The 2015 - 2016 SOAC FOCUS SERIES: “STORYTELLING”

Matthäuspassion (St. Matthew Passion) Tuesday, March 22 and Wednesday, March 23, 2016 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center

Pacific Lutheran University School of Arts and Communication / Department of Music

present

The 2015-2016 SOAC Focus Series: “Storytelling”

Sven-David Sandström Matthäuspassion (St. Matthew Passion)

Stefan Parkman, Guest Conductor

North American Premiere Performances

Tuesday, March 22 and Wednesday, March 23, 2016 at 8 pm Mary Baker Russell Music Center w Lagerquist Concert Hall

Choir of the West w Choral Union w University Symphony Orchestra

Angela Meade, Soprano w Annie Herzog, Mezzo-soprano

Anthony Webb, Tenor w Eric Olson, Baritone w Benjamin Harris, Bass-baritone

Evangelist Quartet (PLU Voice Students) Cassandra Willock, Soprano w Miya Higashiyama, Mezzo-soprano

Maxfield Marcus, Tenor w Brandon Hell, Bass

Richard Nance, Chorus Master w Jeffrey Bell-Hanson, Orchestra Music Director James Brown, Evangelist Quartet Coach

Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of

the concert. Use of cameras, recording equipment and all electronic devices is not permitted in the concert hall.

Program Notes by Richard Nance In April of 2014 I had the opportunity to visit conductor Stefan Parkman in Uppsala as he was preparing for the Swedish premiere performances of Sven-David Sandström’s Matthäuspassion. Stefan had received grants to do the world premiere of this work in Berlin the previous February, Swedish performances in Stockholm and Upsalla, and he was seeking an opportunity to make this a truly international project by bringing the work to the United States. It was my wonderful surprise when over coffee Stefan proposed that we do the North American premiere at Pacific Lutheran University! How could I turn down the opportunity to present an important new choral/orchestral masterwork to PLU musicians and our audience? Even better, Stefan would come and conduct. The idea of working with a world-renowned guest conductor and a composer of the stature of Sven-David Sandström was very exciting. We are honored to perform this great setting of the Passion story this evening. Sven-David Sandström has composed over 300 works, ranging from operas, symphonic works, oratorios, smaller choral works and chamber music. Sandström’s first great success was in the early 1970’s, and at that time his compositional style could be described as modernist, with extreme complexity and difficulty. Beginning in the 1980’s he turned to a “simpler, more emotional” tone language (though still highly demanding), and he developed a style that harkened back to the masters of the Baroque period, in particular J.S. Bach. It is in the spirit of Bach that Sandström composed this monumental setting of the Passion according to St. Matthew. In his Passion, Sandström lays out the text in nearly parallel fashion to the setting by Bach. The major characters in the drama are all there: Jesus (solo baritone), Judas (solo tenor), Peter (solo baritone), and Pilate (sung by the chorus men), the High Priests (also sung by the choir). Soprano and Mezzo-soprano soloists sing major arias that comment on the action. Bach chose to compose more arias in his setting, many in da capo form, meaning the first section of the aria is repeated, often with ornamentation. Sandström has chosen to not use repeats, and sets the text in a more compact, concentrated way. Possibly the heaviest and most critical role is that of the Evangelist, who narrates the story and drives the action forward. Bach chose to set this role for solo tenor, in Sandström’s version it is given to a solo quartet, which allows for much compositional diversity and texture. In both settings the choir serves as the crowd or mob in the scenes. These are called turba choruses. And as a means of finding spots of rest, peace and contemplation between all the dramatic events, both composers insert simple hymn-like choruses, called Chorales. Sandström chooses to set the choruses in six parts, with occasional division in each part. He often doubles parts--for instance the first sopranos sing the same material as the first tenors, and this creates what amounts to a thick three-part texture. Much of the music is neo-Romantic in nature, while there are also sections

of great 21st century complexity, in which Sandström uses dissonance and intense rhythmic patterns to heighten the expression of the text. There are several recurring themes to listen for in this work. The Chorales are often given the same basic melody, just set in various ways. The soprano arias have recurring elements. Sandström chooses to underscore the role of Jesus with large, muted brass ensemble, which creates a very regal quality, and a light organ underlay is primarily used with the Evangelists, which not only provides variety and texture, but also serves to bring cohesion and clarity to the narrative. Except for brief orchestral introductions to each half of the work, the orchestration serves in an accompanimental role. The scoring is often lush and chordal, mild dissonance is used for color. But in moments when the action picks up, there is greater use of dissonance, greater rhythmic intensity, and percussion is inserted along with heavier use of the brass. All this serves to give greater expression to the voices carrying the action of the scene. We hope this setting of the Passion story brings new light to the sacrifice that Jesus made for all of us, and that it will heighten your Holy Week experience.

Sven-David Sandström: Matthäuspassion

English translation

Part I

1: Mezzo-soprano, Chorus Solo: Come, you daughters, help me to lament, See – Whom ? – the bridegroom, See him – How ? – like a lamb! Chorus: O Lamb of God, innocent Slaughtered on the beam of the cross, Always found to be patient, No matter how much you were despised. Solo: See – What ? – see his patience, Chorus: Always found to be patient, No matter how much you were despised. Solo: See – Where ? – our guilt; Chorus: All our sins you have borne Otherwise we would have to despair. Solo: See how from love and grace He bears the wood of the cross himself! Chorus: Have mercy on us, O Jesus 2: 4 Evangelists, Jesus Evangelists : When Jesus had finished this speech, he said to his disciples: Jesus: You know that after two days it will be Passover, and the son of man will be handed over so that he may be crucified.

3: Chorale Jesus, most dear to my heart, what have you done wrong, that such a harsh judgement is pronounced? What is your guilt, in what sort of wrong doing have you been caught? 4: 4 Evangelists Then the chief priests gathered together in the Palace of the high priest, who was called Caiaphas and they held a Council, how with cunning they might seize Jesus and put him to death. But they said: 5: Chorus Certainly not during the festival, so that there is not a riot among the people. 6: 2 Evangelists Now when Jesus was at Bethany, in the house of Simon the leper, there came to him a woman who had a jar with precious ointment and she poured it on his head, while he sat at the table. When his disciples saw this, they became indignant and said: 7: Chorus What is the purpose of such a waste? This ointment could have been sold at a high price and given to the poor. 8: 4 Evangelists, Jesus Evangelists: When Jesus noticed that, he said to them: Jesus: Why do you trouble the woman? She has done a good deed for me. You have the poor with you always, but you will not always have me. The reason why she poured ointment on my body is that she did this because I'm going to be buried.

Truly, I say to you wherever the gospel is preached in the whole world, people will also in her memory talk about what she has done. 9: Tenor, Baritone You, dear Savior, When your disciples foolishly quarrel Because this good woman with salve your body Wants to prepare for the tomb, Then let me meanwhile with floods of tears from my eyes pour water on your head! 10: Baritone

Penance and remorse grind my sinful heart in two, So the drops of my tears may produce pleasing spices for you, faithful Jesus. 11: 4 Evangelists, Judas Evangelists: Then one of the twelve, who was called Judas Iscariot, went to the chief priests and said: Judas: What are you willing to give me? I shall betray him to you. Evangelists: And they offered him 30 pieces of silver And from then on he sought an opportunity, so that he might betray him. 12. Soprano Bleed now, loving heart! Ah! A child, whom you reared, that sucked at your breast, Is threatening to murder its guardian For that child has become a serpent. 13. 4 Evangelists On the first day of unleavened bread the disciples came to Jesus said to him: 14. Chorus Where do you want us to make preparations for you to eat the Passover lamb? 15: 4 Evangelists, Jesus, Chorus

Evangelists: He said: Jesus: Go into the city to a certain man and say to him: The master wants us to tell you: My time has come, I shall with you keep the Passover with my disciples.

Evangelists: And the disciples did what Jesus had ordered them, and they prepared the Passover lamb. And in the evening he sat at table with the twelve, and as they ate, he said: Jesus: Truly I say to you: one among you will betray me. Evangelists: And they were very distressed and began each one among them to say to him: Chorus: Lord, is it I? 16: Chorale I am the one, I should pay for this, with hands and feet bound in hell. The scourges and the bonds and what you endured - My soul has deserved that. 17: 4 Evangelists, Jesus, Judas Evangelists: He answered and said: Jesus: The one who dips his hand with me in the dish, it is he who will betray me. The son of man indeed goes on his way as it is written of him; But woe to the man, through whom the son of man will be betrayed! It would be better for that same man if he had never been born. Evangelists: Then Judas, who betrayed him, answered and said: Judas: Is it I, Rabbi? Evangelists: He said to him: Jesus: You are saying it. Evangelists: As they were eating, Jesus took the bread, gave thanks, and broke it and gave it to his disciples and said: Jesus: Take, eat, this is my body. Evangelists: And he took the cup and gave thanks, gave it to them and said:

Jesus: Drink all of you from this cup, this is my blood of the new Testament, which will be shed for many for the forgiveness of sins. I say to you: from now on I will no more drink from this fruit of the vine until that day, when I shall drink it now with you in my father's kingdom. 18: Mezzo-soprano Although my heart swims in tears, Since Jesus takes his leave from me, Yet his Testament makes me rejoice: His own flesh and blood – what expense – He bequeathes to me in my hands Just as in the world towards those who are his own He can intend no evil, so he loves them to the end. 19: Soprano, Mezzo-soprano I shall give my heart to you, Come down, my salvation, and bury yourself within it! I shall bury myself in you; If the world is too small for you ah, then you alone to me shall Be more than the world and heaven. 20: 4 Evangelists, Jesus Evangelists: And when they had said the song of praise, they went from there to the Mount of Olives. Then Jesus said to them: Jesus: This night you will all be offended because of me. For it is written: I shall strike the shepherd and the sheep of the flock will be scattered. But when I rise again, I shall go from here before you into Galilee. 21: Chorale Recognize me, my guardian, my Shepherd, accept me! From you, source of all goodness much good has been done for me. Your mouth has refreshed me with milk and sweet food, Your spirit has endowed me with many heavenly delights. 22: 4 Evangelists, Peter, Jesus Evangelists: But Peter answered and said to him: Peter: Even if everybody else is offended because of you, yet I shall never be offended. Evangelists: Jesus said to him:

Jesus: Truly, I say to you: this night, before the cock crows, you will deny me three times. Evangelists: Peter said to him: Peter: Even if I had to die with you, I shall not deny you. Evangelists: The same said all his disciples. 23: Chorale I shall stand here beside you; but do not despise me! I shall not go from you, when your heart breaks. When your heart becomes pale in the last death blow Then I shall embrace you in my arms and bosom. 24: 4 Evangelists, Jesus Evangelists: Then Jesus came with them to a place called Gethsemane, and said to his disciples: Jesus: Sit here, while I go over there and pray. Evangelists: And he took with him Peter and the two sons of Zebedee and he began to grieve and be disheartened. Then Jesus said to them: Jesus: My soul is distressed even to death, stay here and keep watch with me. 25: Soprano, Mezzo-soprano, Tenor, Baritone O sorrow! Here trembles his afflicted heart; How it sinks down, how pale his face! What is the cause of such torments? The judge leads him to judgment. There is no comfort, no help at all. Ah! my sins have struck you; He suffers all the torments of hell, He must pay for the robbery of others. I, ah Lord Jesus, have deserved this what you are suffering. Ah, if only for you my love could, My salvation, lessen your trembling and your discouragement Or help you to bear them, how willingly I would remain here! 26: Chorale I shall keep watch by my Jesus, then our sins go to sleep. For my death atonement is made by his soul's distress; His grieving makes me full of joy. For this reason to us his suffering which benefits us Must be truly bitter and yet sweet.

27: 2 Evangelists, Jesus Evangelists: And he went forward a little, fell down on his face and prayed and said: Jesus: My father, if it is possible, let this cup pass from me; yet not as I will, but rather as you will. 28: Tenor The Savior falls down before his father; Thereby he lifts me and everyone from our fall up to God's grace again. He is ready to drink the cup, the bitterness of death, The cup in which the sins of this world are poured and stink hatefully, because it pleases dear God. 29: Tenor, Baritone Willingly I shall bring myself to accept the cross and cup, I drink as my Savior did. For his mouth, which flows with milk and honey Has made the cause and bitter taste of suffering Become sweet through first drinking himself. 30: 4 Evangelists, Jesus Evangelists: And he came to his disciples and found them sleeping and said to them: Jesus: Could you not keep watch an hour with me? Keep watch and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak. Evangelists: A second time he went away, prayed and said: Jesus: My father, if it is not possible that this cup should pass from me, unless I drink it, then your will be done. 31: Chorale May what my God wills happen always. His will is what is best, For he is ready to help those who believe firmly in him. He helps them in their distress, the righteous God, And chastises in measure. The person who trusts God, builds firmly on him He will not abandon. 32: 4 Evangelists, Jesus, Judas Evangelists: And he came and found them sleeping And their eyes were full of sleep. And he left them and went away again

And prayed for a third time and said the same words. Then he came to his disciples and said to them: Jesus: Ah! Do you want now to sleep and rest? See, the hour is here, when the son of man will be given over into the hands of sinners. Arise, let us go; see, here he is, the man who betrays me. Evangelists: And as he was still speaking, see, there came Judas, one of the Twelve and with whom a great crowd with swords and with clubs from the chief priests and elders of the people. And the traitor gave them a sign and said: “The man I shall kiss, that's him, seize him!” And at once he went up to Jesus and said: Judas: Greetings to you, Rabbi! Evangelists: And he kissed him. Jesus said to him: Jesus: My friend, why have you come? Evangelists: Then they came to him and laid hands on Jesus and seized him. 33: Soprano, Chorus Soprano: So my Jesus is now captured. Chorus: Let him go, stop, do not bind him! Soprano: Moon and Light have set in sorrow, since my Jesus is captured. Chorus: Let him go, stop, do not bind him! Soprano: They lead him away, he is bound. Chorus: Have lightnings, has thunder vanished in the clouds? Open your fiery abyss, O Hell, Smash, destroy, swallow up, dashed to pieces with sudden fury the false betrayer, the murderous blood! 34: 4 Evangelists, Jesus Evangelists: And see, one of those who were with Jesus, stretched out his hand and struck a servant of the high priest and cut off one of his ears. Then Jesus said to him:

Jesus: Put up your sword in its place; for whoever takes up the sword will perish by the sword. Or do you think that I could not ask my father to send me more than twelve legions of Angels? But how would the Scripture be fulfilled? It must go in this way. Evangelists: At that hour Jesus said to the crowds: Jesus: You have come out as if I were a murderer with swords and clubs to seize me; yet I sat daily among you and have taught in the temple and you did not seize me. But all this has happened so the writings of the prophets may be fulfilled. Evangelists: Then all his disciples abandoned him and fled. 35: Chorale Oh man, bewail your great sin, For this Christ from his father's bosom Went forth and came to earth of a virgin pure and gentle He was born here for us, He was willing to become the mediator To the dead he gave life and in this way put aside all illness Until it came to the time that he would be sacrificed for us, bear the heavy burden of our sins for a long time indeed on the cross.

15-Minute Intermission

Part 2 36: Soprano, Chorus Soprano: Ah! Now has my Jesus gone! Chorus: Where then is your friend gone, o you most beautiful among women? Soprano: Is it possible, can I behold it? Chorus: Where is your friend turned to? Soprano: Ah! my lamb in tiger's claws, Ah! where has my Jesus gone? Chorus: Then we shall seek him with you. Soprano: Ah! what shall I say to my soul, when it shall ask me anxiously? Ah! where has my Jesus gone?

37: 4 Evangelists But those who had seized Jesus led him to the high priest Caiaphas where the scribes and elders had gathered together. But Peter followed him at a distance up to the palace of the high priest and went inside and sat with the servants, so that he might see how things would turn out. The chief priests and the elders and the whole council sought false witness against Jesus to put him to death, and they found none. 38: Chorale I have been judged deceitfully by the world With lies and with false statements, With nets and secret snares. Lord, guard me in this danger, Protect me from false deceit! 39: 4 Evangelists, Chorus Evangelists: And although many false witnesses came forward, they still found nothing. Finally two false witnesses came forward and said: Witnesses (Chorus): He has said: I can break down God's temple and in three days build it again. Evangelists: And the high priest stood up and said to him: High Priest (Chorus): Do you answer nothing to what these men testify against you? Evangelists: But Jesus remained silent. 40: Tenor My Jesus is silent at false lies, To show us in this way that his merciful will Is inclined to suffering for our sake, And that we in such pain should be like him And in persecution remain silent. 41: Tenor, Baritone Patience! Even if false tongues stab me. If I should suffer contrary to my guilt Abuse and mockery oh then may dear God avenge the innocence of my heart. 42: 4 Evangelists, Chorus, Jesus Evangelists: And the high priest answered and said to him:

High Priest (Chorus): I adjure you by the living God, tell us whether you are Christ, the son of God? Evangelists: Jesus said to him: Jesus: You have said it. But I say to you: from now on it will happen that you will see the son of man sitting on the right hand of the power and coming on at the clouds of heaven. Evangelists: Then the high priest tore his garments and said: High Priest (Chorus): He has blasphemed God. What need have we for further witness? See, you have heard his blasphemy against God. What do you think? Evangelists: They answered and said: Chorus: He is guilty of death! 43: 4 Evangelists, Jesus Evangelists: Then they spat in his face and struck him with their fists. But some struck him in the face and said: Chorus: Prophesy to us, Christ, who is it who has struck you? 44: Chorale Who has struck you in this way, my Savior, and with torments treated you so badly? You are certainly not a sinner like us and our children; Of wrong doing you know nothing. 45: Evangelist (A), Chorus, Peter Evangelist: But Peter sat outside in the Palace; and a maid came up to him and said: Maid (Chorus): And you also were with Jesus from Galilee. Evangelist: But he denied it before them all and said: Peter: I don't know what you're saying. Evangelist: But when he went to the door, another maid saw him and said to those who were there:

Maid (Chorus): This man was also with Jesus of Nazareth. Evangelist: But he denied it again and swore an oath to it: Peter: I do not know the man. Evangelist: And after a short while those who were standing there came up to him and said to Peter: 46: Chorus, 4 Evangelists, Peter

Chorus: You really are one of them; your speech gives you away. Evangelist: Then he began to curse and swear an oath: Peter: I do not know the man. Evangelists: And at once the cock crowed. Then Peter thought of Jesus's words, when he said to him: Before the cock crows, you will deny me three times. And he went out and wept bitterly. 47: Mezzo-soprano Have mercy, my God, for the sake of my tears! Look here, my heart and eyes weep before you bitterly. 48: Chorale Although I have strayed from you, Yet I turn back once again; Your son has settled the account for us Through his anguish and death agony. I do not deny my guilt; But your grace and favor is much greater than the sins I find constantly in myself. 49: 4 Evangelists, Judas, Chorus Evangelists: In the morning the chief priests and the elders of the people held a council about Jesus, so that they might put him to death. And they bound him, led him out and handed him over to the governor Pontius Pilate. When Judas, who had betrayed him, saw this, that he was condemned to death, he felt remorse and brought back the thirty pieces of silver to the chief priests and the elders and said: Judas: I have done evil, in that I have betrayed innocent blood. Evangelists: They said:

Chorus: What's that to do with us? See to it yourself! 50: 4 Evangelists, Chorus Evangelists: And he threw the silver pieces into the temple Departed, went away and hanged himself. But the chief priests took the silver pieces and said: High Priests (Chorus): It is not proper to put the money in the holy Treasury, since it is blood money. 51: Soprano Give me back my Jesus! See, the money, the wages of murder, Is thrown by the lost son down at your feet 52: 4 Evangelists, Chorus, Jesus Evangelists: But they held a Council and bought a potter's field for the burial of pilgrims. For this reason the same field is called the field of blood until this day. In this way is fulfilled what was said by the prophet Jeremiah when he said: “They have taken 30 pieces of silver, with which the one who was sold was paid for, the man whom they bought from the children of Israel, and they have given the money for a potter's field, as the Lord has ordered me.” But Jesus stood before the governor; and the governor questioned him and said: Pilate (Chorus): Are you the King of the Jews? Evangelists: Jesus said to him: Jesus: You are saying this. Evangelists: And when he was accused by the chief priests and elders, he answered nothing. Then Pilate said to him: Pilate (Chorus): Do you not hear what harsh accusations they make against you? Evangelists: And he answered him not one word So the governor also was greatly amazed at him. 53: Chorale

Commend your way and what troubles your heart to the most trustworthy care of him, who guides the heavens. He who to the clouds, air and winds gives their way,

course and track, will also find a way by which your feet can go. 54: 4 Evangelists, Chorus Evangelists: At the festival the governor had a custom of releasing to the people a prisoner, whomever they wished. At that time he had a prisoner, one who stood out among the rest and was called Barabbas. And when they were gathered together, Pilate said to them: Pilate (Chorus): Which one do you want me to release for you? Barabbas or Jesus, of whom it is said, he is Christ? Evangelists: For he knew well that they had handed him over through envy. And as he was sitting of the judgment seat, his wife sent word to him and said: Pilate's Wife (Chorus): Have nothing to do with this just man; I have today suffered much in a dream for his sake! Evangelists: But the chief priests and the elders persuaded the people that they should ask for Barabbas and destroy Jesus. Then the governor answered and said to them: Pilate (Chorus): Which of these two do you want me to release to you? Evangelists: They said: Chorus: Barabbas! Evangelist: Pilate said to them: Pilate: What shall I then do with Jesus of whom it is said he is Christ? Evangelist: They all said: Chorus: Let him be crucified! 55: Chorale How amazing is this punishment! The good Shepherd suffers for his sheep, The Lord, the one who is just, pays the penalty for his servants.

56: 4 Evangelists, Chorus Evangelists: The governor said: Pilate (Chorus): What evil has he done? 57: Soprano, Mezzo-soprano, Tenor, Baritone He has done good to all of us come To the blind he gave sight The lame he made able to walk He told to us his father's word He drove out the devils, He raised up those who are distressed, He received and accepted sinners Nothing else has my Jesus done. 58: Soprano, Tenor Out of love, Out of love my Savior is willing to die, - Of any sin he knows nothing - So that eternal ruin and the punishment of judgment May not remain upon my soul. 59: 4 Evangelists, Chorus Evangelists: But they cried all the more and said: Chorus: Let him be crucified! Evangelists: But when Pilate saw that he was achieving nothing, But instead the commotion was becoming greater, He took water and washed his hands in front of the people and said: Pilate (Chorus): I am innocent of the blood of this just man. See to it yourselves. Evangelists: Then the whole people answered and said: Chorus: His blood be upon us and our children. Evangelists: Then he released Barabbas for them; But Jesus he had scourged and handed him over to be crucified. 60: Baritone Have mercy, God! Here stands the Savior, bound, O scourging, o blows, o wounds!

You executioners, stop! Are you not softened by the soul's agony, The sight of such misery? Ah yes! You have a heart that must be like the post used for torture And even far harder still. Have mercy, stop! 61: Mezzo-soprano, Baritone If the tears on my cheeks can achieve nothing, O then take my heart! But let it for the streams, as the wounds gently bleed Also be the sacrificial cup! 62: Evangelists, Chorus Evangelists: Then the soldiers of the governor took Jesus into the hall and gathered the whole band around him and they stripped him and put on him a purple cloak and plaited a crown of thorns and set it on his head and a reed in his right hand and bowed their knees before him and mocked him and said: Chorus: Hail to you, King of the Jews! Evangelists: And they spat on him and took the reed and with it struck him on the head. 63: Chorale O head full of blood and wounds, Full of sorrow and full of scorn, O head bound in mockery With a crown of thorns, O head once beautifully adorned With greatest honour and adornment, But now most shamefully mistreated, Let me greet you! You noble face Before which at other times shrinks and shies away The great weight of the world, How are you spat upon, How pale you are! By whom has the light of your eyes To which at other times no light can be compared, Been so shamefully treated? 64: Evangelists

And when they had mocked him, they took off the cloak and put his own clothes on him and led him out to be crucified. And as they went along they found a man from Cyrene who was called Simon, whom they compelled to carry his cross.

65: Soprano Certainly indeed in us our flesh and blood Has to be compelled to the cross; The better it is for our soul, the more bitter it is for us. 66: Soprano, Mezzo-soprano, Tenor, Bass Come sweet cross – this is what I will say – My Jesus, give it always to me If my suffering at any time becomes too heavy, Then you yourself helped me to bear it. 67: Evangelists, Chorus Evangelists: And when they came to a place named Golgotha, which translated is “Place of Skulls”, they gave him vinegar to drink mixed with gall; and when he tasted it, he would not drink. Then they crucified him, and divided up his clothing and drew lots for it, so that what is said by the prophets would be filled: “They have divided by close amongst themselves and for my garment they have cast lots.” And they sat there and kept guard. And over his head they fixed the reason for his death written out, namely: “This is Jesus, King of the Jews.” And two murderers were crucified with him, one on his right and one on his left. But those who passed by reviled him and shook their heads and said: Chorus: You who destroy God's temple and build it in three days, help yourself! If you are God's son, then come down from the cross! Evangelists: In the same way the chief priests also derided him together with the scribes and elders and said: Chorus: He helped others and he cannot help himself. If he is the king of Israel, then let him now come down from the cross and we will believe in him. He trusted in God, let him deliver him, if he delights in him; For he said: I am God's son. 68: Evangelists In the same way also the murderers, who crucified with him, reviled him. 69: Tenor, Baritone Ah Golgotha, accursed Golgotha! The Lord of glory must shamefully perish here, The blessing and salvation of the world Is put on the cross as a curse. From the creator of the heaven and the earth

The Earth and the air will be taken away The innocent must here die as guilty, That touches my soul deeply; Ah Golgotha, accursed Golgotha! 70: Tenor, Chorus See Jesus had stretched out his hands to embrace us, Come! – where? – in Jesus's arms Seek redemption, receive mercy, Seek! – where? – in Jesus's arms. Live, die, rest here, You forsaken chicks, Remain – where? – in Jesus's arms. 71: Evangelists, Jesus, Chorus Evangelists: And from the sixth hour there was darkness over the whole land until the ninth hour. And at the ninth hour Jesus cried aloud and said: Jesus: Eli, Eli, lama asabthani? Evangelists: That is: my God, my God, why have you forsaken me? But some, who were standing there, when they heard this said: Chorus: He is calling on Elias! Evangelists: And one of them quickly ran, took a sponge and dipped it in vinegar and put it on a reed and gave it to him to drink. But the others said: Chorus: Wait! Let's see if Elias comes and helps him? Evangelists: But Jesus again gave a loud cry and left this life. 72: Chorale When I one day must depart from here Then do not depart from me, When I must suffer death Then step forward next to me! When most full of fear I am in my heart, Then snatch me from my fears By the strength of your agony and pain! 73: Evangelists, Chorus Evangelists: And see, the veil in the temple was torn into two pieces from the top to the bottom and the earth quaked and the rocks split, and the graves were opened

and there rose up many bodies of holy people who were sleeping there and they went from the graves after their rising and came into the holy city and appeared to many. But the captain and those who were with him And were guarding Jesus, when they saw the earthquake and what had happened, they were very afraid and said: Chorus: This man really was the Son of God. Evangelists: And there were many women who looked on from a distance, who had followed him from Galilee and had served him, among whom were Mary Magdalene and Mary, the mother of James and Joses, and the mother of the children of Zebedee. But in the evening came a rich man from Arimathea, who was called Joseph and who also was a disciple of Jesus. He went to Pilate and asked him for Jesus's corpse. Then Pilate gave orders that it should be given to him. 74: Mezzo-soprano In the evening, when it was cool, The fall of Adam was manifest In the evening the Savior presses down on him; In the evening the dove returned And carried an olive branch in its mouth. O beautiful time! O evening hour! The peace treaty with God is now made For Jesus has brought to fulfillment his cross. His corpse comes to rest, Ah! Dear soul, pray, Go, let them give you the dead Jesus, O salutary, o precious remembrance! 75: Baritone Make yourself pure, my heart I want to bury Jesus himself within me, For he now within me forever shall have his sweet rest. World, depart from my heart, let Jesus enter! 76: Evangelists, Chorus, Soprano, Mezzo-soprano, Tenor, Baritone Evangelists: And Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new grave which had been carved for him in a rock, and he rolled a great stone in front of the door of the grave and went away. But Mary Magdalen and the other Marys were there and they sat opposite the grave. On the next day, the one that followed the day of rest, the chief priests and Pharisees came together to Pilate and said: Chorus: Lord, we have remembered that this deceiver said,

while he was still alive: I shall rise again after three days. Therefore give orders that the tomb should be guarded until the third day so that his disciples do not come and steal his body and say to the people: “He has risen from the dead.” And the last deception would be worse than the first! Evangelists: Pilate said to them: Pilatus (Chorus): You have guards of your own; go away and keep watch as best you can! Evangelists: They went away and kept watch over the grave with guards and sealed the stone. 77: Soprano, Mezzo-soprano, Tenor, Baritone, Chorus

Soloists: Now is the Lord brought to peace. Chorus: My Jesus, goodnight! Soloists: The trouble is over, which our sins caused for him. Chorus: My Jesus, goodnight! Soloists: O sacred bones, See how I weep for you with penance and remorse That my fall has brought you into such distress! Chorus: My Jesus, goodnight! Soloists: As long as life lasts Have a thousand thanks for your sufferings For having valued so highly the salvation of my soul. My Jesus, goodnight! 78: Chorale We sit down with tears and call to you in your tomb Rest gently, gently rest! Rest, you exhausted limbs! Your grave and tombstone For our anguished conscience shall be a pillow that gives peace and comfort and the place where our souls find rest. With the greatest content there our eyes will close in sleep.

Sven-David Sandström (b. 1942) No composer has made such an impression on contemporary Swedish musical life as Sven-David Sandström. His catalogue of works, which includes some 300 compositions, gives proof not only of an impressive productivity, but also contains an amazingly wide range: everything from magnificent operas and oratorios to intimate choral and chamber music. With his unlikely combination of creativity and diligence in the craft of composition, restless curiosity and firmly-rooted mastery of form, Sandström alternates, to all appearances unconcerned, between a sophisticated orchestral texture and musical melodies, film music and music for the church. In the 2000s he has focused especially on sacred choral music. Sandström had his breakthrough in 1972 with Through and through, an orchestral work that was met with international response when two years later it was performed by the Concertgebouw Orchestra in Amsterdam. He quickly established himself as a leading modernist in the younger generation of Scandinavian composers, not seldom with scores of a terrifying degree of difficulty. Pierre Boulez chose, for example, to conduct his piece Utmost with the BBC Symphony Orchestra.

Around 1980 a decisive turning point occurred in Sandström's tone language. Without abandoning the high demands on his executants his musical form of address became simpler, more emotional. The epoch-making Requiem De ur alla minnen fallna, a mighty fresco over the infanticide of the Holocaust, stands out today as one of the most prominent works in 20th-century Swedish music. A number of choral works began to pour from Sandström's pen, all of them eagerly sought after by Sweden's many elite choirs. At the same time his interest in the stage was aroused and resulted in, among other works, six original ballet scores. High Mass (1994), a monumental work for five female vocal soloists, large choir and orchestra, modeled on J.S. Bach's Mass in B minor, was received with high acclaim. With the Mass text laid out in 25 movements, just like the model, the tone language is nonetheless Sandström's own throughout. This powerful Mass was also performed ten years later in Bach's city of Leipzig with the Gewandhaus Orchestra under the baton of Herbert Blomstedt, and a recording was issued on Deutsche Grammophon. Already in the 1980s Sven-David Sandström had composed a couple motets for choir after baroque models: a kind of homage to Henry Purcell and Dietrich Buxtehude. After High Mass he started to feel an affinity with the old masters, especially Bach. Sandström has expressed the wish to link himself to the tradition. He has therefore given us Ordet (The Word) (2004), a large-scale "passion" with the evangelist part tailored for Anne Sofie von Otter. For the librettist he chose the poet Katarina Frostensson, with whom he had collaborated already in the successful opera Staden (The Town) (1996). Further, he composed a Christmas Oratorio (2004), the cantata Wachet auf (2008) and, commissioned by Helmuth Rilling's Internationale Bachakademie Stuttgart, a Magnificat (2005) with an orchestral texture for baroque period instruments. Rilling and the Oregon Bach Festival are also behind the commission of the colossal Messiah (2009), set to the exact same text as Handel's well-known version. The series of six motets after Bach's originals occupies a special position. The initiative was taken by choir professor Stefan Parkman and resulted in Lobet den Herrn. This inspired Ingemar Månsson, who was once the conductor of the Hägersten Motet Choir where Sandström had sung with the tenors for many years, to place an order for Singet dem Herrn, a work for double choir. In 2008 Sandström was able to conclude this unique collection of motets, each one dedicated to a capable Swedish choir leader. Also in his occupational role Sven-David Sandström has been inspired by the great cantor of St. Thomas. In 2008, when his ten-year professorship in composition at the prestigious Bloomington University in Indiana came to an end, he was able to realize a long-cherished dream: to compose, like Bach, for all the feast days of the ecclesiastical year. He has gladly taken upon himself to deliver music on a regular basis: one work every other week. The compositional process evolves in close cooperation with the musical ensembles at Stockholm Cathedral and Gustaf Sjökvist. But also with choir leader Mona Ehntorp in the Stockholm suburb of Hässelby's congregation, and its more modest resources. This is a gift, as unique as it is generous, to the Swedish Church and its active musical life. Sven-David Sandström's complete church-year cycle was finished in the spring of 2011, and with 65 works to cover all the Sundays. The major part of these works is music of varying complexity for a cappella choir, but there are also cantatas for soloist and organ, as well as purely instrumental works.

Camilla Lundberg

Stefan Parkman, Guest Conductor Stefan Parkman holds the Eric Ericson professorship in choral conducting at Uppsala University. Since January 2010 he is appointed Director cantorum at the University. He was conductor of the Boys’ Choir of Uppsala Cathedral 1974-89 and director of the Royal Philharmonic Chorus in Stockholm 1985-93. Since 1983 he is the conductor of the Academy Chamber Choir of Uppsala (UAK). Parkman has served as Chief Conductor for some of Europe’s most renowned professional choral ensembles, including the Danish National Radio Choir (1989-2002), Swedish Radio Choir (2002-2005) and since September of 2014, the WDR Radio

Photo: Eve Rudling

Choir of Cologne, Germany. He has many professional compact disc recordings to his credit, published by the Chandos Label.

As a freelance conductor Parkman appears with numerous symphony orchestras and ensembles in Scandinavia, including the Royal Philharmonic Orchestra and the Royal Opera in Stockholm. He regularly conducts a great number of professional choirs in Europe and USA including Rundfunkchor Berlin, RIAS Kammerchor, Berlin, Chor des Bayerischen Rundfunks, Munich, NDR Chor, Hamburg, MDR Rundfunkchor, Leipzig, BBC Singers, London, Netherlands Radio Choir, Hilversum, Nederlands Kamerkoor, Amsterdam, Choeur de Radio France, Paris and Trinity Choir, New York. Apart from the regular duties as professor and conductor, Stefan Parkman also frequently teaches at masterclasses and workshops in Sweden and abroad. As a singer he often appears as tenor soloist (primarily the Evangelist parts) in baroque oratorios and passions.

In 1997 Stefan Parkman was made Knight of the Dannebrog by Queen Margrethe II of Denmark. In 1998 he was elected member of the Royal Swedish Academy of Music. In 2012 Stefan Parkman received the The Litteris et Artibus Medal from the hands of H. M. The King Carl XVI Gustaf.

Angela Meade, Soprano Hailed as “the most talked about soprano of her generation” (Opera News), American soprano Angela Meade is the winner of the Metropolitan Opera’s 2012 Beverly Sills Artist Award and the 2011 Richard Tucker Award. In 2008, she joined an elite group of history’s singers when she made her professional operatic debut on the Met stage. Since then, she has fast become recognized as one of today’s outstanding vocalists, specializing in Mozart, Verdi, and bel canto opera. As the New Yorker put it, “Meade is astounding. … She has exceptional dynamic control, able to move from floating pianissimos to sudden dramatic swells. The coloratura effects … are handled with uncommon ease. She is a very musical singer, naturally and intelligently riding the phrase.”

This season, Meade sings Leonora in Verdi’s Il trovatore at the Met, Deutsche Oper Berlin, and in A Coruña’s Palacio de la Opera, where she also gives a solo recital. She revisits her celebrated portrayal of Bellini’s Norma at Los Angeles Opera and performs selections from Don Giovanni with the Baltimore Symphony. In concert, she returns to the Philadelphia Orchestra for Mahler’s Eighth, to celebrate the 100th anniversary of the symphony’s U.S. premiere. Besides making her St. Louis Symphony debut in Beethoven’s 9th Symphony and her Cincinnati Symphony debut in her first performances of Rachmaninoff’s The Bells, she sings Verdi’s Requiem in Spain, Brazil, and with the Boston Philharmonic. A native of Washington State and an alumna of the Academy of Vocal Arts, Angela Meade has triumphed in an astounding 57 vocal competitions. A winner at the 2007 Met National Council Auditions, as documented in The Audition (available on Decca DVD), she was also the first singer to take first prize in both the opera and operetta categories of Vienna’s prestigious Belvedere Competition.

Benjamin Harris, Bass-baritone

Benjamin Harris recently made his Metropolitan Opera debut as a chorister in Die Meistersinger von Nürnberg. The 2009 PLU graduate has been frequently seen and heard around the Pacific Northwest, including recent appearances as Dick Deadeye in Gilbert & Sullivan's H.M.S. Pinafore, and Frère Laurent in Gounod's Roméo et Juilliette, with Tacoma Opera, and bass soloist in Beethoven's Symphony #9 with the Bremerton Symphony. Appearing with Caramoor Bel Canto Opera, Mr. Harris was hailed by the New York Times as "Outstanding" as Lorenzo in Bellini's I Capuleti e i Montecchi. In Madama Butterfly, with Kitsap Opera, Bernard Jacobson described his Sharpless as, "Compelling and rich

toned". -Seen and Heard International.

A baritone in possession of a resounding lower register, he has successfully sung the roles of both Sparafucile & Monterone in Rigoletto with Skagit Opera. Other roles with the company include Angelotti in Tosca, Raimondo in Lucia di Lammermoor, and Frank in Die Fledermaus. He has sung Marcello in La Bohème, and Charles V & a Flemish Deputy in Don Carlo with Bellevue Opera, and with Vashon Opera, he has appeared as Bonzo in Madama Butterfly. Mr. Harris made his Tacoma Opera debut at the age of twent as the Customs Sergeant in La Bohème. Several roles followed with the company including Biscroma in Viva la Mamma, Baron Douphol in La Traviata, Marullo in Rigoletto, Il Carceriere in Tosca, Antonio in Le Nozze di Figaro, Bonzo & Yamadori in Madama Butterfly, and Don Basilio in Il Barbiere di Siviglia.

An active concert artist, Mr. Harris has appeared as bass soloist in Verdi's Requiem with the Thalia Symphony as well as the Pacific Lutheran University Symphony Orchestra. Other concert engagements have included bass soloist with the Tacoma Symphony Orchestra in Handel's Messiah, and Beethoven's Symphony #9 with the Everett Philharmonic and Tacoma Youth Symphony. With Rogue Valley Symphony, he has sung bass solos in Messiah, and baritone solos in Carmina Burana.

Annie Herzog, Mezzo-soprano As a recent graduate of Pacific Lutheran University, Annie Herzog is proud to come back to the Lagerquist stage and sing among her peers. Annie currently sings as an Apprentice Artist with the Tacoma Opera. This summer Annie will attend the Music Academy of the West in Santa Barbara and play the role of Charlotte in Massenet’s Werther. Annie’s recent roles include Rosina from Rossini’s Il Barbiere di Siviglia, and Hermia from Britten’s A Midsummer Night’s Dream, both sung with Pacific Lutheran University’s opera program. Annie has been awarded the Encouragement award at the Washington district Met auditions during the fall of 2014, and was awarded the Dean’s award of excellence for the School of Arts and Communication in May of 2015. Annie’s future plans include obtaining a master’s degree in opera and singing on the east coast. Eric Olson, Baritone Eric Henry Olson is originally from Fargo, North Dakota and is a recent graduate of Pacific Lutheran University in Tacoma Washington, with undergraduate degrees in vocal performance and philosophy. While at Pacific Lutheran, Eric performed the roles of Nick Bottom in A Midsummer Night’s Dream, Figaro in Il barbiere di Siviglia, and Melisso in Alcina. Previous professional engagements include Johann in Werther and Vicar in Albert Herring, both with Vashon Opera, and The Bonze and Prince Yamadori in Madama Butterfly at Fargo-Moorhead Opera. Upcoming engagements include a return to Fargo-Moorhead Opera as Betto in Gianni Schicchi, Bass Soloist in Beethoven's Mass in C with the

Concordia College Choir, and a return to the Aspen Music Festival and School's opera training center.

Anthony Webb, Tenor Praised by OPERA NEWS for his “fine comic flair and well-schooled voice,” tenor Anthony Webb is in demand throughout the United States for both opera and concert engagements. Recent highlights include his Carnegie Hall debut as Jack Prence in Merry Mount under the baton on Michael Christie, Goro (Madama Butterfly) with Opera Colorado, Harold “Mitch” Mitchell (A Streetcar Named Desire) with Union Avenue Opera, and Don Ottavio (Don Giovanni) with Union Avenue Opera and Tacoma Opera. Upcoming engagements include Beppe (I pagliacci) and L’Aumonier (Dialogues des Carmélites) with Vashon Opera, Pirelli (Sweeney Todd) with Opera on the Avalon, and the tenor solo in Rossini’s Stabat Mater at Colgate University.

Anthony’s 2014-15 season included role debuts as Sam (Susannah) with St. Petersburg Opera, Mayor Upfold (Albert Herring) with Vashon Opera, and Count Almaviva (Il barbiere di Siviglia) with Crested Butte Music Festival. He sang the roles of Blasius and Gavin in the world premiere of Hugo Kauder’s Merlin, and was the tenor soloist in Carmina Burana with the Rochester Philharmonic Orchestra. His 2013-14 season began with Little Opera Theater of New York’s revival of Gluck’s The Reformed Drunkard. THE NEW YORK TIMES declared, “the strongest impression was made by Anthony Wright Webb, a nimble tenor, as Mathurin ... an agile comedian.” As a Gerdine Young Artist at Opera Theatre of St. Louis, Anthony appeared as Bantam Cock in the acclaimed 2012 U.S. premiere of Unsuk Chin’s Alice in Wonderland. During the 2011-2012 season, Anthony made his company debut with Des Moines Metro Opera in winning performances as Elder Hayes (Susannah) and Josiah Creach (Markheim), and appeared as Lindoro (L’Italiani in Algeri) with Bel Cantanti Opera. As a Bel Canto Young Artist with the Caramoor Festival, he covered both Arnold and Ruodi in Rossini’s Guillaume Tell.

A native of Spanaway, Washington, Anthony holds a Master’s Degree from the Indiana University Jacobs School of Music, and a Bachelor’s degree in Music Education from Pacific Lutheran University. He is a 2010 District Winner of the Metropolitan Opera National Council Auditions, and a 2014 winner of the Irene Dalis Competition.

Combined Choir (Choir of the West and Choral Union) Richard Nance, Chorus Master

Soprano Ally Atwood w Jordan Berg w Elizabeth Binkley w Stephanie Bivins w Katie Darling w Caryl D. Dowd w Carly Gillis Jennifer Gorham w Sarah Hubert w Anna Kwon w Marissa Moultrie w Amy Onstot w Molly Parce w Lori Roy w Diann Spicer Helen Stalsberg Mezzo-soprano Tess Benson w Katie Brizuela w Sue Byrd w Erin Calata w Debbie Dion w Gillian Dockins w Clara Eickhoff w Debbie Hushagen Sophia Lewis w Cindy Luebke w Patti Nance w Nancy Nole w Faith Ockwell w Allison Saager w Mallory Wilhelm w Marie Wutzke Alto Megan Beresford w Allison Bill w Lydia Bill w Nicole Fife w Karen Fulmer w Jamie Lindberg w Suzanne Montgomery Emily Murer w Shirley Nelson w Kiana Norman-Slack w Becky Purser w Miriam Richards w Hannah Rausch w Rizelle Rosales Anne Urlie w Sadi Wentz w Jennifer Woodard w Megan Zink Tenor Neil Asay w Tom Cameron w John Carlsen w Joseph Delgado w Dylan Harm w Logan Kropp w Sean Murphy w John Ockwell Rich Ockwell w Stephen Payne w Nick Pharris w Roland Robinson w Randy Saager w Nick Stevens w Paul Watson Ethan Wiederspan Baritone John Doster w Chris Berntsen w Alonzo Brizuela w Matthew Fosmire w Nathan Gorham w Jesús Gomez w Michael Greer, Jr. Jim Hushagen w Brian Keiper w Philip Nesvig w Nathan Robe w Norm Seidel w Larry Wiseman Bass Alan Aplin w Josh Bozich w Brett Gaulke w Vic Hansen w Christian Jaeger w Todd Kelley w Keith Krause w Josh Luebke Doyle Nelson w Aron Roberts w Dalton Rouse

University Symphony Orchestra Jeffrey Bell-Hanson, Music Director

Flute: Jennifer Dyer w Meagan Gaskill w Hannah Reierson Oboe: Lydia Robinson w Kelsey Johnson © Clarinet: Devin Turner w Karsten Hendrickson Bassoon: Megan Cummings w Alex Orlowski Horn: Taylor Mills w Lucas Batanian w Michaela Thompson w Alex Justice Trumpet: Claire Rehmke w Robert Layton Trombone: Frances Steelquist w Collin Ray Tuba: Nathan Tunheim w Alan Young Timpani: Emilio Gonzalez Percussion: Timothy Hager w Amy Arand Organ: Paul Tegels, Jonathan Wohlers Violin 1: Dylan Nehrenberg w Anita Zeng w North Foulon w Jonathan Lee w Hannah Gorham w Hansol Hyon w Bryn Benson Carl Johnson w Mark Jasinski © Violin 2: Laura Hillis w Kate Schneider w Jeeny Chung w Hannah Sinnes w Erika Query w Nicholas De Los Santos Siobahn Warmer w Elena Oelfke w Ruby Reagan w August Giles © Viola: Phyllis Jenkins w Sophia Robinson w Arden Phu w Sonja Schaefer w Ethan Warwick w Helen Wagner © w Sarah Moore © Cello: Soren Iverson w Kaitlynn Turner w Piper Foulon w Holly Ellis w Katie King w Christiaan Garcia © Contrabass: Adam Masucci w Jordan Hamilton w Tomick Necessary w Emily Fields

Acknowledgements Cameron Bennett, Dean, School of Arts and Communication w John Paul, Chair, Department of Music Amanda LeCompte, Outreach Coordinator, School of Arts and Communication w Art Giddings, PLU Stage Services Travis Pagel, Multimedia Services w Special thanks to Cornish College of the Arts, Jarrad Powell, Instructor of Composition and Gamelon, for the use of the tuned gongs being used for these performances. w Special thanks to PLU Percussion Instructor Miho Takekawa for her help in securing the percussion equipment.