin, TXXavier Wilson, Lancaster, TX

BassJordan Calixto, principal +, Boston, MAMoises Carrasco, Haverhill, MASamuel Casseday, Jacksonville, FLYi-Hsuan Chiu, Natick, MAPatrick Fowler, Potomac, MDWill Langlie-Miletich, Seattle, WA Joseph Newton, Dallas, TXKevin Thompson, Fairfax, VAPeter Walsh, principal #, Dallas, TX Sebastian Zinca, Miami, FL

FluteHae Jee Ashley Cho , Demarest, NJ Margaux Filet #, Davis, CA Madeline Naroff +, Palm Beach Gardens, FLRachel Rodgers, South Salem, NY

PiccoloHae Jee Ashley Cho , Demarest, NJ

OboeJonathan Gentry +, Frisco, TX Russell Hoffman, Mountain Lakes, NJMitchell Kuhn, Jacksonville, FL Joshua Lauretig #, Beachwood, OH

English HornRussell Hoffman, Mountain Lakes, NJ

ClarinetPeter Jalbert +, Stafford, TXAndrew O’Donnell, Tampa, FLBenjamin Tisherman, Katonah, NYAyaka Yoshida #, Great Neck, NY

Bass ClarinetAndrew O’Donnell, Tampa, FL

E-flat ClarinetAndrew O’Donnell, Tampa, FL

BassoonHarrison Miller, New Canaan, CTNicholas Ritter, Vienna, VA Arekson Sunwood +, Huntsville, ALJacob Thonis #, Wellesley, MA

Contra BassoonHarrison Miller, New Canaan, CT

HornJohn Michael Adair, Birmingham, AL Valerie Ankeney, Dayton, OH Rachel Boehl, Westhampton Beach, NYThea Humphries #, Kanata, ONBrooke Nance, Rochester, NYJeremy Odell +, Austin, TX TrumpetMaria Currie +, Rochester, NY Anthony Reyes #, Toronto, ONJulie Tsuchiya-Mayhew, St. Louis, MOCaitlin Williams, Herndon, VA

TromboneJasper Davis +, Spring, TXJoseph Dubas, Falls Church, VAMichael Shayte, Catonsville, MD

TubaColin Benton +, Peachtree City, GA

TimpaniGrant Hoechst #, McLean, VA Gregory LaRosa +, Downington, PA

PercussionJoe Desotelle, Williamsville, NYGrant Hoechst, McLean, VAHarrison Honor, Westborough, MAGreg LaRosa, Downington, PAJoshua McClellen, Bella Vista, AR

PianoThomas Weaver*, Marlton, NJ

# denotes principal in Beethoven+ denotes principal in Bernstein* denotes BUTI staff member

PROGRAM NOTES

LEONARD BERNSTEIN (1918–1990)Symphony No. 1, “Jeremiah”

Leonard Bernstein, a renaissance man in his own right, is perhaps considered the American musical voice of the Twentieth Century. A composer, conductor, educator, and philanthropist, Bernstein encapsulated in his music the sound of the American landscape during the turmoil of WWII through the anti-war movements of the 1970s with the fall of the Berlin Wall and Soviet Communism. Bernstein’s first symphony, Jeremiah, begun in 1939 upon his graduation from Harvard, is an initial exploration of a theme both musical and spiritual that would prove to influence many major works throughout the composer’s career. Bernstein said in 1977, “The work I have been writing all my life is about the struggle that is born of the crisis of our century, a crisis of faith.” Though there is not yet a clear solution to “the crisis,” there is a renewal of faith that begins in Jeremiah, where we are presented with a great sense of optimism, sorrow, and a search for acceptance as consolation for a tumultuous time and place.

Bernstein’s original sketch for Jeremiah, based on a text from the Book of Lamentations, was more or less a “Hebrew song” for soprano and orchestra. The musical references to Jewish liturgical sources are evident throughout the work and serve as a testa-ment to Bernstein’s religious upbringing. In Lamentations, the Jewish prophet Jeremiah warned the Israelites that the destruction of Jerusalem was imminent as punishment for their sins. Despite being ridiculed for delivering such an ominous, unacceptable prophecy, Jeremiah nevertheless expressed his hope and prayer that God would merci-fully revoke the punishment and forgive his people. Ultimately, Jeremiah was able to see beyond the immediate ruin and desolation of Jerusalem to an optimistic new day. Inspired by the prophet’s story, Bernstein realized that his song would become the final movement of a greater three movement work, and his first setting for large orchestra.

In 1942, two years after studying with Serge Koussevitsky at the Berkshire Music Center (now Tanglewood Music Center), the Boston Symphony Orchestra’s new school for advanced studies, Bernstein decided to enter Jeremiah in a competition organized by New England Conservatory with a jury chaired by Koussevitsky. Bernstein made substantial changes to the score, including writing the vocal part for mezzo-soprano. Working feverishly to complete the symphony, he met the competition deadline. In the meantime, Bernstein made his famous Carnegie Hall conducting debut with the New York Philharmonic. It was after this wildly successful performance in 1943 that Sam Bernstein recognized his son’s overwhelming musical ambitions for the first time. There was a great reconciliation of father and son backstage, and Bernstein immediately dedicated his first symphony, “For my father.” In the end, Bernstein did not win the competition, but his conducting teacher at the Curtis Institute of Music, Fritz Reiner, loved Jeremiah and programmed its premiere with the Pittsburgh Symphony on January 28, 1944, with Bernstein conducting. Ironically, learning of Reiner’s enthusiasm for the work, Koussevitsky tried to preempt Bernstein scheduling the premiere with the Boston Several auxiliary instruments used in tonight’s concert are on generous loan from

the Boston College Bands Program.

Symphony Orchestra instead, but Reiner prevailed. Bernstein did, however, make his debut with the Boston Symphony Orchestra conducting Jeremiah three weeks after its premiere. Both performances were astounding successes.

The symphony is in three movements, Prophecy, Profanation, and Lamentation, with Hebrew text from the Book of Lamentations sung by solo mezzo-soprano in the third. Bernstein says of the work:

The intention is…not one of literalness, but of emotional quality. Thus the first movement (Prophecy) aims only to parallel in feeling the intensity of the prophet’s pleas with his people; and the Scherzo (Profanation) to give a general sense of the destruction and chaos brought on by the pagan corruption within the priesthood and the people. The third movement (Lamentation), being a setting of poetic text, is ruined, pillaged and dishonored after his desperate efforts to save it.

The Symphony does not make use to any great extent of actual Hebrew thematic material. The first theme of the Scherzo is paraphrased from a traditional Hebrew chant, and the opening phrase of the vocal part in the Lamentation is based on a liturgical cadence still sung today in commemoration of the destruction of Jeru-salem by Babylon. Other resemblances to Hebrew liturgical music are a matter of emotional quality rather than of the notes themselves.

Though Jeremiah can only provide consolation for “the struggle”, it is with the comple-tion of other large works throughout his life—The Age of Anxiety, Kaddish, Chichester of Psalms, and Mass—that Bernstein finds a solution for “the crisis” through a fundamen-tal faith in the spiritual connection that is humanity.

–Grace Kennerly

LUDWIG VAN BEETHOVEN (1770–1827)Mass in C major, op. 86

Beethoven was born in Bonn on December 16, 1770 and died in Vienna on March 26, 1827. He composed this mass on a commission from Prince Nicholas Esterházy II, for his wife’s name day. It was given its first performance on September 13, 1807. In addition to four vocal soloists and chorus, the score calls for pairs of woodwinds, horns and trum-pets, timpani, organ, and strings.

Though his home in Bonn was overshadowed by destitution, discord, and distress, and his first music teacher was his harsh and violent alcoholic father, Ludwig van Beethoven somehow persevered to pour into his remarkable music his pain, his hunger for peace and for happiness, and the strength of will that helped him survive a tumultuous and tortured life.

homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non eruit finis. Et in Spiritum sanctum, Dominum et vivificantem, qui ex Patre et Filio precedit. Qui cum Patre et Filio simul adoratur et conglorificatur. qui locutus est per Prophetas. Et unam sanctam catholicam et apolstolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum, Et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

SanctusSanctus, sanctus, sanctus, Dominus Deus Sabaoth, pleni sunt coeli et terra gloria ejus. Osanna in excelsis. Benedictus qui venit in nomine Domine. Osanna in excelsis.

Agnus DeiAgnus Dei, qui tollis peccata mundi, miserere nobis. Dona nobis pacem.

was made man.And was also crucified for us underPontius Pilate, suffered, and was buried.And on the third day, He rose again according to the Scriptures,and ascended into heaven,and sits on the right hand of the Father.And He shall come again,with glory, to judge both the livingand the dead, whose kingdomshall have no end.And in the Holy Spirit,the Lord and giver of life,Who proceeds from the Father and Son.Who, with the Father and Son together,is worshipped and glorified,Who spoke by the Prophets.And one holy, catholic,and apostolic Church.I acknowledge one baptismfor the remission of sins,And I expect the resurrectionof the dead, and the life ofthe world to come. Amen.

Holy, holy, holy,Lord God of Sabaoth,heaven and earth arefilled with His glory.Hosanna in the highest.Blessed is he who comesin the name of the Lord.Hosanna in the highest.

Lamb of God, who takes away thesins of the world,have mercy on us.Grant us peace.

–Translated by Mike Allsen

Settling in Vienna in 1792, he was for a time the unhappy pupil of Franz Joseph Haydn, from whom he claimed to have learned nothing. He made a living by giving music les-sons and by playing the piano at the private homes and palaces of the music-loving Viennese aristocracy, where his dynamic, emotionally charged performances began to attract attention. He moved increasingly from a career as a virtuoso pianist toward one as a composer, writing piano concertos and sonatas, chamber works for winds and strings, and then symphonies. Although by 1800 his musical prestige was consider-able and his material fortunes were blossoming, he became aware that his hearing was deteriorating, and deafness soon threatened—not only his musical life, but his social and personal life as well.

Beethoven became increasingly morose, withdrawn, and distrustful, and contemplated suicide in 1802, even writing a testament (Heiligenstadt Testament), addressed to his two brothers, describing his unhappiness over his affliction in terms suggesting that he believed that death was imminent. Only art, and his faith that he had much of importance yet to express musically, withheld him from ending his life. This document reveals not only how distraught, but also how determined a man Beethoven was: “Such incidents drove me almost to despair; a little more of that and I would have ended my life—it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence.” Beethoven not only endured, but, with his resolution strengthened, he en-tered a new creative period during which he wrote the Mass in C major and produced other works that established his reputation as the premiere composer of his time.

Each year, the Hungarian Prince Nicholas Esterházy II, whose family Joseph Haydn had served for many years as music master, had a new choral mass performed to celebrate his wife’s name day, September 8. In 1807, Beethoven was commissioned to compose this mass, and wrote to the Prince: “I shall deliver the Mass to you with timidity, since you are accustomed to having the inimitable masterpieces of the great Haydn per-formed for you.” His hesitancy indeed appears to have been warranted: He had never before composed a mass, he procrastinated for months, and then he produced a work that his patron and audience found unsatisfactory, since it was much humbler and more spiritual than the grand symphonic masses to which Prince Esterházy and the Viennese musical establishment had become accustomed. It is said that Beethoven first survived a singer rebellion led by chorus master Johannes Hummel, who did not enjoy working with an “aurally challenged” conductor. Then at the public reception fol-lowing the work’s first performance on September 13, 1807, Prince Esterházy offended the composer with the somewhat cryptic comment, “My dear Beethoven, what is it you have done here?” and he later remarked that that he found the mass “unbearably ridiculous and detestable.”

Beethoven therefore refused to dedicate the mass to the prince and never gave him the manuscript. The composer instead began negotiating with his publishers for the print-ing of the mass as a part of various packages that included his more popular fifth and sixth symphonies, but it was several years before the Mass in C Major was published.

Luudwig van BeethovenMass in C major, op. 86

KyrieKyrie eleison. Christe eleison. Kyrie eleison.

GloriaGloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter gloriam tuam. Domine Deus, rex coelestis, Pater omnipotens, Domini Fili unigenite, Jesu Christe altissime, Domine Deus, Agnus Dei, Filius patris. Qui tollis peccata mundi, miserere nobis, suscipe deprecationem nostram. Qui sedes ad dexteram patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe. Cum sancto spiritu in gloria Dei Patris. Amen.

CredoCredo in unum Deum, Patrem omnipotem, factorem coeli et terrae, visibilium omnium et invisibilium.Et in unum Dominum Jesu Chrisum, Filium Dei unigenitum, et ex Patre natum ante omnia secula . Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria virgine, et

Lord have mercy.Christ have mercy.Lord have mercy.

Glory to God in the highest, and on earth, peace towardsmen of good will.We praise You, we bless You,we adore You, we glorify You.We give thanks to You for Yourgreat glory.Lord God, heavenly king, Father almighty,Lord, the only-begotten Son,Jesus Christ, the most high,Lord God, Lamb of God,Son of the Father.You, who takes away the sins of theworld, have mercy upon us, receiveour prayers.You, who sits at the right hand of theFather, have mercy upon us.For You alone are holy, You alone arethe Lord, You alone are the Lord,O Jesus Christ.With the Holy Spirit, in the glory ofGod the Father. Amen.

I believe in one God,Father almighty, maker ofheaven and earth, and of all thingsvisible and invisible.And in one Lord Jesus Christ,the only begotten Son of God, who wasbegotten by his Father before all worlds.God of God, light of light,very God of very God,begotten, not made,being of one substance with the Father,by whom all things were made.Who, for us, andfor our salvationdescended from heaven.And was incarnate by the HolySpirit of the Virgin Mary, and

Beethoven did not write another mass until he composed the mighty Missa solemnis some fifteen years later.

Though Beethoven followed Haydn’s general plan for a mass, including fugal settings for the “cum Sancto Spiritu” in the Gloria, “et vitam venturi” in the Credo and “osanna in excelsis” in the Sanctus, his interpretation seems quite individual. The mass contains no solo arias, and the solo quartet and choral parts are employed to provide contrasts of color, texture, and dynamics rather than to form separate musical sections. The use of juxtaposed dynamic extremes, of wide leaps (frequently of an octave, especially in the Credo) in the vocal lines, of contrapuntal passages contrasted with chordal and unison plainchant-style sections, and of sometimes startling harmonic changes, Beethoven seems to express musically his inner struggles and his desires for mercy and peace.

The general character of the Kyrie,” said Beethoven, “is heartfelt resignation, whence comes a deep sincerity of religious feeling.” It features alternating passages for chorus and four soloists, with the central “Christe eleison” being written in a key a third higher than the C major opening and closing sections. In the Gloria, joyous choral outbursts surround a central section in which chorus and soloists offer their petitions. In the Cre-do, the soloists do not participate until the middle section, in which Beethoven paints significant texts using such devices as the key changes and unusual harmonies, chro-maticism, descending motives for Jesus’ incarnation and suffering under Pontius Pilate, and rising motives for the resurrection and ascension. The opening section of the Sanctus, in A major, is tranquil, reverent, and chant-like, while the “pleni sunt coeli” is more lively and contrapuntal. The relatively lengthy Benedictus, in F major, is begun by the soloists, who are soon joined and accompanied by the chanting chorus. The same A major fugal Osanna that concludes the Sanctus reappears to close the Benedictus. The prayerful minor-mode Agnus Dei is characterized by key and tempo contrasts; its pained pleas for mercy give way to a soaring “dona nobis pacem.” Beethoven brings the Mass to a close with the same gentle music that opens the Kyrie, thus providing the work with a satisfying unity as the listener accompanies him at last into the spiritual peace of the “higher world.”

© 2004 Lorelette Knowles

TEXTS AND TRANSLATIONS

Leonard BernsteinSymphony No. 1, “Jeremiah”

Lamentation

Lamentations, 1:1-3

Eicha yashva vada ha’ir Rabati am Hay’ta k’almana; Rabati vagoyim Sarati bam’dinot Hay’ta lamas.

Bacho tivkeh balaila V’dim’ata al lehheiya; Ein la m’nahem Mikol ovaheiya; Kol re’eha bag’du va; Hayu la oyevim. Galta Y’huda me’oni Umerov avoda; Hi yshva vagoyim, Lo matz’a mano’ah;Kol rod’feha hisguha Bein hamitzarim.

Lamentations 1:8/1:1

Het hat’a Y’rushalayim... Eicha yashva vada ha’ir... ...almana.

Lamentations 4:14-15

Na’u ivrim bahutzot N’go’alu badam; B’lo tuchlu Yig’u bilvusheihem

Suru tame! kar’u lamo Suru, suru! a tiga’u...

Lamentations 5: 20-21

Lama lanetzah tishkahenu... Lanetzah ta’azvenu.Hasbivenu Adonai elecha...

O how has the city that wasonce so populous remained lonely!She has become like a widow!She that was great among the nations,a princess among the provinces,has become tributary. She weeps, yea,she weeps in the night,and her tears are on her cheek;she has no comforter among all her lovers;all her friends have betrayed her;they have become her enemies.

Judah went into exilebecause of affliction and great servitude;she settled among the nations,[and] found no rest;all her pursuers overtook herbetween the boundaries.

Jerusalem sinned grievously...O how the city remained lonely......a widow.

The blind stagger through the streets,they are defiled with blood,and none can touchtheir garments.

“Depart, unclean!” they called out to them,“Depart, depart!” do not touch...

Why do You forget us forever...forsake us so long?Restore us to You, O Lord...