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emmanuel music
Ryan Turner
John Harbison
Craig Smith
Patricia Krol
Michael Beattie
Jude Epsztein Bedel
Joan Ellersick
Donald Firth
Dayla Santurri
Joanna Springer
Jayne West
ARTISTIC DIRECTOR
PRINCIPAL GUEST CONDUCTOR
FOUNDER (1947 - 2007)
EXECUTIVE DIRECTOR
ARTISTIC ADMINISTRATOR
DEVELOPMENT DIRECTOR
ORCHESTRA PERSONNEL MANAGER
CONTROLLER
PR/MARKETING ASSOCIATE
COMMUNICATIONS MANAGER
COMMUNITY CONNECTIONS COORDINATOR
BOARD OF DIRECTORS
ADVISORY BOARD
Kate Kush PRESIDENT
Dale Flecker VICE PRESIDENT
David Vargo TREASURER
Eric Reustle CLERK
Elizabeth S. Boveroux
Marion Bullitt
H. Franklin Bunn
Coventry Edwards-Pitt
David Kravitz
Patrice Moskow
Charles Sherman
Vincent Stanton, Jr.
Dana Whiteside
The Rev. Pamela L. Werntz,
ex-officio
Belden Hull Daniels
Richard Dyer
Anthony Fogg
The Rt. Rev. Alan M. Gates
John Harbison
Rose Mary Harbison
Ellen T. Harris
David Hoose
Richard Knisely
Sara Lawrence-Lightfoot
Robert Levin
Errol Morris
Mark Morris
Joan Nordell
James Olesen
Richard Ortner
Ellis L. Phillips, III
Peter Sellars
Russell Sherman
Sanford Sylvan
Christoph Wolff
Benjamin Zander
15 Newbury Street | Boston, MA 02116 | 617.536.3356 | emmanuelmusic.org
emmanuel music
Ryan Turner, ARTISTIC DIRECTOR
John Harbison, PRINCIPAL GUEST CONDUCTOR
MENDELSSOHN/WOLF CHAMBER
SERIES YEAR I
SUNDAY, APRIL 12, 2015 – 4:00 PM
Hugo Wolf
(1860-1903)
Mörike Lieder
Auftrag
Um Mitternacht
Auf eine Christblume I
Lied eines Verliebten
Bei einer Trauung
Rat einer Alten
Selbstgeständnis
Heimweh
Gebet
Denk es, O Seele
An den Schlaf
Abschied
Peregrina I
Erstes Liebeslied eines Mädchens
Die Geister am Mummelsee
Neue Liebe
Kendra Colton, soprano
Mark McSweeney, baritone
Brett Hodgdon, piano
*
*
*
INTERMISSION
*
*
String Octet in E-flat Major, op. 20
I. II.
III.
IV. Allegro moderato con fuoco
Andante
Scherzo. Allegro leggierissimo
Presto
*
Felix Mendelssohn
(1809-1847)
Gabriela Diaz, violin
Rose Drucker, violin
Karen Oosterbaan, violin
Lena Wong, violin
Joan Ellersick, viola
Noriko Futagami Herndon, viola
David Russell, cello
Cora Swenson Lee, cello
This afternoon’s performance is made possible through the generosity of
Sarah M. Gates
Steinway piano provided by M. Steinert & Sons
This project is funded in part by grants from the Massachusetts Cultural Council and the Boston Cultural
Council, a local agency which is funded by the
Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts,
Tourism, and Special Events.
PROGRAM NOTES
Hugo Wolf
Hugo Wolf was born in 1860 in Styria, now Slovenia, then a part of the Austrian
Empire. His father was a music-loving leather tradesman who taught him the
rudiments of piano and violin. Without having finished high school, he went in
1875 to the Conservatory in Vienna where he was a poor student, subsequently
being dismissed in 1877. From the age of seventeen Wolf depended mostly upon
himself both for his musical training and for his living expenses. He supported
himself by giving piano lessons and performing small-scale engagements, and
in 1884 he became music critic for the Salonblatt, a Viennese society paper,
where his uncompromising, stinging and sarcastic style won him a notoriety
which was not helpful to his future prospects.
Wolf composed in periods of feverish creative activity, which alternated with
barren periods of deepest depression during which he was tormented with the
anxiety that his creative well had dried up forever. By the end of 1891 he had
composed the bulk of his works on which his fame chiefly rests: 53 Mörike
Lieder, 20 Eichendorff Lieder, 51 Goethe Lieder, and the near 90 songs of the
Spanisches and Italienisches Liederbuch.
Mörike Lieder
Eduard Mörike (1804–1875) was a pastor, a painter and the author of some
of the most exquisite, ardent, and lyrical German poetry. Scholar Richard
Wigmore explains: “His range was extraordinarily wide, encompassing ideal,
unhappy and erotic love, joy in the natural world, religious mysticism, the supernatural, whimsy and broad or ironic humor—all themes richly represented
in Wolf’s Mörike collection.” Wolf wrote all 53 Mörike Lieder between February
and November 1888. Over the course of the 2014-2015 season, Emmanuel
Music will present the Mörike Lieder in its entirety.
Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy, grandson of Moses Mendelssohn,
the great Jewish thinker of the Enlightenment, was born in Hamburg in 1809,
the son of a prosperous banker. Much of Mendelssohn’s childhood was passed
in Berlin, where his parents moved when he was three, to escape Napoleonic
invasion. When he was a boy, his father regularly invited professional
PROGRAM NOTES
musicians to his home to join the family in informal music-making. Many distinguished non-musicians were also invited, including the poet Goethe, with
whom young Felix became great friends.
Composer, pianist, organist, conductor, and visual artist, Felix Mendelssohn
possessed prodigious talents that not only rivaled but surpassed those of
Mozart. By the age of sixteen, Mendelssohn produced his first masterwork, the
Octet for Strings, Op. 20, and the following year saw the completion of the
luminous A Midsummer Night’s Dream concert overture. Rigorously schooled
in Bach counterpoint, Mendelssohn, at the age of twenty, gained international
fame and sparked revived interest in the music of J. S. Bach by conducting
the first performance of the St. Matthew Passion since Bach’s death. During
his tenures as conductor in Düsseldorf (1833-1835) and Leipzig (1835-1845),
Mendelssohn rekindled interest in the music of Handel, and premiered other
works, including Schubert’s newly discovered Symphony No. 9.
One of the unique characteristics of Mendelssohn’s development as a
composer is that, starting from a high Classical point of view, he moved almost
simultaneously in two opposite historical directions. In his teens, he was wooed
both by the music of the late Classical and early Romantic periods, and by the
craft of Bach and Handel, for whom he developed intense admiration, even reverence.
©Ryan Turner
Felix Mendelssohn
Octet in E-flat for four violins, two violas, and two cellos, Opus 20
Was there ever so precocious a musical composition as the Mendelssohn Octet? Certainly, Mozart was younger when he started composing, and Schubert
was no slouch either, but as brilliantly talented as they were, neither of them
had by his sixteenth year achieved anything as fresh and original as this Octet,
composed in 1825. Ludwig Spohr had already written four estimable and wellknown works for the same instrumentation, but they usually treated the collection of instruments as two antiphonal string quartets, echoing and re-echoing
to the point of stultification. Mendelssohn virtually created a new medium by
fusing the two quartets into a single large ensemble that combined the
PROGRAM NOTES
instruments in every possible permutation, thereby producing a vibrancy of
color hitherto unknown and rarely matched since. At times the Octet seems
about to turn into a small symphony for string orchestra—Mendelssohn already had a dozen of these under his belt, which explains the fluent writing
for the string ensemble—but then it breaks up into smaller motives treated
contrapuntally and retains the character of pure chamber music.
Mendelssohn addressed the symphonic quality of much of the score quite
frankly in his instructions to performers:
This Octet must be played by all the instruments in the symphonic orchestral
style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual with pieces of this character.
I suspect that his remarks allude to an important change in the character and
locale of chamber music performances that was beginning to take place at
that time. No longer was chamber music written and performed solely for the
private entertainment of the performers or at best a small audience within
the family circle. Rather, composers like Beethoven had written works of such
technical difficulty that few amateur musicians could do them justice, and they
began to be performed before an audience as a public event. If the difficulty of
the music in part motivated this trend, the change of venue in performance affected later chamber works by inviting the grand gesture, the overtly dramatic
quality, and (as Mendelssohn specified in his instructions), the playing up of
the dynamics of a piece as one means of projecting it to a larger audience than
might have been expected a few decades earlier.
A “public” gesture opens the Octet: the first violin soars above a curtain of symphonic tremolos and syncopated chords, rather like the start of the Violin Concerto written nearly twenty years later. This violin part was, no doubt, intended
for the dedicatee, Eduard Rietz. Compositions by young artists tend toward the
prolix, but one of the marvels of this piece is its remarkable taut cohesiveness.
In the first movement, a sonata form, the violinist’s opening idea links phrases
almost throughout; the lively staccato sixteenth-note figure arrives soon after, sounding like a brief transitional device, but it recurs frequently and grows
in importance; the lyrical secondary theme grows naturally out of a rhythmic
motive that first appeared as foil to the sixteenth-note figure; and so it goes.
Mendelssohn delights us constantly with new treatments of familiar ideas.
The slow movement, a far-reaching harmonic adventure, begins with a short
PROGRAM NOTES
phrase in the lower strings in C minor, answered immediately in D-flat by the
four violins. This precipitates an extended passage around the home key with a
chromaticism that was advanced for its time, though it never becomes an end
in itself.
The scherzo has always been the most popular movement of the Octet—to
such an extent that Mendelssohn later arranged it for orchestra (with added
wind parts) and used it as a substitute third movement for his First Symphony
when he conducted it in London in 1829; at that performance the scherzo was
immediately encored. The headlong rush of pianissimo activities makes it hard
to concentrate on details, but we have the statement by the composer’s sister
Fanny that the movement was inspired by some lines from Goethe’s Walpurgis
Night episode in Faust, a scene of transient visions compounded of clouds and
mist, insubstantial and evanescent, appearing and vanishing in an instant.
The finale is a jovial and thoroughly unacademic fugue formed of brilliant contrapuntal technique and musical humor. The light touch with which different
thematic ideas are combined and reworked arouses awe along with delight, as
even the heavy tread of the fortissimo unison march that follows the opening
fugato is lightened later to a textural jest, with each of its individual repeated
notes assigned to a different one of the four violins. Throughout his score, the
boy Mendelssohn demonstrated his complete mastery of both chamber and
symphonic writing for strings, his familiarity with the great masters of the preceding generation, and his own burgeoning originality.
© Steven Ledbetter
TEXT & TRANSLATIONS
Auftrag
In poetischer Epistel
Ruft ein desperater Wicht:
Lieber Vetter! Vetter Christel!
Warum schreibt Er aber nicht?
Weiss Er doch, es lassen Herzen,
Die die Liebe angeweht,
Ganz und gar nicht mit sich scherzen,
Und nun vollends ein Poet!
Denn ich bin von dem Gelichter,
Dem der Kopf beständig voll;
Bin ich auch nur halb ein Dichter,
Bin ich doch zur Hälfte toll.
Amor hat Ihn mir verpflichtet,
Seinen Lohn weiss Er voraus.
Und der Mund, der Ihm berichtet,
Geht dabei auch leer nicht aus.
Pass Er denn zur guten Stunde,
Wenn Sein Schatz durchs Lädchen
schaut,
Lock ihr jedes Wort vom Munde,
Das mein Schätzchen ihr vertraut.
Schreib Er mir dann von dem
Mädchen
Ein halb Dutzend Bogen voll
Und daneben ein Traktätchen,
Wie ich mich verhalten soll!
A commission
A desperate fellow cries for help
In this poetic letter:
My dear cousin, cousin Christel!
Why do you not write?
You know that people
Smitten with love
Cannot be trifled with,
Especially a poet!
For I am one of those creatures
Whose head is always full;
And though I’m only half a poet,
I am half-demented.
Cupid has pledged you to me,
You know what your reward will be.
And the mouth that tells you all
Shall not go away empty.
So wait for the right moment
When your love looks from her
window,
Go and find out every word
My sweetheart’s said to her.
Write me a letter six pages long
All about the girl,
And enclose a treatise
of advice
On how I should respond!
TEXT & TRANSLATIONS
Um Mitternacht
Gelassen stieg die Nacht ans Land,
Lehnt träumend an der Berge
Wand,
Ihr Auge sieht die goldne Waage nun
Der Zeit in gleichen Schalen stille
ruhn;
Und kecker rauschen die Quellen
hervor,
Sie singen der Mutter, der Nacht, ins
Ohr
Vom Tage,
Vom heute gewesenen Tage.
Das uralt alte Schlummerlied,
Sie achtets nicht, sie ist es müd;
Ihr klingt des Himmels Bläue süsser
noch,
Der flüchtgen Stunden
gleichgeschwungnes Joch.
Doch immer behalten die Quellen das
Wort,
Es singen die Wasser im Schlafe noch
fort
Vom Tage,
Vom heute gewesenen Tage.
At midnight
Night has serenely stepped ashore,
Leans dreaming against the mountain
wall,
Watches now the golden scales of
time
Quietly at rest in equipoise;
And the springs babble more
boldly,
They sing in the ear of their mother,
the night,
Of the day,
Of the day that has been today.
That old, that age-old lullaby,
She disregards, she is tired of it;
The blue of the sky sounds sweeter to
her,
The evenly curved yoke of the fleeting
hours.
But still the streams murmur
on,
They babble in sleep as their waters
run
Of the day,
Of the day that has been today.
TEXT & TRANSLATIONS
Auf eine Christblume I
Tochter des Walds, du
Lilienverwandte,
So lang von mir gesuchte,
unbekannte,
Im fremden Kirchhof, öd und
winterlich,
Zum erstenmal, o schöne, find ich
dich!
Von welcher Hand gepflegt du hier
erblühtest,
Ich weiss es nicht, noch wessen Grab
du hütest;
Ist es ein Jüngling, so geschah ihm
Heil,
Ists eine Jungfrau, lieblich fiel ihr Teil.
Im nächtgen Hain, von Schneelicht
überbreitet,
Wo fromm das Reh an dir
vorüberweidet,
Bei der Kapelle, am kristallnen Teich,
Dort sucht ich deiner Heimat
Zauberreich.
Schön bist du, Kind des Mondes,
nicht der Sonne;
Dir wäre tödlich andrer Blumen
Wonne,
Dich nährt, den keuschen Leib voll
Reif und Duft,
Himmlischer Kälte balsamsüsse
Luft.
In deines Busens goldner Fülle
gründet
Ein Wohlgeruch, der sich nur kaum
verkündet;
So duftete, berührt von
Engelshand,
Der benedeiten Mutter Brautgewand.
On a Christmas rose I
Daughter of the forest, close kin to
the lily,
You whom I sought so long and never
knew,
Now in a strange churchyard, desolate
and wintry,
For the first time, O lovely one, I find
you!
Whose hand helped you to blossom
here,
I do not know, nor whose grave you
guard;
If a young man lies here, he has found
salvation,
If a maiden, a fair lot befell her.
In the darkling grove, overspread with
snowy light,
Where the gentle deer moves past you
grazing,
By the chapel, beside the crystal pond,
There I sought your enchanted
realm.
How fair you are, child of the moon,
not of the sun;
Fatal to you would be the bliss of other
flowers,
Your pure body, all rime and
scent, feeds
On heavenly cold and balsam-scented
air.
There dwells within the golden fullness
of your heart
A perfume so faint it can scarcely be
perceived;
Such was the scent, touched by
angelic hands,
Of the Blessed Mother’s bridal robe.
TEXT & TRANSLATIONS
Dich würden, mahnend an das heilge
Leiden,
Fünf Purpurtropfen schön und einzig
kleiden:
Doch kindlich zierst du, um die
Weihnachtszeit,
Lichtgrün mit einem Hauch dein
weisses Kleid.
Der Elfe, der in mitternächtger
Stunde
Zum Tanze geht im lichterhellen
Grunde,
Vor deiner mystischen Glorie steht er
scheu
Neugierig still von fern und huscht
vorbei.
Five crimson drops, a reminder of the
sacred Passion,
Would suffice as your sole and lovely
ornament:
Yet child-like at Christmas-time you
adorn
Your white dress with a hint of palest
green.
The elf, who at the midnight
hour
Goes to dance in the glistening
glade,
Stands awestruck from afar by your
mystic halo,
Looks on in inquiring silence and scurries by.
TEXT & TRANSLATIONS
A lover’s song
Lied eines Verliebten
At first dawn, ah! long before day,
In aller Früh, ach, lang vor Tag,
Weckt mich mein Herz, an dich zu denken, My heart wakes me to think of you,
When healthy lads would love to sleep.
Da doch gesunde Jugend schlafen mag.
My eyes are bright at midnight,
Hell ist mein Aug um Mitternacht,
Brighter than early morning bells:
Heller als frühe Morgenglocken:
Wann hättst du je am Tage mein gedacht? Did you ever think of me by day?
If I were a fisherman, I’d get up,
Wär ich ein Fischer, stünd ich auf,
Carry my net down to the river,
Trüge mein Netz hinab zum Flusse,
Trüg herzlich froh die Fische zum Verkauf. Gladly carry the fish to market.
In der Mühle, bei Licht, der Müllerknecht The miller’s lad, at first light,
Is hard at work, the machinery clatters;
Tummelt sich, alle Gänge klappern;
Such hearty work would suit me well!
So rüstig Treiben wär mir eben recht!
But I, alas, poor wretch,
Weh, aber ich! o armer Tropf!
Muss auf dem Lager mich müssig grämen, Must lie idly grieving on my bed,
Obsessed with that unruly girl!
Ein ungebärdig Mutterkind im Kopf.
Bei einer Trauung
Vor lauter hochadligen Zeugen
Kopuliert man ihrer zwei;
Die Orgel hängt voll Geigen,
Der Himmel nicht, mein Treu!
Seht doch! sie weint ja greulich,
Er macht ein Gesicht abscheulich!
Denn leider freilich, freilich,
Keine Lieb ist nicht dabei.
At a wedding
Before exclusively highborn witnesses,
Two exclusive people are being wed;
The organ pours forth joyful music,
But there’ll be no joy in heaven, I vow!
Just look, she’s crying her eyes out,
He’s making a dreadful face!
For I’m very very sorry to say,
That love is wholly absent.
TEXT & TRANSLATIONS
Rat einer Alten
Bin jung gewesen,
Kann auch mitreden,
Und alt geworden,
Drum gilt mein Wort.
Schön reife Beeren
Am Bäumchen hangen:
Nachbar, da hilft kein
Zaun um den Garten;
Lustige Vögel
Wissen den Weg.
Aber, mein Dirnchen,
Du lass dir raten:
Halte dein Schätzchen
Wohl in der Liebe,
Wohl im Respekt!
Mit den zwei Fädlein
In eins gedrehet,
Ziehst du am kleinen
Finger ihn nach.
Aufrichtig Herze,
Doch schweigen können,
Früh mit der Sonne
Mutig zur Arbeit,
Gesunde Glieder,
Saubere Linnen,
Das machet Mädchen
Und Weibchen wert.
Bin jung gewesen,
Kann auch mitreden,
Und alt geworden,
Drum gilt mein Wort.
Old woman’s advice
I was young once,
So I can talk,
And now I’ve grown old,
My word carries weight.
Lovely ripe berries
Hang from the tree:
Neighbour, it’s no use
Fencing the garden;
Cheerful birds
Know the way in.
But young lady –
A piece of advice:
Make sure your sweetheart
Loves
And respects you!
With those two threads
Twined into one,
You’ll lead him
By the little finger.
Be open of heart,
Yet know how to keep quiet,
Be up with the sun
And go to work with a will,
A healthy body
And clean linen –
These things become a girl
And a wife.
I was young once,
So I can talk,
And now I’ve grown old,
My word carries weight.
TEXT & TRANSLATIONS
Selbstgeständnis
Ich bin meiner Mutter einzig Kind,
Und weil die andern ausblieben sind
– Was weiss ich wieviel, die sechs oder
sieben, –
Ist eben alles an mir hängen blieben;
Ich hab müssen die Liebe, die Treue, die
Güte
Für ein ganz halb Dutzend allein
aufessen,
Ich wills mein Lebtag nicht vergessen.
Es hätte mir aber noch wohl mögen
frommen,
Hätt ich nur auch Schläg für Sechse
bekommen!
Self-confession
I am my mother’s only child,
And since the others failed to appear
– Who knows how many, six or
seven, –
Everything had to centre on me;
I’ve had to devour all by
myself
The love, loyalty and kindness for a full
half-dozen,
I’ll never forget it, as long as I live.
I dare say it would have done me no
harm,
If I’d been whipped for six as
well!
Heimweh
Anders wird die Welt mit jedem Schritt,
Den ich weiter von der Liebsten mache;
Mein Herz, das will nicht weiter mit.
Hier scheint die Sonne kalt ins Land,
Hier deucht mir alles unbekannt,
Sogar die Blumen am Bache!
Hat jede Sache
So fremd eine Miene, so falsch ein
Gesicht.
Das Bächlein murmelt wohl und spricht:
„Armer Knabe, komm bei mir vorüber,
Siehst auch hier Vergissmeinnicht!“
– Ja, die sind schön an jedem Ort,
Aber nicht wie dort.
Fort, nur fort!
Die Augen gehn mir über!
Longing for home
The world changes with every step
That takes me further from my love;
My heart’s reluctant to follow me.
Here the sun shines coldly on the land,
Here all seems unfamiliar,
Even the flowers by the brook!
Each thing
Has so foreign a look, so false a face.
The stream, it’s true, murmurs and
says:
“Poor boy, come to me,
You’ll see forget-me-nots here too!”
– Yes, they are lovely everywhere,
But not so lovely as those I left.
Onwards, onwards!
My eyes fill with tears!
TEXT & TRANSLATIONS
Gebet
Herr! schicke, was du willt,
Ein Liebes oder Leides;
Ich bin vergnügt, dass beides
Aus deinen Händen quillt.
Wollest mit Freuden
Und wollest mit Leiden
Mich nicht überschütten!
Doch in der Mitten
Liegt holdes Bescheiden.
Prayer
Lord! send what Thou wilt,
Pleasure or pain;
I am content that both
Flow from Thy hands.
Do not, I beseech Thee,
Overwhelm me
With joy or suffering!
But midway between
Lies blessed moderation.
Denk es, o Seele!
Ein Tännlein grünet wo,
Wer weiss, im Walde,
Ein Rosenstrauch, wer sagt,
In welchem Garten?
Sie sind erlesen schon,
Denk es, o Seele,
Auf deinem Grab zu wurzeln
Und zu wachsen.
Zwei schwarze Rösslein weiden
Auf der Wiese,
Sie kehren heim zur Stadt
In muntern Sprüngen.
Sie werden schrittweis gehn
Mit deiner Leiche;
Vielleicht, vielleicht noch eh
An ihren Hufen
Das Eisen los wird,
Das ich blitzen sehe.
O soul, remember!
A young fir is growing, where,
Who knows, in the wood?
A rosebush, who can say,
In what garden?
Already they are pre-ordained,
O soul, remember,
To root and grow
On your grave.
Two black colts are grazing
On the field,
Homewards at a merry pace
They return to the town.
At a walking pace they’ll go
With your corpse;
Perhaps, perhaps even before
Their hooves
Will lose the shoes
That I see flashing.
TEXT & TRANSLATIONS
An den Schlaf
Schlaf! süsser Schlaf! obwohl dem Tod
wie du
nichts gleicht,
Auf diesem Lager doch willkommen
heiss ich dich!
Denn ohne Leben so, wie lieblich lebt es
sich!
So weit vom Sterben, ach, wie stirbt es
sich so leicht!
To sleep
Sleep! sweet sleep! though nothing so
resembles
death as you,
I bid you welcome to
this couch!
For thus without life, how sweet it is to
live!
So far from dying, ah, how easy it is to
die!
Abschied
Unangeklopft ein Herr tritt abends bei
mir ein:
„Ich habe die Ehr, Ihr Rezensent zu
sein.“
Sofort nimmt er das Licht in die Hand,
Besieht lang meinen Schatten an der
Wand,
Rückt nah und fern: „Nun, lieber junger
Mann,
Sehn Sie doch gefälligst mal Ihre Nas so
von der Seite an!
Goodbye
Without knocking a man one evening
enters my room:
“I have the honour, sir, to be your
critic.”
He instantly takes my lamp in his hand,
Inspects at length my shadow on the
wall,
Moves back and forth: “Now, young
man,
Be so good as to view your nose from
the side!
TEXT & TRANSLATIONS
Sie geben zu, dass das ein
Auswuchsis.“ –
– Das? Alle Wetter – gewiss!
Ei Hasen! ich dachte nicht,
All mein Lebtage nicht,
Dass ich so eine Weltsnase führt im
Gesicht!!
Der Mann sprach noch Verschiednes
hin und her,
Ich weiss, auf meine Ehre, nicht mehr;
Meinte vielleicht, ich sollt ihm
beichten.
Zuletzt stand er auf; ich tat ihm
leuchten.
Wie wir nun an der Treppe sind,
Da geb ich ihm, ganz froh gesinnt,
Einen kleinen Tritt
Nur so von hinten aufs Gesässe mit –
Alle Hagel! ward das ein Gerumpel,
Ein Gepurzel, ein Gehumpel!
Dergleichen hab ich nie gesehn,
All mein Lebtage nicht gesehn,
Einen Menschen so rasch die Trepp
hinabgehn!
You’ll admit that it’s a
monstrosity.” –
– What? Good god – you’re right!
Bless my soul! I never thought,
In all my life,
I had a nose of such cosmic
size!!
The man said various
other things,
What – I truly no longer recall;
Maybe he thought I should confess to
him.
At last he got up; I lit
his way.
As we stood at the top of the stairs,
I give him, in the best of spirits,
A wee little kick
On his derrière –
Goodness me! What a rumbling,
A tumbling, a stumbling!
I’ve never before seen the like,
Never in all my born days have I seen
A man go downstairs so
fast!
TEXT & TRANSLATIONS
Peregrina I
Peregrina I
Der Spiegel dieser treuen, braunen
The surface of these faithful brown eyes
Augen
Seems to mirror the gleam of inner
Ist wie von innerm Gold ein Widerschein; gold;
Tief aus dem Busen scheint ers
Seems to draw it from deep within your
anzusaugen,
breast –
Dort mag solch Gold in heilgem Gram
There, in hallowed grief such gold may
gedeihn.
thrive.
In diese Nacht des Blickes mich zu
To plunge into this dark night of your
tauchen,
gaze,
Unwissend Kind, du selber lädst mich
Innocent child, you yourself invite
ein –
me –
Willst, ich soll kecklich mich und dich
Wish me boldly to consume us both in
fire,
entzünden,
Reichst lächelnd mir den Tod im Kelch Smile as you offer me death in the
chalice of sin!
der Sünden!
TEXT & TRANSLATIONS
Erstes Liebeslied eines Mädchens
Was im Netze? Schau einmal!
Aber ich bin bange;
Greif ich einen süssen Aal?
Greif ich eine Schlange?
Lieb ist blinde
Fischerin;
Sagt dem Kinde,
Wo greifts hin?
Schon schnellt mirs in Händen!
Ach Jammer! o Lust!
Mit Schmiegen und Wenden
Mir schlüpfts an die Brust.
Es beisst sich, o Wunder!
Mir keck durch die Haut,
Schiesst’s Herze hinunter!
O Liebe, mir graut!
Was tun, was beginnen?
Das schaurige Ding,
Es schnalzet da drinnen,
Es legt sich im Ring.
Gift muss ich haben!
Hier schleicht es herum,
Tut wonniglich graben
Und bringt mich noch um!
A girl’s first love song
What’s in the net? Take a look!
But I’m afraid;
Is it a sweet eel?
Is it a snake?
Love’s a blind
Fisher-girl;
Tell the child
What she’s caught.
It’s rearing up in my hands!
Ah misery, oh joy!
Nestling and wriggling
It slithers to my bosom.
Incredible! It bites its way
Boldly through my skin,
Plunges down to my heart!
O Love, I shudder!
What can I do?
The ghastly thing’s
Snapping in there,
Coiling into a ring.
I must have poison!
It’s creeping about,
It burrows deliciously
And will be the death of me yet.
TEXT & TRANSLATIONS
Ghosts on Mummelsee
Die Geister am Mummelsee
What’s this winding down the mountain
Vom Berge was kommt dort um
at midnight
Mitternacht spät
With torches and such splendour?
Mit Fackeln so prächtig herunter?
Can they be going to a ball
Ob das wohl zum Tanze, zum Feste
or banquet?
noch geht?
Their singing sounds so joyful.
Mir klingen die Lieder so munter.
Oh no!
O nein!
Then tell me what it can be?
So sage, was mag es wohl sein?
Das, was du da siehest, ist Totengeleit, What you see is a funeral procession,
And what you hear are laments.
Und was du da hörest, sind Klagen.
They are mourning the king, the
Dem König, dem Zauberer, gilt es zu
sorcerer,
Leid,
They are bearing him back down again.
Sie bringen ihn wieder getragen.
Oh mercy!
O weh!
They must be the ghosts of the lake!
So sind es die Geister vom See!
They’re gliding down to the Mummel
Sie schweben herunter ins
valley –
Mummelseetal –
Already they’ve alighted on the lake –
Sie haben den See schon betreten –
They neither move nor even wet their
Sie rühren und netzen den Fuss nicht
feet –
einmal –
They whirr their wings while murmuring
Sie schwirren in leisen
prayers –
Gebeten –
Oh look,
O schau,
There by the coffin the glistening
Am Sarge die glänzende
woman!
Frau!
Jetzt öffnet der See das grünspiegelnde The lake now opens its mirror-green
doors;
Tor;
Look out, already they’re diving down!
Gib acht, nun tauchen sie nieder!
Es schwankt eine lebende Treppe hervor, A living, wavering staircase rises,
And down in the depths they’re droning
Und – drunten schon summen die
songs.
Lieder.
Can you hear?
Hörst du?
They’re singing him to rest below.
Sie singen ihn unten zur Ruh.
TEXT & TRANSLATIONS
Die Wasser, wie lieblich sie brennen
und glühn!
Sie spielen in grünendem Feuer;
Es geisten die Nebel am Ufer
dahin,
Zum Meere verzieht sich der Weiher –
Nur still!
Ob dort sich nichts rühren will?
Es zuckt in der Mitten – o Himmel!
ach hilf!
Nun kommen sie wieder, sie kommen!
Es orgelt im Rohr und es klirret im
Schilf;
Nur hurtig, die Flucht nur genommen!
Davon!
Sie wittern, sie haschen
mich schon!
How sweetly the waters burn and
glow!
Their fire flickers green as they dance;
The mists are swirling around the
shore,
The lake vanishes into the sea –
Hush now!
Will nothing ever move there again?
A swirl in the middle – O heavens!
ah help!
The ghosts – they’re coming again!
There’s a roar in the reeds and a wind
in the rushes;
Quick now, run, take flight!
Away!
They’ve caught my scent, they’re
catching me!
TEXT & TRANSLATIONS
Neue Liebe
Kann auch ein Mensch des andern auf
der Erde
Ganz, wie er möchte, sein?
– In langer Nacht bedacht ich mirs und
musste
sagen, nein!
So kann ich niemands heissen auf
der Erde,
Und Niemand wäre mein?
– Aus Finsternissen hell in mir
aufzückt ein
Freudenschein:
Sollt ich mit Gott nicht können sein,
So wie ich möchte, mein und dein?
Was hielte mich, dass ichs nicht heute
werde?
Ein süsses Schrecken geht durch mein
Gebein!
Mich wundert, dass es mir ein Wunder
wollte sein,
Gott selbst zu eigen haben auf der Erde!
New love
Can one ever belong to another here on
earth
Wholly, as one would wish to be?
Long I pondered this at night and had to
answer,
no!
So can I belong to no one here
on earth,
And can no one be mine?
– From dark recesses in me a bright
flame of joy
flashes:
Could I not be with God,
Just as I would wish, mine and Thine?
What could keep me from being so
today?
A sweet tremor pervades my very
frame!
I marvel that it should have ever
seemed a marvel
To have God for one’s own on earth!
English Translations © 2005 Richard Stokes, from The Book of Lieder, published by
Faber and Faber.
Get
Involved
There are many ways to get involved behind the scenes and increase your engagement
as a member of the Emmanuel Music community.
support our mission
When you make a gift to Emmanuel Music you directly support our mission of enriching the
life of the community through the transformative power of music. Every gift plays a role in
our success: you can underwrite a cantata or a soloist or make a gift to support the Annual
Fund, students of the Bach Institute program, or the Hercules Society. Our donors make the
exceptional work of our talented musicians happen, both on the stage and in education and
outreach programs.
Members of the Emmanuel Music donor family enjoy a variety of privileges and benefits to
enhance the concert-going experience.
become a board member
Are you interested in making a difference in your community, in expanding your leadership
opportunities, and in becoming an insider in the region’s nonprofit arts and cultural scene?
Emmanuel Music Board members are part of the inner circle responsible for oversight,
planning, and serving as ambassadors for our wonderful musical mission.
If you love the music we present you may find a satisfying role as a member of our Board.
Useful experience and skills include finance and accounting, media technology, advocacy,
fundraising, human resources, government relations, legal, management, marketing, development, public relations, and strategic planning. We seek a diverse Board in terms of race, age,
and gender.
volunteer
Help one of Boston’s cherished music organizations by becoming a volunteer. Emmanuel
Music currently offers a broad range of activities for volunteers: from general office work like
filing and helping with mailings to concert support such as ushering or working the box office
and concessions. All of our volunteers are valued partners in helping Emmanuel Music maintain its legacy of musical excellence.
For more information, visit www.emmanuelmusic.org or contact us at
[email protected] or 617.536.3356 to discuss how you would like be involved.
ABOUT EMMANUEL MUSIC
Ryan Turner conducts Susanna, April 5, 2014. Photo by Julian Bullitt.
E
mmanuel Music, a collective group of singers and instrumentalists, was founded in
1970 by Craig Smith to perform the complete cycle of over 200 sacred cantatas of J.
S. Bach in the liturgical setting for which they were intended, an endeavor twice completed
and a tradition which continues today. Artistic Director Ryan Turner has led the ensemble
since 2010.
Over the years, Emmanuel Music has garnered critical and popular acclaim through its
presentations of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as
well as its in-depth exploration of the complete vocal, piano, and chamber works of Debussy,
Brahms, Schubert, and Schumann. A recent highlight was the Boston and Tanglewood
premiere of John Harbison’s opera The Great Gatsby.
A unique aspect of Emmanuel performances is its selection of vocal and instrumental
soloists from a corps of musicians who have long been associated with the group. Emmanuel
Music has given rise to renowned musicians at the local, national, and international level; its
long-standing association with Principal Guest Conductor John Harbison has also yielded a
wealth of creative artistry.
Emmanuel Music has achieved international recognition from audiences and critics alike
in its innovative collaborations with leading visionaries among the other arts, including
the Mark Morris Dance Group and stage director Peter Sellars. Emmanuel Music made its
European debut in 1989 in Brussels at the Théâtre Royal de la Monnaie, and its New York City
debut at Lincoln Center in 2001.
In a schedule that totals over fifty performances per year, guest conductors have included
Seiji Ozawa, Christopher Hogwood, Christoph Wolff, Robert Levin, Julian Kuerti, David
Hoose, and Christopher Shepard.
Emmanuel Music has been the subject of numerous national radio and television specials,
and has completed ten recording projects featuring works of Heinrich Schütz, John
Harbison, and J. S. Bach, including the critically acclaimed bestseller Bach Cantatas BWV
82 and 199 featuring Lorraine Hunt Lieberson on the Nonesuch label (hailed as one of the
Top CDs of the Year by The New York Times), Mozart Piano Concertos and Fantasies, with
Russell Sherman on the Emmanuel Music label, and the latest release on the AVIE label,
Lorraine at Emmanuel.
ABOUT THE ARTISTS
“Supple, even liquid shaping of phrase, impeccable
technique and truly refreshing communication of
the intimacy of ensemble playing.” “A thinking man’s
conductor.” This is how critics speak of conductor Ryan
Turner, praising his recent performance of Harbison’s The
Great Gatsby as “a great triumph.” Ryan Turner, now in his
fifth year as Artistic Director of Emmanuel Music, brings
both talent and heart to his music-making as a conductor,
a programmer, and a singer. Born in 1972 and raised in El Paso, Texas, Mr.
Turner went to college at Southern Methodist University in Dallas. He arrived
in Boston in 1995 to continue his studies at the Boston Conservatory. He
joined Emmanuel Music in 1997 as a tenor soloist and chorus member,
making his debut as a guest conductor in 2006. Since his appointment as
Artistic Director, Mr. Turner has programmed and conducted over eighty
Bach cantatas and the Mass in B minor, and major works by Stravinsky,
Mozart, Handel, and Harbison. A champion of new music, Ryan Turner has
programmed and premiered the works of composers John Harbison, James
Primosch, Brett Johnson, and Ben Hogue.
Mr. Turner recently began teaching voice, chamber music, and conducting
at the Longy School of Music. He was the Director of Choral Activities at
Phillips Exeter Academy from 2006 to 2012. From 2006 to 2009 he served
as the Acting Director of the SongFest Bach Institute in California, founded
by Craig Smith. From 2001 to 2010 Mr. Turner presided as Music Director
of the Concord Chorale and Chamber Orchestra. He has also served as
Assistant Director of Choral Activities at the University of Rhode Island, as
Interim Director of Choral Activities at Plymouth State University, and as
Music Director of the Concord Chorus. Ryan Turner has appeared as soloist
in oratorio, recital, and opera. Some highlights include his appearance with
the Mark Morris Dance Group in Handel’s L’Allegro, six seasons with the
Carmel Bach Festival, and the role of Ferrando in Cosi fan tutte with Opera
Aperta. Mr. Turner made his Carnegie Hall debut as the tenor soloist in
Handel’s Messiah in 2008. He has sung solos in over forty Bach cantatas with
Emmanuel Music. His discography includes Bach BWV 67 with Emmanuel
Music, Praetorius Christmas Vespers with Apollo’s Fire, and Kapsberger
Apotheosis with Ensemble Abendmusik. Ryan Turner lives north of Boston
with his wife, soprano Susan Consoli, and their son, Aidan.
ABOUT THE ARTISTS
American soprano Kendra Colton “carried herself like
a goddess and sang radiantly and vividly,” according to a
review in the New York Times. She has been soloist with
major orchestras including the Boston Symphony, Los
Angeles Philharmonic, Cleveland Orchestra, San Francisco
Symphony, Minnesota Orchestra, Pittsburgh Symphony,
Indianapolis Symphony, Houston Symphony, National
Symphony (Kennedy Center), and others. She has appeared
at the festivals of Tanglewood, Banff, and Ravinia, the Casals Festival, the Santa
Fe Chamber Music Festival, and the Carmel Bach Festival. Her operatic credits
include Boston Lyric Opera, Boston Early Music Festival, International Handel
Festival in Göttingen, and four centuries of music in numerous productions
for Milwaukee’s Skylight Opera. Ms. Colton’s solo CDs include Le Charme, a
collection of French songs; He Brought Me Roses, 25 lieder by Joseph Marx; and
her newest release, The Reckless Heart on the Naxos label. She has also recorded
the title role in Griffelkin by Lukas Foss with the Boston Modern Orchestra Project,
and Bach’s St. John Passion and Cantata BWV 133 with Emmanuel Music, where
she performs regularly in recitals, oratorios, and the weekly Cantata Series. In
addition to her singing career, Ms. Colton teaches at Oberlin College in Ohio and
is pursuing her life goal of visiting all of the National Parks in the U.S.
Georgia native Gabriela Diaz began her musical training
at the age of five, studying piano with her mother, and the
next year, violin with her father. She graduated with honors
from New England Conservatory, receiving Bachelor’s and
Master’s degrees in violin as a student of James Buswell;
at NEC, she received the George W. Chadwick Medal, the
highest undergraduate award, and the John Cage Award for
commitment to contemporary music. As a cancer survivor,
Ms. Diaz is committed to supporting cancer research and treatment in her
capacity as a musician. In 2004, she was a recipient of a grant from the Albert
Schweitzer Foundation, an award that enabled her to create and direct the Boston
Hope Ensemble. A firm believer in the healing properties of music, she and her
colleagues have performed in cancer units in Boston hospitals and presented
benefit concerts for cancer research organizations in numerous venues. A fierce
champion of contemporary music, Ms. Diaz has been fortunate to work closely
with many significant living composers on their own compositions, namely
Pierre Boulez, Magnus Lindberg, Frederic Rzewski, Alvin Lucier, John Zorn, Roger
Reynolds, Steve Reich, Brian Ferneyhough, and Helmut Lachenmann. She is a
member of several Boston-area contemporary music groups, including Sound
Icon, Ludovico Ensemble, Dinosaur Annex, Firebird Ensemble, Boston Musica
Viva, and Callithumpian Consort. She also plays regularly with Winsor Music,
Mistral Music, Radius, and Emmanuel Music. In 2012 she joined the violin faculty
ABOUT THE ARTISTS
of Wellesley College. Critics have acclaimed Ms. Diaz as “a young violin master”
and “one of Boston’s most valuable players.” Lloyd Schwartz of the Boston
Phoenix noted, “…Gabriela Diaz in a bewitching performance of Pierre Boulez’s
1991 Anthèmes. The come-hither meow of Diaz’s upward slides and her sustained
pianissimo fade-out were miracles of color, texture, and feeling.” Others have
remarked on her “indefatigably expressive” playing, “polished technique,” and
“vivid and elegant playing.” Highlights of the 2014-2015 season include recording
Roger Reynolds’ solo work, Kokoro, performing the Ligeti Violin Concerto with
the Boston Modern Orchestra Project, and recitals at the National Gallery in
Washington, DC. She can be heard on New World, Centaur, BMOPSound, Mode,
Naxos, and Tzadik records. Ms. Diaz plays on a Vuillaume violin generously on
loan from Mark Ptashne and a viola made by her father, Manuel Diaz.
Rose Drucker is a versatile violinist performing throughout
the Boston area. As a member of the Arneis Quartet she has
appeared in Stanford’s Lively Arts Series, Music on Main in
Vancouver, and the Beijing Modern Music Festival in China.
The quartet has also performed in Boston and New York and
at summer festivals in Aspen, the Banff Centre in Canada,
Stanford University, and Deer Valley, UT. The Arneis was the
Fellowship Quartet at the Apple Hill Center for Chamber Music
and the inaugural winner of the John Lad prize, awarded by the St. Lawrence
String Quartet at Stanford University. In addition to performing Bach cantatas
and orchestra concerts at Emmanuel since 2004, Ms. Drucker has appeared in
the Chamber Music and Solo Bach series and was a 2005-2006 Lorraine Hunt
Lieberson Fellow. She has been coached by members of the Muir, St. Lawrence,
Brentano, Emerson, and Juilliard quartets and has studied with Peter Zazofsky
and Mark Rush. She holds degrees from Boston University and the University of
Arizona.
ABOUT THE ARTISTS
Joan Ellersick, viola, studied at Indiana University
with Georges Janzer and received her Bachelor in Viola
Performance degree from Boston University where she
worked with Bernard Kadinoff. After graduating from BU,
Ms. Ellersick lived in Michigan for fourteen years, serving
as assistant principal viola of the Grand Rapids Symphony,
playing frequently with the Detroit Symphony, and teaching
viola at Calvin College. Since returning to her native Boston,
she has appeared with the Boston Symphony Orchestra, Boston Pops Esplanade
Orchestra, Boston Modern Orchestra Project, Cantata Singers, Chamber
Orchestra of Boston, Opera Boston, and Emmanuel Music. An active chamber
musician, she has been a member of Music at Eden’s Edge and was a founding
member of the Somerset Quartet and Mackinac Trio. She was violist of the Van
Swieten Quartet, an ensemble specializing in performing music of the classical
era on period instruments, in residence at Longy School of Music. Ms. Ellersick
teaches lessons for Boston Youth Symphony Orchestras’ Intensive Community
Program, taught for many years at St. Mark’s and Fay Schools in Southboro, MA,
and coaches the viola sections of the Boston Youth Symphony Orchestras.
Noriko Futagami Herndon, violist, enjoys a distinguished
career as a versatile and prolific soloist, orchestral and
chamber musician. She is principal violist for the Albany
Symphony, an ensemble known for numerous world premier
performances and recordings, and also the recipient of a
2013 Grammy Award. She plays with their Dogs of Desire
contemporary ensemble, as well as the New Jersey Symphony.
Now living in the Greater Boston area, she is the assistant
principal violist for the Boston Philharmonic Orchestra. Her dynamic virtuosity,
combined with a passion for new music, has led to frequent performances with
the Boston Ballet Orchestra, Boston Modern Orchestra Project, Boston Musica
Viva, Emmanuel Music, Cantata Singers, Odyssey Opera, Monadnok Music
Festival, and the Winsor Music Chamber Series. This year, she became a member
of both the Rhode Island Philharmonic and the Radius Ensemble, adding to her
growing presence on the Greater Boston musical scene.
ABOUT THE ARTISTS
Brett Hodgdon has been the rehearsal pianist for Emmanuel
Music’s Bach Cantata Series since 2006. Mr. Hodgdon
received Emmanuel Music’s Lorraine Hunt Lieberson
Fellowship in 2009. He is currently on the music staff at Boston
Lyric Opera, where this season he will coach and perform in
Mozart’s Don Giovanni. Mr. Hodgdon is Music Director of the
Opera Theater at the University of Connecticut, where he
has recently conducted Britten’s Noye’s Fludde, Donizetti’s
L’elisir d’amore, and Ravel’s L’Enfant et les sortilèges. He received his doctorate
in collaborative piano from the New England Conservatory in 2014.
Baritone Mark McSweeney has appeared as soloist with
many of the area’s leading ensembles, including the Handel
and Haydn Society, the Cantata Singers, and the New England
Bach Festival. He has had a long association with Emmanuel
Music, appearing in many performances of oratorio, recital,
and opera, as well as in the Bach Cantata Series. He has been
heard in recital at the Museum of Fine Arts, Harvard University,
and on public radio broadcasts. In the area of contemporary
music, he has appeared as Chou En-lai in Adams’ Nixon in China at Australia’s
Adelaide Festival, with the Minnesota Contemporary Ensemble in Harbison’s
Words from Paterson, with Collage New Music in Andrew Imbrie’s Four Songs,
and in the Boston premieres of new works by Lee Hyla and Peter Lieberson.
Karen Oosterbaan enjoys an active career as a violinist
and Alexander Technique teacher in the Boston area. As
a professional violinist, she performs with the Orchestra
of Emmanuel Music, Pro Arte Orchestra, Cantata Singers,
Spectrum Singers, and National Lyric Opera. She has
appeared as a concerto soloist with the Cambridge
Symphony Orchestra, and she continues to perform with a
variety of chamber groups throughout New England. She
performs with the Winchester Chamber Players every year. At New England
Conservatory and Longy School of Music of Bard College, she teaches lessons
and classes in the Alexander Technique. She has presented many workshops on
integrating the Alexander Technique with performing for the Boston Symphony
Orchestra’s “Inside the Music” series; Guildhall School of Music, London; and
Longy School of Music. During the summer, she is the Music Director of Point
CounterPoint, a chamber music camp in Vermont, where she teaches and
performs. In addition to her home studio, she teaches violin and chamber music
at Winchester Community Music School. She completed her Master of Music
degree in violin performance at the New England Conservatory with honors, her
ABOUT THE ARTISTS
Graduate Diploma in Violin Performance at Longy School of Music at Bard College
with distinction, and her Bachelor of Music, summa cum laude, from Blair School
of Music at Vanderbilt University. Violin studies have been with James Buswell
IV, Cornelia Heard, Paul Kantor, and Janet Packer, chamber music studies with
members of the Blair, Borromeo, Cleveland, and Lydian String Quartets.
Hailed as a “superb cellist” and as “sonorous and panoramic”
in the Boston Globe, David Russell maintains a vigorous
schedule both as soloist and collaborator. Appointed to
the teaching faculty of Wellesley College in 2005, he serves
as Cello Instructor and Director of Chamber Music. In the
Boston area he appears regularly with such ensembles as
Cantata Singers, Emmanuel Music, Odyssey Opera, Pro
Arte Chamber Orchestra, New England String Ensemble,
and Worcester Chamber Music Society. He served as principal cello of Opera
Boston from 2006 to 2011 and was a recent soloist with Sound Icon, Boston
Modern Orchestra Project, Music for Food, and NEC’s Summer Institute for
Contemporary Performance Practice (SICPP). A strong advocate of new
music, Mr. Russell has performed with BMOP, Firebird Ensemble, Callithumpian
Consort, Music on the Edge, Dinosaur Annex, and the Fromm Players at Harvard.
Recent projects include recordings of works by Eric Moe, Lee Hyla, Donald
Crockett, Tamar Diesendruck, Chen Yi, and Roger Zahab, premieres of Laurie
San Martin’s Cello Concerto with the Fort Worth Symphony, Eric Moe’s Mud
Wrestling at the O.K. Corral for cello and piano, and new works for solo cello by
Andrew Rindfleisch, Sam Nichols, and John Mallia. His recordings are on Tzadik,
Bridge, BMOP/Sound, Centaur, CRI, Albany Records, and New World Records.
Boston based cellist and baroque cellist praised for playing
“with maturity and panache,” Emmanuel Music Lorraine
Hunter Lieberson Felllow Cora Swenson Lee began her
studies in Chicago at the age of four. Her most influential
teachers have been Eastman School of Music professor Alan
Harris, Chicago Symphony member Richard Hirschl, and
long-time cellist of the renowned Vermeer Quartet, Marc
Johnson. Ms. Swenson Lee holds a Bachelor’s Degree in Cello
Performance with highest distinction from the Eastman School of Music (2010)
and a Master’s Degree in Cello Performance from Boston University College of
Fine Arts (2012). An avid chamber musician, Ms. Swenson Lee performs regularly
as a member of Boston Baroque and Trio Speranza. She has performed in venues
across the United States and internationally, including appearances at the San
Francisco Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley
Chapel and DePaul University in Chicago, and Odori Park in Sapporo, Japan, with
ABOUT THE ARTISTS
former Vienna Philharmonic concertmaster concertmaster Werner Hink and
principal clarinetist Peter Schmiedl. A passionate educator, Ms. Swenson Lee
runs a small private studio in Boston and, along with her colleagues in the Boston
Public Quartet, is part of the new Celebrity Series of Boston initiative Artists in
Community, which brings free concerts and school presentations to several
Boston communities. Ms. Swenson Lee has participated in master classes by
musicians including Steven Isserlis, Malcolm Bilson, and Pamela Frank. She
has performed under conductors including David Zinman, Fabio Luisi, Leonard
Slatkin, and Nicholas McGeegan. She has also worked with artists such as James
Dunham, Rachel Barton Pine, Larry Combs, the Vermeer Quartet, the Ying
Quartet, Pacifica Quartet, and members of the Metropolitan Opera Orchestra.
Lena Wong, violin, is a graduate of the University of Wisconsin
and studied at the Royal Academy of Music in London. She
was a member of the Florida Philharmonic and the Honolulu
Symphony before moving to Boston. Ms. Wong performs with
Emmanuel Music, Boston Modern Orchestra Project, Cantata
Singers, Boston Classical Orchestra, Boston Lyric Opera, and
the Boston Ballet Orchestra. On period violin, she performs
and records with Boston Baroque and the Handel and Haydn Society.
COMMUNITY CONNECTIONS
Community Connections Program
Emmanuel Music is grateful to The Rowland Foundation for its support of this
program.
Community Collaborations
Emmanuel Music works in partnership with staff and faculty at a variety of
Boston-area schools and performing arts organizations to develop in-depth
opportunities for young musicians. Partner organizations include the Boston
Arts Academy; the Perkins School for the Blind; the Boston Children’s Chorus;
and the Dever, Murphy, and McCormick public schools in Dorchester. Each year
instrumentalists and vocalists from Emmanuel Music’s core ensemble work
with over 1000 young student musicians through collaborative performances,
master classes, workshops, and recitals. Through their intense engagement
with professional musicians at the highest level, these young students are
given an extraordinary opportunity to experience inspiration, fulfillment, and
joy from music-making. Several students who have participated in Emmanuel
Music’s Community Connections programs have gone on to study music at
the college level. Countless others have pursued other careers, yet kept music
as an important part of their lives.
Daniel Doña, violist with the Arneis Quartet, works with
a student at Boston’s Dever-McCormack School as
part of Emmanuel Music’s Community Connections
Program.
Subsidized Tickets
Emmanuel Music, through its Community Connections Program, offers
numerous Boston-area schools and organizations working with underserved
populations access to subsidized tickets for Emmanuel Music concerts.
Students, their families, and staff from the Boston Children’s Chorus, Project
STEP, the Boston Arts Academy, and other Boston public schools benefit from
this exceptional opportunity.
COMMUNITY CONNECTIONS
Lorraine Hunt Lieberson Fellows
The Lorraine Hunt Lieberson Fellowship honors young artists who have
enthusiastically participated within the Emmanuel community of musicians
and demonstrated exceptional artistic talent.
The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her
musical career as a violist in the Orchestra of Emmanuel Music under the
direction of Craig Smith. By the mid-1980s, she had become a full-time singer
and moved into the ranks of the Emmanuel Chorus, honing her craft both as
an ensemble musician and soloist in the environment of intellectual rigor and
collegial support unique to Emmanuel. Her association with Emmanuel Music
continued throughout her highly acclaimed career and included legendary
accounts of Bach cantata arias, the role of Dejanira in Handel’s Hercules, and
a riveting performance of Bach Cantatas BWV 82 and 199 staged by Peter
Sellars and performed in major international venues. (Celebrated recordings
of these performances are available through Emmanuel Music). Lieberson’s
talent was nurtured and developed within the Emmanuel Music community of
musicians, and in particular, the weekly Bach Cantata performances. It is in
this spirit that we celebrate and support the young musicians identified each
year as Lorraine Hunt Lieberson Fellows.
The 2014-2015 Lorraine Hunt Lieberson Fellows:
Critics have praised Brenna Wells for her “angelic,” “soaring,”
and “captivating” soprano voice. Her operatic roles include
Galatea in Acis and Galatea, First Witch Purcell’s Dido and
Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles,
and she was Première Nymphe de l’Acheron in the Boston Early
Music Festival’s production and Grammy-nominated recording
of Lully’s Psyché. Ms. Wells has sung and recorded with such acclaimed
ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque
Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and the
Handel and Haydn Society. She has appeared in many festivals world-wide
including the London Handel Festival, Aldeburgh Festival, Amherst Early Music
Festival, and BBC Proms, and in both 2008 and 2009, she was selected to
perform in the Early Music Seminars, at the Fondazione Giorgio Cini in Venice,
Italy. Highlights from recent seasons include her soloist debut
COMMUNITY CONNECTIONS
at Symphony Hall under the direction of Harry Christophers, as well as soloist
debuts with Emmanuel Music, Boston Baroque, Ensemble Viii, and Boston
Cecilia among others. She performed in the Yale Choral Artists’ inaugural
season, under the baton of William Christie, and returned as a soloist in their
performance of Mozart’s Mass in C Minor under director Jeffrey Douma. The
2013-2014 season included solo appearances with the Handel and Haydn
Society, Boston Baroque, Collage New Music, Connecticut Early Music
Festival, and with the Boston Early Music Festival’s tour of the Charpentier
Opera Double Bill: La Descente d’Orphée aux Enfers and La Couronne de Fleurs
to Victoria, British Columbia and New York. This season’s highlights include
appearances with Emmanuel Music as their Lorraine Hunt Lieberson Fellow,
Seraphic Fire, Handel and Haydn Society, Boston Baroque, Ensemble Viii, and
the Yale Choral Artists.
Boston based cellist and baroque cellist praised for playing
“with maturity and panache,” Cora Swenson Lee began her
studies in Chicago at the age of four. Her most influential
teachers have been Eastman School of Music professor Alan
Harris, Chicago Symphony member Richard Hirschl, and longtime cellist of the renowned Vermeer Quartet, Marc Johnson.
Ms. Swenson Lee holds a Bachelor Degree in Cello Performance with highest
distinction from the Eastman School of Music (2010) and a Masters Degree
in Cello Performance from Boston University College of Fine Arts (2012). An
avid chamber musician, Ms. Swenson Lee performs regularly as a member of
Boston Baroque and Trio Speranza. She has performed in venues across the
United States and internationally, including appearances at the San Francisco
Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley
Chapel and DePaul University in Chicago, and Odori Park in Sapporo, Japan,
with former Vienna Philharmonic concertmaster Werner Hink and principal
clarinetist Peter Schmiedl. A passionate educator, Ms. Swenson Lee runs a
small private studio in Boston, and along with her colleagues in the Boston
Public Quartet, is part of the new Celebrity Series of Boston initiative Artists
in Community, which brings free concerts and school presentations to several
Boston communities. Ms. Swenson Lee has participated in master classes
by musicians including Steven Isserlis, Malcolm Bilson, and Pamela Frank.
She has performed under conductors including David Zinman, Fabio Luisi,
Leonard Slatkin, and Nicholas McGeegan. She has also worked with artists
such as James Dunham, Rachel Barton Pine, Larry Combs, the Vermeer
Quartet, the Ying Quartet, Pacifica Quartet and members of the Metropolitan
Opera Orchestra.
ACKNOWLEDGEMENTS
EMMANUEL MUSIC ACKNOWLEDGES
GENEROUS IN-KIND CONTRIBUTIONS
•
Musicians of Emmanuel Music who share their artistry with us on a
weekly basis throughout the season
•
The clergy, vestry, and staff of Emmanuel Church
•
Julian Bullitt for sharing his technical and photographic expertise
•
Jim Bradley for his ongoing operational support
•
Bill Prokipchak and Jaiyi Li for weekend administrative and operations
support
•
Pamela Dellal, for her magnificent texts and translations
•
Lois Beattie for her ongoing administrative support
•
Taj Boston for offering special dinners for concertgoers
•
Patrice Moskow for her invaluable editorial and administrative
support
•
Ellen Mayo, for coordinating our volunteer activities
•
Volunteers for this afternoon’s concert: Beth Baiter, Penny Caponigro,
Catharine Mary Donovan, Ron Johns, and Sara Kunz.
•
Susan Larson, for her “way with words”
•
Sametz Blackstone for their design of our print materials
•
Members of the Boston Musician’s Association, Local 9-535 of the
American Federation of Musicians
greater boston
choral consortium
HERCULES SOCIETY
Hercules Society
The Hercules Society was established in 1999 to support the performance of Handel’s
Hercules, featuring Lorraine Hunt Lieberson in the role of Dejanira. In subsequent years,
the Society has underwritten major operas, oratorios, and performances in the Evening
Concert Series. We gratefully acknowledge Hercules Society members who made gifts
between February 1, 2014 and February 28, 2015. For information on becoming a member,
please contact Jude Epsztein Bedel, Director of Development, at Jude@emmanuelmusic.
org or call 617-536-3356.
PILLAR OF HERCULES
AUGEAN STABILIZER
$5,000 and above
Toni and Robert Strassler
Julian and Marion Bullitt*
Kate and Tom Kush
$2,500 to $4,999
Paul and Katie Buttenwieser*
Belden and Pamela Daniels*
Mary Eliot Jackson*
Butler and Lois Lampson
Vincent and Mary Alice Stanton
NEMEAN LION
$1,000 to $2,499
Richard and Mahala Beams
Harold J. Carroll
Victoria Cowling Chu and Michael Chu
David Cook and Annemarie Altman
Sarah M. Gates*
Rachel Jacoff
Margaret and Peter Johnson
Paul E. Keane and Linda Baron Davis
Kathryn and Edward Kravitz
Drs. Peter Libby and Beryl Benacerraf
Edward and Joan Mark*
Ruth and Victor McElheny
Robert Meyers
George and Martha Mutrie
Joan and Roderick Nordell
Jaylyn Olivo and Dale Flecker
Sheila D. Perry
William and Lia Poorvu
John Pratt*
David and Marie Louise Scudder
Robert N. Shapiro
Jeffrey Thomson and David Janero
M. T. Tosteson
Peter Wender
*Hercules Society Founder
CONCERT UNDERWRITING
Emmanuel Music Concert Underwriting 2014-2015
Timely, generous support is critical for artistic planning. We are especially grateful
to the following individuals for helping us underwrite the 2014-2015 season.
Support of the Artistic Season
The Klarman Family Foundation
Community Connections Program
The Rowland Foundation
The Position of Artistic Director
H. Franklin and Betsy Bunn
Belden and Pamela Daniels
The Bach Institute
Drs. Peter Libby and Beryl Benacerraf
Oberlin College and Conservatory
Evening Concert Series
Alan J. and Suzanne W. Dworsky
The Mattina R. Proctor Foundation
Joan Margot Smith
Lindsey Chapel Series
Cynthia Livingston and Richard Shader
Soloist Underwriting
Charles L. Felsenthal
Butler and Lois Lampson
Drs. Peter Libby and Beryl Benacerraf
Robert N. Shapiro
Chamber Music Series
Sarah M. Gates
Kate and Tom Kush
John Pratt
The Cantata Series
Anonymous (5)
The Barrington Foundation
Hanna and James Bartlett
H. Franklin and Betsy Bunn
Donald David and Margaret Hornady-David
Coventry Edwards-Pitt and
Matthew Weinzierl
Sarah M. Gates
Mary Eliot Jackson
Errol Morris and Julia Sheehan
Jaylyn Olivo and Dale Flecker
Parish of Emmanuel Church
Ruth Tucker and Dan Hazen
David Vargo and Sheila Collins
Estate of F. Blair Weille
Young Music Fund, Emmanuel
Church
We welcome the opportunity to discuss additional underwriting opportunities for the
2014-2015 artistic season and beyond. For more information, please contact
Jude Epszten Bedel, Director of Development, at [email protected] or call
617.536.3356.
CUMULATIVE GIVING
Emmanuel Music Cumulative Giving
February 1, 2014 – February 28, 2015
We gratefully acknowledge gifts to Emmanuel Music received between February 1,
2014 and February 28, 2015. Contributions to Emmanuel Music provide support
essential to achieving our mission of enriching the life of the community through the
transformative power of music. With over 40 free concerts a season, our ticket sales
cover less than 20% of our operating budget. Financial support is essential to our
continuing success. For questions or comments, please contact Jude Epsztein Bedel,
Director of Development, at [email protected] or call 617.536.3356.
$10,000+
Anonymous (2)
The Barrington Foundation
Elizabeth Boveroux
Julian and Marion Bullitt
H. Franklin and Betsy Bunn
Pamela and Belden Daniels
Eran Egozy and Yukiko Ueno-Egozy
The Klarman Family Foundation
Kate and Tom Kush
Butler and Lois Lampson
Cynthia Livingston and Richard Shader
Massachusetts Cultural Council
Mattina R. Proctor Foundation
Rowland Foundation
Joan Margot Smith
David Vargo and Sheila Collins
F. Blair Weille^
Young Music Fund, Emmanuel Church
$5,000+
Anonymous (2)
Hanna and James Bartlett
Dale Flecker and Jaylyn Olivo
Sarah M. Gates
Timothy and Jane Gillette
Margaret Hornady-David and Don David
Mary Eliot Jackson
Drs. Peter Libby and Beryl Benacerraf
Oberlin Conservatory and College
John Pratt
$2,500+
Gail and Darryl Abbey
Paul and Katie Buttenwieser
David Cook and Annemarie Altman
Coventry Edwards-Pitt and Matthew Weinzierl
Patricia Krol and Stephen Chiumenti
Errol Morris and Julia Sheehan
Olive Bridge Fund
Vincent Stanton, Jr. and Viva Fisher
Vincent and Mary Alice Stanton
David Stevens and Marjorie Albright
Ruth Tucker and Dan Hazen
$1,000+
Anonymous (2)
The Atlantic Philanthropies
Willa and Taylor Bodman
Thomas Burger and Andrée Robert
Pauline Ho Bynum
Harold J. Carroll
Victoria Cowling Chu and Michael Chu
Pamela Dellal and Roy Sansom
Arnold H. and Dianne B. Gazarian
John and Rose Mary Harbison
Rachel Jacoff
Ann S. Higgins
Margaret and Peter Johnson
Paul E. Keane and Linda Baron Davis
Kathryn and Edward Kravitz
David Kravitz and Majie Zeller
Robert Levin and Ya-Fei Chuang
Camille^ and William Malamud
Edward and Joan Mark
Ruth and Victor McElheny
Robert Meyers
CUMULATIVE GIVING
Mark Morris
George and Martha Mutrie
Joan and Roderick Nordell
Perkins School for the Blind
Sheila D. Perry
William and Lia Poorvu
Diana Post and Hal Churchill
Frank and Denise Quattrone Foundation
Eric Reustle
David Rockefeller, Jr.
David and Marie Louise Scudder
Robert N. Shapiro
M. T. Tosteson
Debra and Ian Wallace
Peter Wender
Dana Whiteside
Robert Zevin
$500+
Anonymous (5)
Roberta Anderson and David Dysert
Beth Baiter
The Barton Family Trust
Olivier Bedel and Jude Epsztein Bedel
James and Margaret Bradley
Jean Brenner
Mary and Kenneth Carpenter
Fay Chandler
Scott Corey Dunbar
Christine Coughlin
Tom and Jody Gill
Phillip M. Henry
Deborah A. Hoover
Samuel Clowes Huneke
Willie Lockeretz
William A. Lokke
Christopher Lydon
Danielle Maddon and Geoffrey Steadman
Bill Nigreen and Kathleen McDermott
Eric and Anne Nordell
Winifred and Leroy Parker
Peggy Pearson
Plimpton-Shattuck Fund at Boston
Foundation
Bernie and Sue Pucker
Mr. Robert A. Schuneman
Mr. Cyril Yansouni
Winsor Music Inc.
$250+
Anonymous (2)
Alchemy Foundation
Michael Beattie
Mr. J. Buffington
Bill Chapman
David Chavolla
John and Cindy Coldren
Warren Cutler
Marie-Pierre and Michael Ellmann
Robert and Margaret Faulkner
Robert and Anne Goble
Wendy and Clark Grew
Frank and Susan Kelley
J.B. Kittredge and Winand van Eeghen
Susan Larson and Jim Haber
Charles and Pauline Maier
Pierre de St. J. Macbeth and
Ann Boomer Milligan
Lynn Nowels
William J. Pananos
Dianne Pettipaw
Pauline Ratta
Rosemary Reiss and Avner Ash
Dayla Arabella Santurri and
Stephen E. Gobish
David Satz
Micho and William Spring
William and Lisa Strouss
Elizabeth and Peter Thomson
Grenny Thoron
Ryan Turner and Susan Consoli
The Rev. Pamela L. Werntz and
Ms. Joy Howard
Marilee Wheeler
James White
Edith and Leon Lamont Wiltsee
$100+
Anonymous (5)
Michael and Serafin Anderson
Thomas W. Barber
Ann Marie Barone
Linda Cabot Black
CUMULATIVE GIVING
Marie-Paule Bondat and Michael Karr
Esther Breslau
Alan Brock and James D. Baleja
Penelope Caponigro
Mary Chamberlain
Lynn Cohen
Dr. John D. Constable
Sally R. Coughlin
Charles and Carol Cox
Bruce and Susan Creditor
Fay Dabney
John and Sally Davenport
Mary-Catherine Deibel and Reid Fleming
Barbara DeVries
Charles and Sheila Donahue
Elsa Dorfman and Harvey Silverglate
Ursula Ehret-Dichter
Jane Farber and Jeffrey Tarter
Harriet Feinberg
Charles Freifeld and Marilyn Ray Smith
Salome Fung
GE Foundation*
David Getz
Kitty Gladstone
Ron and Elizabeth Goodman
Nadja Gould
Winifred P. Gray
Mary Jewett Greer
Jane Günter-McCoy and Seth T. McCoy
The Rev. Constance A. Hammond
Suzanne and Easley Hamner
Margaret Hanni
John Heiss
Randy Hiller
Ellen Hinkle
Leslie M. Holmes
Margot Dennes Honig
Ben and Mary Jaffee
Ann G. Johnson
E. Dolores Johnson
Rosemary S. Kean
Sutti and Ehud Koch
Dr. A.A. Koeller
Jane Bryden and Chris Krueger
Sara and Eben Kunz
Terry Kutolowski and Rick Muth
Rebecca A. Lee
Fred and Jean Leventhal
James C. Liu and Alexandra G. Bowers
Peter and Elisabeth Loizeaux
Frederick MacArthur
Barbara T. Martin
Jane Roland Martin
Susan Maycock and Charles M. Sullivan
Ellen Mayo
Suzanne McAllister and Ralph Engstrom
Knox and Carlotta Mellon
Roslin P. Moore
Donna and Alec Morgan
Peggy Morrison
Nancy Mueller
Ellen and John O’Connor
Henry Paulus
Bonnie Payne and Roger Tobin
Nancy Peabody
John Petrowsky
Harold I. Pratt
Deborah and Caesar Raboy
Janice Randall
Kelly Reed and Kenneth Williams
Adam Reeves and Anne Kelly
Margo Risk
Allan Rodgers
Virginia Rogers and William Hobbie
David Roochnik and Gina Marie Crandell
Lee and Shirley Rosen
Frank Sander
Linda Abbey Saripalli and Cedric Saripelli
Michael J. Scanlon
Nancy Shafman and Mark Kagan
Joseph Shandling
Andrew Sigel
Jill and David Silverstein
Jean Chapin Smith
Mr. and Mrs. Richard Southgate
Joel Stein
Alan Strauss
Ann B. Teixeira
Erin E.M. Thomas
Allen R. and Karen L. Thompson
Tyler and Marcia Tingley
Doris Tsao
Victor and Mary Tyler
William L. Vance
Charles Warren
Joel and Bonni Weinstein
Michael Welsh
Ed and Amy Wertheim
T. Walley Williams, III
Mrs. Katherine B. Winter
Heather Wittels
Carl Woodbury
Evelyn S. Wyman
CUMULATIVE GIVING
mozart
mozart
$50+
Anonymous (4)
Helen Glikman and Dan Bartley
Timothy E. Blackburn
Christopher Buckley
Mike Budreski
Dangoule Budris
Suzanne Carleo
Paul H. Carr
Paula Chasan
Suzanne Colburn
Gretchen Conklin
Allan and Grace Dibiase
Allison Donelan
Jessi Eisdorfer
Brenda and Monroe Engel
Michel and Françoise Epsztein
Jean Fuller Farrington
William Faucon
Gaby Friedler
Keith Glavash and Marylène Altieri
Dave and Lynne Harding
Linda Heffner
Winifred Hentschel
Edwin and Mary Hiller
Marcia Jacob
John Hancock Financial Services*
Walter S. Jonas
Peter and Cornelia Keenan
John and Jonell Kenagy
Michael Kerpan and Patricia Suhrcke
Donald Langbein
Peter A. Lans
Mary Lincoln
Deborah Lemont
Carol Marshall
Ralph and Sylvia Memolo
Barbara B. Merrifield
Tim Montgomery
Martha Moor
Eileen and Lawrence Moyer
Cornelius and Elizabeth Moynihan
Elizabeth Nordell and Rudy Perrault
Hazel O’Donnell
Eugene Papa
POD LLC*
Peter and Linda Rubenstein
Nancy and Ronald Rucker
Jo Sandman
Stephen and Toby Schlein
Effie A. Shumaker
Rena and Michael Silevitch
Diane Sokal and Randolph Meiklejohn
Susan Swan
Cornelis L. Thieme
Lynn Torgove
Stewart and Sondra Vandermark
Martin and Phyllis Wilner
Robert Wyckoff and Maya Hasegawa
^Deceased
*Matching Gift
Believing is not a condition of beloving or belonging here.
If you like what you hear tonight, you’ll love Sunday
mornings at Emmanuel Church. Sacred music gains
tremendous resonance from being heard in the context
for which it was intended. Come experience worship in
our Sanctuary, where Christian tradition meets
thoughtful progressive perspectives. As the ensemblein-residence at Emmanuel Church, Emmanuel Music
enhances our worship with sacred motets and Bach
cantatas during our weekly service of Holy Eucharist,
September to May.
Join us Sundays at 10:00am at 15 Newbury Street.
Emmanuel Church in the City of Boston - 15 Newbury St., Boston MA 02116 - www.emmanuelboston.org
2014-2015
seasOn
BUY TICKeTs
OnLIne aT
www.nePhilharmonic.org
Odysseys MaY 2, 2015 | 8PM
Tsai PerforMance cenTer
MaTThew BrOwne
How the Solar System Was Won
BosTon PreMiere, 2014 call for scores Winner
GUnTher sChULLer
Meditation (symphonic study)
andY Vores
andY VOres Violin Concerto no. 2
World PreMiere, neP commission, danielle Maddon, violin
serGeI raChManInOff Symphonic Dances
Innovation & Tradition in Concert www.nePhilharmonic.org
Susanna Phillips
SOPRANO
David Hansen
COUNTERTENOR
LONGY EVENTS 2014-2015
For more information about Longy events, visit www.longy.edu.
November 25, 7:30pm
Longy Conservatory Orchestra
Geoffrey McDonald, conductor
Sanders Theatre, Harvard University
Including a Side by Side performance
March 10, 7:30pm
Longy Conservatory Orchestra
Geoffrey McDonald, conductor
Sanders Theatre, Harvard University
with members of the Longy Conservatory
Orchestra and students from El Sistemainspired music programs.
March 20, 7:00pm
Side by Side: 2015 Longy Gala
Sanders Theatre and
Annenberg Hall, Harvard University
January 25, 7:00pm
Faculty Artist Recital
Mihail Jojatu, cello
Wayman Chin, piano
Edward M. Pickman Concert Hall
April 17–18
Spring Opera Performance
Geoffrey McDonald, conductor
Donna Roll, director
75th Diamond Anniversary Season
Let's Celebrate Together!
Crowning Achievements
HANDEL
Coronation Anthems
HAYDN
Coronation Mass
TOM VIGNIERI ~ commissioned world premiere ~
Fri, May 8, 2015 at 8PM ¥ Sanders Theatre, Cambridge
Free Parking ¥ Special Dining Offers ¥ Check website for details
MasterworksChorale.org ¥ (617) 858-6785
Steven Karidoyanes, conductor
Peggy Pearson, Artistic Director
2014-15
season continues…
Chamber Series III
Chamber Series IV
Monday, March 23, 2015 at 7:00 pm
VNA, 259 Lowell Street, Somerville
Sunday, April 26, 2015 at 7:00 pm
St. Paul’s Church, Brookline
Arneis String Quartet
Apple Hill Quartet
Music of Haydn, Beethoven and Wallace
FREE CONCERT! but registration required:
www.winsormusic.org/tickets
Haydn:
Symphony Quintetto
(after Symphony No. 97)
introducing
Primosch:
Quartet for Oboe and Strings
(World Premiere)
Brahms:
Quartet in C minor,
Op. 51 No. 1
781-863-2861
n
winsormusic.org
Fine Musical Instruments
at auction
April 26 | 12PM | 63 Park Plaza, Boston
auction and previews are open to the public
Jill Arbetter
509.970.3216 | [email protected]
Modern French Violin, Paul Kaul, Costabelle
Hyeres, 1921. Estimate: $6,000-8,000
Boston | Marlborough | Miami | New York | www.skinnerinc.com
MA/lic. #2304
SEASON 14 | 15
BACK BAY CHORALE
Boston Globe Fall Arts Preview Critics’ Pick
MUSIC OF VIENNA
Saturday 18 October 2014
Sanders Theatre, Cambridge
A CANDLELIGHT CHRISTMAS
Saturday 13 December 2014
Emmanuel Church, Boston
BEETHOVEN: MISSA SOLEMNIS
Saturday 21 March 2015
Sanders Theatre, Cambridge
DURUFLÉ: REQUIEM
Saturday 9 May 2015
Saint Paul’s Church, Cambridge
TICKETS & INFO: bbcboston.org or 617.648.3885
Play a Role today.
Support over 200 of Boston’s most outstanding musicians and over 50 performances
each year. Ensure that most of our concerts remain free and open to the public, while enjoying special benefits to enhance your concert-going experience.
I would like to make a gift to Emmanuel Music’s Annual Fund of:
$50 (Associate)
$100 (Partner)
$1,000 (Benefactor)
$250 (Friend)
$2,500 (Bravo)
$500 (Sustainer)
Other $_________
I would like to join the Hercules Society to support Evening Concerts with a gift of:
$1,000 (Nemean Lion)
$2,500 (Augean Stabilizer)
$5,000 (Pillar of Hercules)
Other $_________
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Please complete this form and return to:
Emmanuel Music, 15 Newbury Street, Boston, MA 02116 or make your gift online at
www.emmanuelmusic.org.
Thank you for your support!
To discuss other giving opportunities, please contact Jude Epsztein Bedel, Director of
Development, at 617.536.3356.
Your gift is tax deductible to the fullest extent of the law.