emmanuel music

Ryan Turner ARTISTIC DIRECTOR PRINCIPAL GUEST CONDUCTOR FOUNDER (1947 - 2007) Patricia Krol EXECUTIVE DIRECTOR

Michael Beattie ARTISTIC ADMINISTRATOR Jude Epsztein Bedel DEVELOPMENT DIRECTOR Joan Ellersick ORCHESTRA PERSONNEL MANAGER Don Firth CONTROLLER Dayla Santurri PR/MARKETING ASSOCIATE Joanna Springer COMMUNICATIONS MANAGER COMMUNITY CONNECTIONS COORDINATOR

BOARD OF DIRECTORS ADVISORY BOARD Kate Kush President Belden Hull Daniels James Olesen Dale Flecker Vice President Richard Dyer Richard Ortner David Vargo Treasurer Anthony Fogg Ellis L. Phillips, III Eric Reustle Clerk John Harbison Elizabeth S. Boveroux Rose Mary Harbison Russell Sherman Marion Bullitt Ellen Harris Sanford Sylvan H. Franklin Bunn David Hoose Christoph Wolff Coventry Edwards-Pitt Richard Knisely Benjamin Zander David Kravitz Sara Lawrence-Lightfoot Patrice Moskow Robert Levin Vincent Stanton, Jr. Errol Morris Dana Whiteside Mark Morris The Rev. Pamela L. Werntz, Joan Nordell ex-officio

15 Newbury Street | , 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, November 2, 2014 – 4:00 pm

Mörike Lieder Hugo Wolf

Gesang Weylas (1860-1903)

Der Genesene an die Hoffnung Schlafendes Jesukind Seufzer Auf eine Christblume II

Pamela Dellal, mezzo- Ryan Turner, Brett Hodgdon,

Variations Concertantes in D Major for Cello and Piano, Op. 17

(1809-1847)

Rafael Popper-Keizer, cello Ya-Fei Chuang, piano

Mörike Lieder Hugo Wolf

Begegnung Lebe wohl Nimmersatte Liebe Agnes An die Geliebte An eine Äolsharfe Pamela Dellal, mezzo-soprano Ryan Turner, tenor Brett Hodgdon, piano * * * INTERMISSION * * *

Piano Quartet in C minor, Op. 1 Felix Mendelssohn

I. Allegro viace II. Adagio III. Scherzo: Presto IV. Allegro moderato Ya-Fei Chuang, piano Danielle Maddon, Mark Berger, Rafael Popper-Keizer, cello Mörike Lieder Hugo Wolf

Ein Stündlein wohl vor Tag Jägerlied Der Tambour Elfenlied Storchenbotschaft

Pamela Dellal, mezzo-soprano Ryan Turner, tenor Brett Hodgdon, piano

This afternoon’s performance is made possible through the generosity of John Pratt in loving memory of Joy Pratt.

Steinway piano provided by M. Steinert &Sons.

Emmanuel Music programs are supported in part by the Cultural Council. Program Notes Program Notes Hugo Wolf Hugo Wolf was born in 1860 in , now , 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 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 exqui- site, 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 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 prodi- Program Notes gious talents that not only rivaled but surpassed those of Mozart. By the age of sixteen, Men- delssohn 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 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 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.

Variations Concertantes in D Major for Cello and Piano, Op. 17 The Variations Concertantes were written in 1829 for Mendelssohn’s younger brother, Paul, a good amateur cellist. The word concertante signals a virtuosic piece showcasing solo instru- ments. There is an original theme followed by eight variations, played without repeats and flowing seamlessly into one another

Piano Quartet No. 1 in C minor, Op. 1 Perhaps the most important and enduring influence on Felix Mendelssohn’s musical educa- tion was Carl Friedrich Zelter, a prolific composer who set the poems of Goethe to music. Zelter encouraged his study of Handel, J. S. Bach, Haydn and Mozart, and by the time Felix was ten his creative output reflected a synthesis of these styles. Starting at the age of eleven, Mendelssohn wrote over 100 compositions, including a violin sonata, three piano sonatas and even two !

The Piano Quartet No. 1 in C minor, his first published work, was composed in 1822 dur- ing a family holiday in Switzerland when Mendelssohn was thirteen years old, and reveals his breadth of style, range of emotion and scope of invention. The first movement is cast in classic sonata allegro form, the second spins a lyrical theme that looks forward to his Song Without Words, the scherzo trips along blithely, while the final movement reprises themes and the form of the first movement, closing with bravura flourish. Program Notes

Violin Sonata in F minor, Op. 4 Composed in 1825, when Mendelssohn was sixteen, the Violin Sonata in F minor elegantly blends the formality and balance of the 18th century with more than a hint of Beethoven-like turbulence. The sonata begins with a slow, unaccompanied recitative-like passage for the violin. When the pi- ano ambiguously joins, via a half , the tempo immediately shifts to an allegro. The middle movement, a plush and dreamy poco adagio, gives way to the dancing 6/8 of the finale. The sonata ends as it began, with a quasi-cadenza for the violin that leads to an elusive close. - Ryan Turner String Quartet in A minor, Op. 13 Mendelssohn began the score of the quartet in July 1827 and completed it on 27 October 1827. The piece was published as Mendelssohn’s Op. 13 in 1830. On 14 February 1832 the work was premiered in Paris by violinists Pierre Baillot and Eugène Sauzay, violist Chrétien Uhran, and cellist Louis Norblin.

“Ist Es Wahr?” (Is it true?) The adolescent Mendelssohn poses this question in a song composed in 1827, a setting of his friend Johann Gustav Droyson’s poem “Frage.” Mendelssohn was desper- ately in love, possibly with Betty Pistor, a singer in the choir he accompanied on Friday nights in Berlin. Material from the song would serve as the thematic backbone of the A minor string quartet that Mendelssohn would start composing later that year.

The Mendelssohn family made sure to keep up with the latest musical trends, and in the 1820s this meant being familiar with the works of Beethoven, who by this time was well into his late period. Mendelssohn’s father, Abraham, was not terribly fond of Beethoven’s music but he made sure to purchase all of his works directly after they were published for his children’s study. This would prove to be crucial to Mendelssohn’s development as a composer (along with his grandmother’s gift of the score to Bach’s St. Matthew Passion in 1824). The young Mendelssohn’s fascination with the late quartets of Beethoven is evident in a letter he wrote to his friend, the Swedish composer Adolf Frederick Linbad:

“Have you seen his new quartet in Bb major [Op. 130]? And that in C# minor [Op. 131]? Get to know them, please. The piece in Bb contains a cavatina in Eb where the first violin sings the whole time, and the world sings along… The piece in C# has another one of these transitions, the intro- duction is a fugue!!”

Beethoven’s death in early 1827 may have pushed Mendelssohn past the anxiety of influence that most after Haydn suffered when it came to writing string quartets. Up until this point Program Notes

Mendelssohn’s output included the three piano quartets Opp. 1-3, Octet Op. 20 and Viola Quintet Op. 18—all masterworks in their own right but also genres that did not have as much precedence.

References abound to Beethoven’s quartets in Op. 13 (which is Mendelssohn’s first, written slight- ly before the String Quartet in Eb Major, Op. 12). The work begins very similarly to Beethoven’s Op. 132 (also in A minor), featuring a slow lyrical introduction followed by a swirl of sixteenth - Ryan Turner notes and then a declamation of the main theme. The viola’s arpeggiated passage at the end of the first movement makes reference to Beethoven’s Op. 74. The second movement mixture of lyrical song and fugato is a direct reference to Beethoven’s Op. 95.

Mendelssohn uses Beethoven’s method of providing unity throughout a composition by linking all four movements through motivic references to the “Ist Es Wahr” theme taken from the “Frage” setting. He wrote that “[y]ou will hear its notes resound in the first and last movements, and sense its feeling in all four.” His extensive use of counterpoint in the quartet reveals an indebted- ness not only to Beethoven but also to Bach.

The introduction of “poetic meaning” into Op. 13 also pays homage to Beethoven’s use of rec- itative in Op. 132 and the Ninth Symphony as well as the “Muß es sein?” (Must it be?) question posed in Op. 135. Mendelssohn’s use of his “Frage” setting propels us fully into the Romantic era. Direct quotations occur in the introduction of the first movement as well as in the closing coda of the last movement, an extended restatement of the first-movement introduction. Only the question is asked in the first movement: “Is it true that you’ll always be waiting for me beneath the arbor?” This propels us into a dramatic narrative spanning all four movements of the quartet, where the transformation of the “Ist Es War?” theme conveys a wide range of emotions brought about by posing that question. Finally, at the close of the fourth movement the answer from the “Frage” setting is quoted: “What I am feeling is only understood by her who feels with me and who always remains true to me.”

Mendelssohn wrote to his sister about a “very dubious compliment” that he received from one Abbé Bernardin at the 1832 premiere of the work in Paris. The Abbé was sitting next to Mendels- sohn at the performance and whispered to him after the recitative section starting the fourth movement, “He has that in one of his symphonies.” The confused Mendelssohn proceeded to ask who the Abbé was referring to and he responded, “Why, Beethoven, the composer of this quartet.” -Daniel Doña

Texts and Translations

Gesang Weylas Weyla’s song

Du bist Orplid, mein Land! You are Orplid, my land! Das ferne leuchtet; That shines afar; Vom Meere dampfet dein besonnter Strand Your sunlit shore sends up sea- Den Nebel, so der Götter Wange Mists, that moisten the cheeks of the feuchtet. gods.

Uralte Wasser steigen Ancient waters climb, Verjüngt um deine Hüften, Kind! Rejuvenated, child, about your waist! Vor deiner Gottheit beugen Kings, who attend you, Sich Könige, die deine Wärter sind. Bow down before your divinity.

Der Genesene an die He who has recovered addresses Hoffnung Hope

Tödlich graute mir der Morgen: Day dawned deathly grey: Doch schon lag mein Haupt, wie süss! Yet my head lay, how sweetly! Hoffnung, dir im Schoss verborgen, O Hope, hidden in your lap, Bis der Sieg gewonnen hiess. Till victory was reckoned won. Opfer bracht ich allen Göttern, I had made sacrifices to all the gods, Doch vergessen warest du; But you I had forgotten; Seitwärts von den ewgen Rettern Aside from the eternal saviours Sahest du dem Feste zu. You gazed on at the feast.

O vergib, du Vielgetreue! Oh forgive, most true one! Tritt aus deinem Dämmerlicht, Step forth from your twilight Dass ich dir ins ewig neue, That I, just once, might gaze Mondenhelle Angesicht From my very heart Einmal schaue, recht von Herzen, At your eternally new and moonbright face, Wie ein Kind und sonder Harm; Like a child and without sorrow; Ach, nur einmal ohne Schmerzen Ah, just once, without pain, Schliesse mich in deinen Arm! Enfold me in your arms! Texts and Translations

Schlafendes Jesuskind The sleeping Christ-child

Sohn der Jungfrau, Himmelskind! Son of the Virgin, Heavenly Child! am Boden, Asleep on the ground, Auf dem Holz der Schmerzen eingeschlafen, on the wood of suffering, Das der fromme Meister, sinnvoll spielend, Which the pious painter, in meaningful play, Deinen leichten Träumen unterlegte; Has laid beneath Thy gentle dreams; Blume du, noch in der Knospe dämmernd O flower, still the Glory of God the Father! Eingehüllt die Herrlichkeit des Vaters! Though still hidden in the dark bud! O wer sehen könnte, welche Bilder Ah, if one could see what pictures, Hinter dieser Stirne, diesen schwarzen Behind this brow and these dark Wimpern sich in sanftem Wechsel Lashes, are reflected in gentle malen! succession!

Seufzer Sighs

Dein Liebesfeuer, The fire of your love, Ach Herr! O Lord! Wie theuer Wollt ich es hegen, How I longed to tend it, Wollt ich es pflegen! How I longed to cherish it, Habs nicht geheget Have failed to tend it Und nicht gepfleget, Have failed to cherish it, Bin tot im Herzen – Am dead at heart – O Höllenschmerzen! O hellish pain! Texts and Translations

Auf eine Christblume II On a Christmas Rose II

Im Winterboden schläft, There sleeps within the wintry ground, ein Blumenkeim, itself a flower-seed, Der Schmetterling, der einst um Busch The butterfly that one day over hill und Hügel and dale In Frühlingsnächten wiegt den samtnen Will flutter its velvet wings in spring Flügel; nights. Nie soll er kosten deinen Honigseim. Never shall it taste your liquid honey.

Wer aber weiss, ob nicht sein zarter But who knows if perhaps its gentle Geist, ghost, Wenn jede Zier des Sommers When summer’s loveliness has hingesunken, faded, Dereinst, von deinem leisen Dufte Might some day, dizzy with your faint trunken, fragrance, Mir unsichtbar, dich blühende umkreist? Unseen by me, circle you as you flower? Texts and translations

Begegnung Encounter

Was doch heut nacht ein Sturm gewesen, What a storm there was last night, Bis erst der Morgen sich geregt! It raged until this morning dawned! Wie hat der ungebetne Besen How that uninvited broom Kamin und Gassen ausgefegt! Swept the streets and chimneys clean!

Da kommt ein Mädchen schon die Strassen, Here comes a girl along the street, Das halb verschüchtert um sich sieht; Glancing half bashfully about her; Wie Rosen, die der Wind zerblasen, Like roses the wind has scattered, So unstet ihr Gesichtchen glüht. Her pretty face keeps changing colour.

Ein schöner Bursch tritt ihr entgegen, A handsome lad steps up to meet her, Er will ihr voll Entzücken nahn: Approaches her full of bliss, Wie sehn sich freudig und verlegen How joyfully and awkwardly Die ungewohnten Schelme an! Those novice rascals exchange looks!

Er scheint zu fragen, ob das Liebchen He seems to ask if his sweetheart Die Zöpfe schon zurecht gemacht, Has tidied up her plaited locks, Die heute nacht im offnen Stübchen That last night a storm dishevelled Ein Sturm in Unordnung gebracht. In her gaping wide room.

Der Bursche träumt noch von den Küssen, The lad’s still dreaming of the kisses Die ihm das süsse Kind getauscht, The sweet child exchanged with him, Er steht, von Anmut hingerissen, He stands enraptured by her charm, Derweil sie um die Ecke rauscht. As she whisks round the corner. Texts and Translations

Lebe wohl Farewell

„Lebe wohl!“ – Du fühlest nicht, “Farewell!” – You do not feel Was es heisst, dies Wort der What it means, this word of Schmerzen; pain; Mit getrostem Angesicht With hopeful countenance Sagtest du’s und leichtem Herzen. You said it, and a light heart.

Lebe wohl! – Ach, tausendmal Farewell! – Ah, a thousand times Hab ich mir es vorgesprochen, I have uttered it aloud, Und in nimmersatter Qual And with never-ending anguish Mir das Herz damit gebrochen. Have broken my heart in doing so. Texts and translations

Nimmersatte Liebe Insatiable love

So ist die Lieb! So ist die Lieb! Such is love! Such is love! Mit Küssen nicht zu stillen: Not to be quieted with kisses: Wer ist der Tor und will ein Sieb What fool would wish to fill a sieve Mit eitel Wasser füllen? With nothing else but water? Und schöpfst du an die And were you to draw water for some tausend Jahr, thousand years, Und küssest ewig, ewig gar, And were you to kiss for ever and ever, Du tust ihr nie zu Willen. You’d never satisfy love.

Die Lieb, die Lieb hat alle Stund Love, love, has every hour Neu wunderlich Gelüsten; New and strange desires; Wir bissen uns die Lippen wund, We bit until our lips were sore, Da wir uns heute küssten. When we kissed today. Das Mädchen hielt in guter Ruh, The girl kept nicely quiet and still, Wie’s Lämmlein unterm Messer; Like a lamb beneath the knife; Ihr Auge bat: „Nur immer zu! Her eyes pleaded: “Go on, go on! Je weher, desto besser!“ The more it hurts the better!”

So ist die Lieb! und war auch so, Such is love, and has been so Wie lang es Liebe gibt, As long as love’s existed, Und anders war Herr Salomo, And wise old Solomon himself Der Weise, nicht verliebt. Was no differently in love. Texts and translations

Agnes Agnes

Rosenzeit! Wie schnell vorbei, Time of roses! How swiftly by, Schnell vorbei Swiftly by Bist du doch gegangen! You have sped! Wär mein Lieb nur blieben treu, Had my love but stayed true, Blieben treu, Stayed true, Sollte mir nicht bangen. I should feel no fear.

Um die Ernte wohlgemut, Joyously at harvest-time, Wohlgemut, Joyously, Schnitterinnen singen. Reaping women sing. Aber ach! mir kranken Blut, But ah! I’m sick, Mir kranken Blut Sick at heart Will nichts mehr gelingen. I fail at everything.

Schleiche so durchs Wiesental, So I steal through the meadow vale, So durchs Tal, Meadow vale, Als im Traum verloren, As if lost in dreams, Nach dem Berg, da tausendmal, Up to the hill where a thousand times, Tausendmal Thousand times, Er mir Treu geschworen. He promised to be true.

Oben auf des Hügels Rand, Up there on the hillside, Abgewandt, Turning away, Wein ich bei der Linde; I weep by the lime-tree; An dem Hut mein Rosenband, On my hat the rosy ribbon, Von seiner Hand, A gift from him, Spielet in dem Winde. Flutters in the wind. Texts and Translations

An die Geliebte To the beloved

Wenn ich, von deinem Anschaun tief gestillt, When I, deeply calmed at beholding you, Mich stumm an deinem heilgen Wert Take silent delight in your sacred vergnüge, worth, Dann hör ich recht die leisen Atemzüge Then I truly hear the gentle breathing Des Engels, welcher sich in dir verhüllt, Of that angel concealed within you.

Und ein erstaunt, ein fragend Lächeln quillt And an amazed, a questioning smile Auf meinem Mund, Rises to my lips: ob mich kein Traum betrüge, does not a dream deceive me, Dass nun in dir, zu ewiger Genüge, Now that in you, to my eternal joy, Mein kühnster Wunsch, My boldest, mein ein’zger, sich erfüllt? my only wish is being fulfilled?

Von Tiefe dann zu Tiefen stürzt mein Sinn, My soul then plunges from depth to depth, Ich höre aus der Gottheit nächtger Ferne From the dark distances of Godhead I hear Die Quellen des Geschicks melodisch The springs of fate ripple in rauschen. melody.

Betäubt kehr ich den Blick nach oben hin, Dazed I raise my eyes Zum Himmel auf – To heaven – da lächeln alle Sterne; where all the stars are smiling; Ich kniee, ihrem Lichtgesang zu lauschen. I kneel to listen to their song of light. Texts and Translations

An eine Äolsharfe To an Aeolean harp

Angelehnt an die Efeuwand Leaning against the ivy-clad wall Dieser alten Terrasse, Of this old terrace, Du, einer luftgebornen Muse O mysterious lyre Geheimnisvolles Saitenspiel, Of a zephyr-born Muse, Fang an, Begin, Fange wieder an Begin again Deine melodische Klage! Your melodious lament!

Ihr kommet, Winde, fern herüber, Winds, you come from afar, Ach! von des Knaben, Ah! From the fresh green mound Der mir so lieb war, Of the boy Frisch grünendem Hügel. Who was so dear to me, Und Frühlingsblüten unterweges And brushing spring flowers along the streifend, way, Übersättigt mit Wohlgerüchen, Saturated with fragrance, Wie süss bedrängt ihr dies Herz! How sweetly you afflict this heart! Und säuselt her in die Saiten, And you murmur into these strings, Angezogen von wohllautender Wehmut, Drawn by their sweet-sounding sorrow, Wachsend im Zug meiner Sehnsucht, Waxing with my heart’s desire, Und hinsterbend wieder. Then dying away once more.

Aber auf einmal, But all at once, Wie der Wind heftiger herstösst, As the wind gusts more strongly, Ein holder Schrei der Harfe The harp’s gentle cry Wiederholt, mir zu süssem Erschrecken Echoes, to my sweet alarm, Meiner Seele plötzliche Regung, The sudden commotion of my soul; Und hier – And here – die volle Rose streut, geschüttelt, the full-blown rose, shaken, All ihre Blätter vor meine Füsse! Strews all its petals at my feet! Texts and translations

Ein Stündlein wohl vor Tag An hour before day

Derweil ich schlafend lag, As I lay sleeping, Ein Stündlein wohl vor Tag, An hour before day, Sang vor dem Fenster auf dem A swallow sang to me – I could hardly Baum hear it – Ein Schwälblein mir, ich hört es kaum, From a tree by my window, Ein Stündlein wohl vor Tag: An hour before day:

„Hör an, was ich dir sag, “Listen well to what I say, Dein Schätzlein ich verklag: It’s your lover I accuse: Derweil ich dieses singen tu, While I’m singing this, Herzt er ein Lieb in guter Ruh, He’s cuddling a girl in sweet repose, Ein Stündlein wohl vor Tag.“ An hour before day.”

O weh! nicht weiter sag! Oh! don’t say another word! O still! nichts hören mag! Oh quiet! I don’t wish to hear! Flieg ab! flieg ab von meinem Baum! Fly away! fly away from off my tree! – Ach, Lieb und Treu ist wie ein Traum – Ah, love and loyalty are like a dream Ein Stündlein wohl vor Tag. An hour before day. Texts and Translations

Jägerlied Huntsman’s song

Zierlich ist des Vogels Tritt im Schnee, A bird steps daintily in the snow Wenn er wandelt auf des Berges Höh: On the mountain heights: Zierlicher schreibt Liebchens liebe Hand, Daintier still is my sweetheart’s hand, Schreibt ein Brieflein mir in ferne Land’. When she writes to me in far-off lands.

In die Lüfte hoch ein Reiher steigt, A heron soars high into the air, Dahin weder Pfeil noch Kugel fleugt: Beyond the reach of shot or shaft: Tausendmal so hoch und so geschwind The thoughts of faithful love Die Gedanken treuer Liebe sind. Are a thousand times as swift and high.

Der Tambour The drummer-boy

Wenn meine Mutter hexen könnt, If my mother could work magic Da müsst sie mit dem Regiment, She’d have to go with the regiment Nach Frankreich, überall mit hin, To France and everywhere, Und wär die Marketenderin. And be the vivandière. Im Lager, wohl um Mitternacht In camp, at midnight, Wenn niemand auf ist als die Wacht, When no one’s up save the guard, Und alles schnarchet, Ross und Mann, And everybody – man and horse - is snoring, Vor meiner Trommel säss ich dann: Then I’d sit by my drum: Die Trommel müsst eine Schüssel sein, My drum would be a bowl, Ein warmes Sauerkraut darein, With warm sauerkraut in it, Die Schlegel Messer und Gabel, The sticks would be a knife and fork, Eine lange Wurst mein Sabel; My sabre – a long sausage; Mein Tschako wär ein Humpen gut, My shako would be a tankard Den füll ich mit Burgunderblut. Filled with red Burgundy. Und weil es mir an Lichte fehlt, And because I lack light, Da scheint der Mond in mein Gezelt; The moon shines into my tent; Scheint er auch auf franzö’sch herein, And though it shines in French, Mir fällt doch meine Liebste ein: It still reminds me of my beloved: Ach weh! Jetzt hat der Spass ein End! Oh dear! There’s an end to my fun! – Wenn nur meine Mutter hexen könnt! – If only my mother could work magic! Texts and translations

Elfenlied Elf-song

Bei Nacht im Dorf der Wächter rief: The village watch cried out at night: „Elfe!“ “Eleven!” Ein ganz kleines Elfchen im Walde schlief – An elfin elf was asleep in the wood – Wohl um die Elfe – Just at eleven – Und meint, es rief ihm aus dem Tal And thinks the nightingale was calling Bei seinem Namen die Nachtigall, Him by name from the valley, Oder Silpelit hätt ihm gerufen. Or Silpelit had sent for him. Reibt sich der Elf die Augen aus, The elf rubs his eyes, Begibt sich vor sein Schneckenhaus, Steps from his snail-shell home, Und ist als wie ein trunken Mann, Looking like a drunken man, Sein Schläflein war nicht voll getan, Not having slept his fill, Und humpelt also tippe tapp And hobbles down, tippety tap, Durchs Haselholz ins Tal hinab, Through the hazels to the valley, Schlupft an der Mauer hin so dicht, Slips right up against the wall, Da sitzt der Glühwurm, Licht an Where the glow-worm sits, shining Licht. bright. „Was sind das helle Fensterlein? “What bright windows are these? Da drin wird eine Hochzeit sein: There must be a wedding inside: Die Kleinen sitzen beim Mahle, The little folk are sitting at the feast Und treibens in dem Saale; And skipping round the ballroom; Da guck ich wohl ein wenig ’nein!“ I’ll take a little peek inside!” – Pfui, stösst den Kopf an harten Stein! Shame! he hits his head on hard stone! Elfe, gelt, Elf, don’t you think you’ve had genug? enough? Gukuk! Gukuk! Cuckoo! Cuckoo! Texts and Translations

Storchenbotschaft Stork-tidings

Des Schäfers sein Haus und das steht auf The shepherd’s house stands on zwei Rad, two wheels, Steht hoch auf der Heiden, so frühe wie High on the moor, morning and spat; night, Und wenn nur ein mancher so’n Nacht- A lodging most would be quartier hätt! glad of! Ein Schäfer tauscht nicht mit dem König No shepherd would change his bed with a sein Bett. king.

Und käm ihm zu Nacht auch was And should by night any strange Seltsames vor, thing occur, Er betet sein Sprüchel und legt sich aufs He prays a brief prayer and lies down to Ohr; sleep; Ein Geistlein, ein Hexlein, so lustige Wicht, A ghost, a witch, some airy creature – Sie klopfen ihm wohl, doch er antwortet They might come knocking, but he’ll not nicht. answer.

Einmal doch, da ward es ihm wirklich zu But one night it really became too bunt: much: Es knopert am Laden, es winselt der A tap on the shutters, a whine from the Hund; dog; Nun ziehet mein Schäfer den Riegel – ei So my shepherd unbolts – lo schau! and behold! Da stehen zwei Störche, der Mann und die Two storks stand there, a husband and Frau. wife. Texts and translations

Das Pärchen, es machet ein schön The couple, they make a beautiful Kompliment, bow, Es möchte gern reden, ach, wenn es nur könnt! They’d like to speak, if only they could! Was will mir das Ziefer! – What can these feathered friends want of me! ist so was erhört? Whoever heard the like? Doch ist mir wohl fröhliche Botschaft beschert. They must have joyful tidings for me.

Ihr seid wohl dahinten zu Hause am Rhein? You live over there, down by the Rhine? Ihr habt wohl mein Mädel gebissen ins Bein? I guess you’ve paid my girl a visit? Nun weinet das Kind und die Mutter noch The child’s now crying, the mother even mehr, louder, Sie wünschet den Herzallerliebsten sich her? She wants her sweetheart by her side? Und wünschet daneben die Taufe bestellt: And wants the christening feast arranged: Ein Lämmlein, ein Würstlein, A lambkin, a sausage, ein Beutelein Geld? a purse of money? So sagt nur, ich käm in zwei Tag’ oder drei, Well, tell her I’m coming in two days or three. Und grüsst mir mein Bübel und rührt ihm den Say hello to my boy, give his pap a Brei! stir!

Doch halt! warum stellt ihr zu zweien euch ein? But wait! Why have two of you come? Es werden doch, hoff ich, nicht Zwillinge sein? It can’t, I hope, be a case of twins? Da klappern die Störche im lustigsten Ton, At that the storks clatter most merrily, Sie nicken und knixen und fliegen davon. They nod and curtsey and fly away.

English Translations © 2005 Richard Stokes, from The Book of Lieder, published by Faber and Faber. emmanuel music Ryan Turner, Artistic Director John Harbison, principal Guest Conductor

MENDELSSOHN/WOLF CHAMBER SERIES YEAR I

Sunday, November 16, 2014 – 4:00 pM

Mörike Lieder Hugo Wolf

Der Knabe und das Immlein (1860-1903) Der Gärtner Frage und Antwort Der Jäger vom Winde Das verlassene Mägdlein Peregrina II Roberta Anderson, soprano David Kravitz, Esther Ning Yau, piano

Violin Sonata in F minor, op. 4 Felix Mendelssohn

(1809-1847) I. Adagio II. Poco Adagio III. Allegro agitato

Heather Braun, violin Esther Ning Yau, piano Mörike Lieder Hugo Wolf

Wo find ich Trost? In der Frühe Zum neuen Jahr Zitronenfalter im April Er ists Roberta Anderson, soprano David Kravitz, baritone Esther Ning Yau, piano

* * * INTERMISSION * * * Mörike Lieder Hugo Wolf

Der Feuerreiter Nixe Binsefuss Zur Warnung Roberta Anderson, soprano David Kravitz, baritone Esther Ning Yau, piano

String Quartet in A minor, op. 13 Felix Mendelssohn

I. Adagio – Allegro vivace

II. Adagio non lento III. : Allegretto con moto – Allegro di molto IV. Presto – Adagio non lento

Arneis Quartet: Heather Braun, Rose Drucker, violin Daniel Doña, viola Agnes Kim, cello

This afternoon’s performance is made possible through the generosity of Kate and Tom Kush.

Steinway piano provided by M. Steinert &Sons.

Emmanuel Music programs are supported in part by the Massachusetts Cultural Council. Texts and Translations

Der Knabe und das Immlein The boy and the bee

Im Weinberg auf der Höhe On the hill-top vineyard Ein Häuslein steht so windebang, There stands a hut so timidly, Hat weder Tür noch Fenster, It has neither door nor window Die Weile wird ihm lang. And feels time dragging by.

Und ist der Tag so schwüle, And when the day’s so sultry Sind all verstummt die Vögelein, And every little bird is silent, Summt an der Sonnenblume A solitary bee Ein Immlein ganz allein. Buzzes round the sunflower.

Mein Lieb hat einen Garten, My sweetheart has a garden Da steht ein hübsches Immenhaus: With a pretty beehive in it: Kommst du daher geflogen? Is that where you’ve flown from? Schickt sie dich nach mir aus? Did she send you to me?

„O nein, du feiner Knabe, “Oh no, you handsome boy, Es hiess mich niemand Boten gehn; No one bade me bear messages; Dies Kind weiss nichts von Lieben, This child knows nothing of love, Hat dich noch kaum gesehn. Has scarcely even noticed you.

Was wüssten auch die Mädchen, What can girls know Wenn sie kaum aus der Schule sind! When hardly out of school! Dein herzallerliebstes Schätzchen Your beloved sweetheart Ist noch ein Mutterkind. Is still her mother’s child.

Ich bring ihm Wachs und Honig; I bring her wax and honey; Ade! – ich hab ein ganzes Pfund; Farewell! – I’ve gathered a whole pound; Wie wird das Schätzchen lachen, How your beloved will laugh! Ihm wässert schon der Mund.“ Her mouth’s already watering.” Texts and translations

Ach, wolltest du ihr sagen, Ah, if only you would tell her, Ich wüsste, was viel süsser ist: I know of something much sweeter: Nichts Lieblichers auf Erden There’s nothing lovelier on earth Als wenn man herzt und küsst! Than when one hugs and kisses!

Der Gärtner The gardener

Auf ihrem Leibrösslein, On her favourite mount, So weiss wie der Schnee, As white as snow, Die schönste Prinzessin The loveliest princess Reit’t durch die Allee. Rides down the avenue.

Der Weg, den das Rösslein On the path her horse Hintanzet so hold, Prances so sweetly along, Der Sand, den ich streute, The sand I scattered Er blinket wie Gold. Glitters like gold.

Du rosenfarbs Hütlein, You rose-coloured bonnet, Wohl auf und wohl ab, Bobbing up and down, O wirf eine Feder O throw me a feather Verstohlen herab! Discreetly down!

Und willst du dagegen And if you in exchange Eine Blüte von mir, Want a flower from me, Nimm tausend für eine, Take a thousand for one, Nimm alle dafür! Take all in return! Texts and Translations

Frage und Antwort Question and answer

Fragst du mich, woher die bange You ask me where it came from, Liebe mir zum Herzen kam, This timid love that entered my heart, Und warum ich ihr nicht lange And why I did not long ago Schon den bittern Stachel nahm? Draw its bitter sting?

Sprich, warum mit Geisterschnelle Tell me, why with ghostly speed Wohl der Wind die Flügel rührt, The wind whirrs its wings, Und woher die süsse Quelle And from where the sweet spring Die verborgnen Wasser führt? Draws its hidden waters?

Banne du auf seiner Fährte You might as well try to halt Mir den Wind in vollem Lauf! The wind in full career! Halte mit der Zaubergerte Or conjure with a magic wand Du die süssen Quellen auf! The sweet springs to be still!

Der Jäger The huntsman

Drei Tage Regen fort und fort, Three days of endless rain, Kein Sonnenschein zur Stunde; No sunshine even now; Drei Tage lang kein gutes Wort Not one kind word for three whole days Aus meiner Liebsten Munde! From my beloved’s lips.

Sie trutzt mit mir und ich mit ihr, She sulks and so do I, So hat sie’s haben wollen; That’s how she wanted it; Mir aber nagts am Herzen hier, But it gnaws at my heart, Das Schmollen und das Grollen. This sulkiness and sullenness.

Willkommen denn, des Jägers Lust, Welcome, then, to the hunter’s joy, Gewittersturm und Regen! To thunderstorm and rain! Fest zugeknöpft die heisse Brust I’ll button tight the ardent breast, Und jauchzend euch entgegen! And fly to you rejoicing! Texts and translations

Nun sitzt sie wohl daheim und She’ll be sitting at home and laughing lacht now, Und scherzt mit den Geschwistern; And joking with her siblings; Ich höre in des Waldes Nacht I can hear the old leaves whispering Die alten Blätter flüstern. In the forest night.

Nun sitzt sie wohl und weinet laut Now she’ll be sitting and weeping aloud Im Kämmerlein, in Sorgen; For sorrow in her little room; Mir ist es wie dem Wilde traut, I feel as cosy as any deer, In Finsternis geborgen. Hidden in the darkness.

Kein Hirsch und Rehlein überall! No stag or roe anywhere! Ein Schuss zum Zeitvertreibe! A shot will pass the time! Gesunder Knall und Widerhall The healthy crack and echo Erfrischt das Mark im Leibe. – Refresh the marrow in my bones. –

Doch wie der Donner nun verhallt But as the thunder dies away In Tälern, durch die Runde, In the valleys all around, Ein plötzlich Weh mich überwallt, I’m assailed by sudden pain, Mir sinkt das Herz zu Grunde. My heart sinks like a stone.

Sie trutzt mit mir und ich mit ihr, She sulks with me and I with her, So hat sie’s haben wollen; That’s how she wanted it; Mir aber frissts am Herzen hier, But it gnaws at my heart, Das Schmollen und das Grollen. This sulkiness and sullenness.

Und auf! und nach der Liebsten Haus! So let’s away to my love’s house! Und sie gefasst ums Mieder! And clasp her round the waist! „Drück mir die nassen Locken aus, “Wring out these soaking locks of mine Und küss und hab mich wieder!“ And kiss and take me back again!” Texts and Translations

Lied vom Winde Song of the wind

Sausewind, Brausewind, Storming wind, roaring wind, Dort und hier! Now here, now there! Deine Heimat sage mir! Tell me where your homeland is!

„Kindlein, wir fahren “Child, we’ve travelled Seit viel vielen Jahren For many many years Durch die weit weite Welt, Through the wide wide world, Und möchtens erfragen, We too want to know, Die Antwort erjagen Seek out the answer Bei den Bergen, den Meeren, From the mountains, the seas, Bei des Himmels klingenden Heeren: The resounding hosts of heaven: Die wissen es nie. They never know. Bist du klüger als sie, If you’re smarter than they, Magst du es sagen. You can tell us. – Fort, wohlauf! – Off, away! Halt uns nicht auf! Don’t delay us!

Kommen andre nach, unsre Brüder, Others follow, our brothers, Da frag wieder!“ Ask them!” Halt an! Gemach, Stop! Stay Eine kleine Frist! A little while! Sagt, wo der Liebe Heimat ist, Say where love’s home is, Ihr Anfang, ihr Ende? Where does it begin and end? Texts and translations

„Wers nennen könnte! “Who could say! Schelmisches Kind, Impish child, Lieb ist wie Wind, Love’s like the wind, Rasch und lebendig, Swift and brisk, Ruhet nie, Never resting, Ewig ist sie, Everlasting, Aber nicht immer beständig. But not always constant. – Fort, wohlauf! – Off, away! Halt uns nicht auf! Don’t delay us! Fort über Stoppel und Wälder und Wiesen! Away over stubble and woods and fields! Wenn ich dein Schätzchen seh, If I see your sweetheart, Will ich es grüssen. I’ll blow her a kiss. Kindlein, ade!“ Child, farewell!” Texts and Translations

Das verlassene Mägdlein The forsaken servant-girl

Früh, wann die Hähne krähn, Early, when the cocks crow, Eh die Sternlein schwinden, Before the tiny stars recede, Muss ich am Herde stehn, I must be at the hearth, Muss Feuer zünden. I must light the fire.

Schön ist der Flammen Schein, The flames are beautiful, Es springen die Funken; The sparks fly; Ich schaue so darein, I gaze at them, In Leid versunken. Sunk in sorrow.

Plötzlich, da kommt es mir, Suddenly I realise, Treuloser Knabe, Faithless boy, Dass ich die Nacht von dir That in the night Geträumet habe. I dreamt of you.

Träne auf Träne dann Tear after tear Stürzet hernieder; Then tumbles down; So kommt der Tag heran – So the day dawns – O ging er wieder! O would it were gone again! Texts and translations

Peregrina II Peregrina II

Warum, Geliebte, denk ich dein Why, beloved, do I now think of you Auf einmal nun mit tausend Tränen, Suddenly and with a thousand tears, Und kann gar nicht zufrieden sein, And cannot be satisfied at all, Und will die Brust in alle Weite dehnen? And long to extend my heart into infinity?

Ach, gestern in den hellen Kindersaal, Ah, you came yesterday Beim Flimmer zierlich aufgesteckter to the bright Kerzen, nursery,

Wo ich mein selbst vergass in Lärm und In the gleam of decorative candles, Scherzen, As I forgot myself in noise and mirth, Tratst du, o Bildnis mitleid-schöner You came, agony’s image, lovely in Qual; compassion;

Es war dein Geist, er setzte sich ans Mahl, It was your ghost, it joined us at the feast, Fremd sassen wir mit stumm verhaltnen Strangers we sat, our sorrows mutely Schmerzen; hidden;

Zuletzt brach ich in lautes Schluchzen aus, At last I broke out into loud sobs, Und Hand in Hand verliessen wir das Haus. And hand in hand we left the house. Texts and Translations

Wo find ich Trost? Where shall I find comfort?

Eine Liebe kenn ich, die ist treu, I know a love that is true, War getreu, solang ich sie gefunden, And has been since I first found it, Hat mit tiefem Seufzen immer neu, It has, deeply sighing, always forgivingly Stets versöhnlich, sich mit mir verbunden. renewed, Bonds between us.

Welcher einst mit himmlischem Gedulden He it was who once, with heavenly Bitter bittern Todestropfen trank, forbearance, Hing am Kreuz und büsste mein Drank death’s bitter, bitter drops, Verschulden, Hung on the cross and atoned for my sins, Bis es in ein Meer von Gnade sank. Until they sank in a sea of mercy.

Und was ists nun, dass ich traurig bin, And why is it that I am now sad, Dass ich angstvoll mich am Boden winde? That I writhe in terror on the ground? Frage: That I ask: „Hüter, ist die Nacht bald hin?“ “Watchman, is the night soon done?” Und: „was rettet mich von Tod und And “What shall save me from death and Sünde?“ Arges Herze! ja gesteh es nur, sin?” Evil heart! why not confess it, Du hast wieder böse Lust empfangen; Once more you have felt wicked desires; Frommer Liebe, frommer Treue Spur, All trace of pious love, of pious faith, Ach, das ist auf lange nun vergangen. Has vanished, alas, for a long time.

Ja, das ists auch, dass ich traurig bin, Yes, that is why I am sad, Dass ich angstvoll mich am Boden winde! Why I writhe in terror on the ground! Hüter, Hüter, Watchman, watchman, ist die Nacht bald hin? is the night soon done? Und was rettet mich von Tod und Sünde? What shall save me from death and sin? Texts and translations

In der Frühe Early morning

Kein Schlaf noch kühlt das Auge mir, Still no sleep cools my eyes, Dort gehet schon der Tag herfür The day’s already dawning there An meinem Kammerfenster. At my bedroom window. Es wühlet mein verstörter Sinn My troubled mind still races on, Noch zwischen Zweifeln her und hin Torn by doubts, to and fro, Und schaffet Nachtgespenster. Creating night phantoms. – Ängste, quäle – Frighten, torment Dich nicht länger, meine Seele! Yourself no more, my soul! Freu dich! schon sind da und dorten Rejoice! Already here and there Morgenglocken wach geworden. Morning bells have woken.

Texts and Translations

Zum neuen Jahr A poem for the New Year

Wie heimlicher Weise Just as a cherub, Ein Engelein leise Secretly and softly Mit rosigen Füssen Alights on earth Die Erde betritt, With rosy feet, So nahte der Morgen. So the morning dawned. Jauchzt ihm, ihr Frommen, Rejoice, you gentle souls, with Ein heilig Willkommen! A holy welcome! Ein heilig Willkommen, A holy welcome, Herz, jauchze du mit! O heart, rejoice as well!

In ihm sei’s begonnen, May the New Year begin in Him, Der Monde und Sonnen Who moves An blauen Gezelten Moons and suns Des Himmels bewegt. In the blue firmament. Du, Vater, du rate! O Father, counsel us! Lenke du und wende! Lead us and guide us! Herr, dir in die Hände Lord, let all things, Sei Anfang und Ende, Beginning and End, Sei alles gelegt! Be entrusted into Thy keeping! Texts and translations

Zitronenfalter im April Brimstone butterfly in April

Grausame Frühlingssonne, Merciless spring sun, Du weckst mich vor der Zeit, You wake me before my time, Dem nur im Maienwonne For only in blissful May Die zarte Kost gedeiht! Can my delicate food grow! Ist nicht ein liebes Mädchen hier, If there’s no dear girl here Das auf der Rosenlippe mir To offer me a drop of honey Ein Tröpfchen Honig beut, From her rosy lips, So muss ich jämmerlich vergehn Then I must perish miserably Und wird der Mai mich nimmer sehn And May shall never see me In meinem gelben Kleid. In my yellow dress.

Er ists Spring is here

Frühling lässt sein blaues Band Spring sends its blue banner Wieder flattern durch die Lüfte; Fluttering on the breeze again; Süsse, wohlbekannte Düfte Sweet, well-remembered scents Streifen ahnungsvoll das Land. Drift propitiously across the land. Veilchen träumen schon, Violets dream already, Wollen balde kommen. Will soon begin to bloom. – Horch, von fern ein leiser Harfenton! – Listen, the soft sound of a distant harp! Frühling, ja du bists! Spring, that must be you! Dich hab ich vernommen! It’s you I’ve heard! Texts and Translations

Der Feuerreiter The Fire-rider

Sehet ihr am Fensterlein See, at the window Dort die rote Mütze wieder? There, his red cap again? Nicht geheuer muss es sein, Something must be wrong, Denn er geht schon auf und nieder. For he’s pacing to and fro. Und auf einmal welch Gewühle And all of a sudden, what a throng Bei der Brücke, nach dem Feld! At the bridge, heading for the fields! Horch! das Feuerglöcklein gellt: Listen to the fire-bell shrilling: Hinterm Berg, Behind the hill, Hinterm Berg Behind the hill Brennt es in der Mühle! The mill’s on fire!

Schaut! da sprengt er wütend schier Look, there he gallops frenziedly Durch das Tor, der Feuerreiter, Through the gate, the fire-rider, Auf dem rippendürren Tier, Straddling his skinny mount Als auf einer Feuerleiter! Like a fireman’s ladder! Querfeldein! Durch Qualm Across the fields! Through thick smoke und Schwüle and heat Rennt er schon und ist am Ort! He rides and has reached his goal! Drüben schallt es fort und fort: The distant bell peals on and on: Hinterm Berg, Behind the hill, Hinterm Berg Behind the hill Brennt es in der Mühle! The mill’s on fire!

Der so oft den roten Hahn You who have often smelt a fire Meilenweit von fern gerochen, From many miles away, Mit des heilgen Kreuzes Span And blasphemously conjured the blaze Freventlich die Glut besprochen – With a fragment of the True Cross – Weh! dir grinst vom Look out! there, grinning at you from the Dachgestühle rafters, Dort der Feind im Höllenschein. Is the Devil amid the flames of hell. Gnade Gott der Seele dein! God have mercy on your soul! Texts and translations

Hinterm Berg, Behind the hill, Hinterm Berg Behind the hill Rast er in der Mühle! He’s raging in the mill!

Keine Stunde hielt es an, In less than an hour Bis die Mühle barst in Trümmer; The mill collapsed in rubble; Doch den kecken Reitersmann But from that hour the bold rider Sah man von der Stunde nimmer. Was never seen again. Volk und Wagen im Gewühle Thronging crowds and carriages Kehren heim von all dem Graus; Turn back home from all the horror; Auch das Glöcklein klinget aus: And the bell stops ringing too: Hinterm Berg, Behind the hill, Hinterm Berg Behind the hill Brennts! – A fire! –

Nach der Zeit ein Müller fand Some time after a miller found Ein Gerippe samt der Mützen A skeleton, complete with cap, Aufrecht an der Kellerwand Upright against the cellar wall, Auf der beinern Mähre sitzen: Mounted on the fleshless mare: Feuerreiter, wie so kühle Fire-rider, how coldly Reitest du in deinem Grab! You ride in your grave! Husch! da fällts in Asche ab. Hush! now it flakes into ash Ruhe wohl, Rest in peace, Ruhe wohl Rest in peace Drunten in der Mühle! Down there in the mill! Texts and Translations

Nixe Binsefuss The water-sprite Reedfoot

Des Wassermanns sein Töchterlein The water spirit’s little daughter Tanzt auf dem Eis im Vollmondschein, Dances on the ice in the full moon, Sie singt und lachet sonder Scheu Singing and laughing without fear Wohl an des Fischers Haus vorbei. Past the fisherman’s house.

„Ich bin die Jungfer Binsefuss, “I am the maiden Reedfoot, Und meine Fisch wohl hüten muss; And I must look after my fish; Meine Fisch, die sind im Kasten, My fish are in this casket, Sie haben kalte Fasten; Having a cold Lent; Von Böhmerglas mein Kasten ist, My casket’s made of Bohemian glass, Da zähl ich sie zu jeder Frist. Gelt, Fischer- And I count them whenever I can. Matz? gelt, alter Tropf, Not so, Matt? Not so, foolish old fisherman, Dir will der Winter nicht in Kopf? You cannot understand it’s winter? Komm mir mit deinen Netzen! If you come near me with your nets, Die will ich schön zerfetzen! I’ll tear them all to shreds! Dein Mägdlein zwar ist fromm und gut, But your little girl is good and devout, Ihr Schatz ein braves Jägerblut. And her sweetheart’s an honest huntsman.

Drum häng ich ihr, zum Hochzeitsstrauss, That’s why I’ll hang a wedding bouquet, Ein schilfen Kränzlein vor das Haus, A wreath of rushes outside her house, Und einen Hecht, von Silber schwer, And a pike of solid silver, Er stammt von König Artus her, From King Arthur’s time, Ein Zwergen-Goldschmieds-Meisterstück, The masterwork of a dwarf goldsmith, Wers hat, dem bringt es eitel Glück: Which brings its owner the best of luck: Er lässt sich schuppen Jahr für Jahr, Each year it sheds its scales, Da sinds fünfhundert Gröschlein bar. Worth five hundred groschen in cash.

Ade, mein Kind! Ade für heut! Farewell, child! Farewell for today! Der Morgenhahn im Dorfe schreit.“ The cock in the village cries morning.” Texts and translations

Zur Warnung By way of warning

Einmal nach einer lustigen Nacht Once, after a convivial night, War ich am Morgen seltsam aufgewacht: I woke in the morning, feeling odd: Durst, Wasserscheu, ungleich Geblüt; Thirst – but not for water – unsteady pulse, Dabei gerührt und weichlich im Gemüt, Emotional and sentimental, Beinah poetisch, ja, ich bat die Muse um ein Almost poetic, yes, I asked my Muse for a Lied. song. Sie, mit verstelltem Pathos, spottet’ mein, With feigned pathos she mocked me, Gab mir den schnöden Bafel ein: Served up this vile doggerel:

„Es schlagt eine Nachtigall “Nightingale doth call Am Wasserfall; By waterfall; Und ein Vogel ebenfalls, Another bird does the same – Der schreibt sich Wendehals, Wryneck is his name, Johann Jakob Wendehals; Johann Jakob Wryneck; Der tut tanzen Who doth dance Bei den Pflanzen By the plants Obbemeld’ten Wasserfalls –“ Of said waterfall –”

So ging es fort; mir wurde immer bänger. And so it went on; I grew ever uneasier. Jetzt sprang ich auf: zum Wein! Der war denn Now I leapt up: Wine! That was my auch mein Retter. salvation. – Merkts euch, ihr tränenreichen Sänger, – Mark well, you weepy bards, Im Katzenjammer ruft man keine Call not on the gods, when you’re Götter hung-over!

English Translations © 2005 Richard Stokes, from The Book of Lieder, published by Faber and Faber. bach at emmanuel music

FALL/WINTER SCHEDuLE 2014 | SuNDAYS AT 10:00 AM

9/21 BWV 92 Ich hab in Gottes Herz und Sinn 9/28 BWV 87 Bisher habt ihr nichts gebeten in meinem Namen 10/5 Buxtehude Nimm von uns, Herr, du treuer Gott BuxWV078 Michael Beattie, conductor 10/12 BWV 180 Schmücke dich, o liebe Seele 10/19 BWV 52 Falsche Welt, dir trau ich nicht! 10/26 Mozart Vesperae solennes de confessore K. 339 11/2 BWV 129 Gelobet sei der Herr, mein Gott 11/9 BWV 116 Du Friedefürst, Herr Jesu Christ 11/30 BWV 61 Nun komm, der Heiden Heiland I 12/7 BWV 30 Freue dich, erlöste Schar 12/8 BWV 62 Nun komm, der Heiden Heiland II 12/14 BWV 10 Meine Seel erhebt den Herren John Harbison, conductor 12/21 Mendelssohn Vom Himmel hoch 12/24 BWV 151 Süßer Trost, mein Jesus kömmt Christmas Eve, 7 PM

the Orchestra and chorus of emmanuel Music, ensemble-in-residence at emmanuel church, presents and motets of Bach and others in a liturgical setting, conducted by ryan turner, artistic director, and guest conductors. About Emmanuel Music

Ryan Turner conducts Harbison: The Great Gatsby, May 12, 2013 mmanuel Music, a collective group of singers and instrumentalists, was founded in 1970 by Craig ESmith 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 premiere of John Harbison’s 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, , Bach scholar Christoph Wolff, Robert Levin, Julian Kuerti, and David Hoose. 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 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 B minor Mass, 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 , 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 , 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 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.

Praised for their “beautiful sound” ( Global Times), the Arneis Quartet is playfully named after the Arneis grape—a varietal that is difficult to grow, but which yields an exquisite white wine. The Quartet has received fellowships at the Aspen Center, Banff Centre, and Apple Hill Center for Chamber Music, among others. Recent performance venues include Stanford University, Music on Main in Vancouver, Beijing Modern Music Festival, Shanghai Conservatory, Swarthmore College, Hawthorne Barn in Provincetown, MA, and Concord Free Public Library. Celebrating their fifth anniversary this season, the Quartet will perform on the Alcyon, Winsor Music, and Emmanuel Music chamber series. This season also brings interdisciplinary collaborations with Center for the Humanities. Four unique concerts and symposiums between December 2014 and April 2015 will explore the intersection of poetry and music in works of John Harbison, Lee Hyla, Sofia Gubaidulina and Beethoven, among others. Collaborating with Emmanuel Music‘s “Community Connections” program, the Quartet’s outreach in Boston includes performance, master classes and collaborations with students. Outside of their Boston About the Artists home, the Quartet has brought musical outreach to communities in California, Utah, , Ohio, and . Arneis Quartet is the faculty ensemble-in-residence at the Dana Hall School of Music. The Quartet members are on the faculties of Boston University, Brookline Public Schools, and Chestnut Hill School, and act as coaches for the Boston Youth Symphony Orchestras. All alumni of Boston University, the members of the Arneis Quartet have coached with members of the Muir, St. Lawrence, Brentano, Emerson and Juilliard quartets, as well as Mary Ruth (UV) Ray, James Dunham, Marc Johnson, Leonard Matczynski, Sylvia Rosenberg, Roger Tapping, and Donald Weilerstein.

Soprano Roberta Anderson has been happily singing with Emmanuel Music for over twenty years. Praised for her “sweet tone” and “exquisitely refined musicianship” she has appeared as soloist with Boston Baroque, , Boston Festival, Aston Magna, Concerto Koln, and numerous other ensembles throughout the , Europe and Canada.

Mark Berger, composer/violinist/violist, is highly active as a performer in the Boston freelance scene and has performed with many of Boston’s finest ensembles, including the Boston Symphony Orchestra, Boston Pops Esplanade, Emmanuel Music, Boston Modern Orchestra Project, Opera Boston, and Boston Lyric Opera. An avid chamber musician, he is a member of Music at Eden’s Edge and the Worcester Chamber Music Society, he has a duo partnership “The Two Composers” with pianist/composer Ketty Nez, and he has performed with Lydian String Quartet, Radius Ensemble, and Ludovico Ensemble. Mr. Berger has performed at summer festivals such as Kneisel Hall and Tanglewood, where he was a member of the New Fromm Players, new music ensemble-in-residence. He can be heard performing the music of Ketty Nez on Albany Records. Also a gifted composer, Mr. Berger’s works have been presented locally by the New York New Music Ensemble, Dinosaur Annex, ALEA III, the Worcester Chamber Music Society, Xanthos Ensemble, Music at Eden’s Edge, QX String Quartet, and the Lydian String Quartet, as well as nationally and internationally by the Third Coast Percussion Quartet, Ensemble Permutaciones (Mexico) and the Hellenic Ensemble of Contemporary Music (). He has received awards from the League of Composers/ISCM and ASCAP and grants from NEFA and the Brannen-Cooper Fund. Mr. Berger studied composition at Boston University and Brandeis, where his principal teachers included Theodore Antoniou, Lukas Foss, David Rakowski, Eric Chasalow and Martin Boykan. He is currently on the music faculty at Clark University, UMass Lowell, and Middlesex Community College. About the Artists

Based in Boston, violinist Heather Braun performs as first violinist of the prize- winning Arneis Quartet; the Quartet has recently performed at venues including the Beijing Modern Music Festival, the Modulus Festival in Vancouver, Stanford University’s Lively Arts Series, Aspen Music Festival, Reggio Emilia, Boston University, and Swarthmore College. Ms. Braun also performs as co- concertmaster and soloist with the Orchestra of Emmanuel Music, and was a Lorraine Hunt Lieberson Fellow in 2010-2011. Other recent performing highlights include the Frederick Collection recital series, Rockport (MA) Chamber Music Festival, East-West Virtuosi, and the Manchester (VT) Music Festival. Ms. Braun has performed as a soloist with various orchestras in Boston, Milwaukee, Washington DC, and Manchester, VT. Ms. Braun received her Bachelor of Music degree from the Eastman School of Music, studying with Mikhail Kopelman, and completed her Master of Music and Doctor of Musical Arts degrees at Boston University, studying with Peter Zazofsky. While studying at Boston University, she was twice given the String Department Award and received the Zulalian Foundation Award in 2010. She has collaborated in concert with the Ying Quartet, St. Lawrence String Quartet, Menahem Pressler, Robert Levin, and members of the Boston University School of Music faculty. Ms. Braun has coached chamber music and violin at the Boston University Tanglewood Institute, Manchester Music Festival, and Apple Hill Center for Chamber Music. She was appointed to the Boston University School of Music faculty in 2014, is a violin and viola faculty member for the Brookline Public Schools Extension Program, and has coached for the Boston Youth Symphony Orchestras.

Ya-Fei Chuang has appeared at numerous international festivals including Beethoven Festival (Warsaw), European Festival (Stuttgart), Bach Festival (Leipzig), Taipei International Music Festival, and those of Ruhr, Schleswig-Holstein, Gilmore, Ravinia, Sarasota, and Tanglewood. Ms. Chuang has collaborated with conductors such as Christoph Eschenbach and Sir Roger Norrington. She has performed chamber music with numerous concertmasters and principal players of the Berlin Philharmonic, Cleveland Orchestra, LA Phil, Pittsburgh Symphony, and as duo partner with Clive Greensmith, Kim Kashkashian, and regularly with Steven Isserlis, Robert Levin, and James Buswell. Recent engagements have taken place at the Berlin Philharmonic Hall with the City of Birmingham Symphony Orchestra, with the Malaysian Philharmonic at the National Concert Hall Taipei, at the Queen Elisabeth Hall in London, and in Tel Aviv, , , South America and throughout the US. On the fortepiano she has performed with Boston Baroque, Orchestra of the Age of Enlightenment, and Philharmonia Baroque. Her upcoming performances include ‘Mozartwoche’ in Salzburg, at the ‘Spectrum Berlin’ in the Berlin Philharmonic Hall; and at Verbier Festival, Switzerland, at the Nevada Chamber Music Festival; concerto performances in Boston and in Brazil; duo recitals with Steven Isserlis in Singapore, Taiwan and in the US; solo recitals in , Boston, at the Mozarteum, Salzburg, at the Bach Festival in Eugene, Oregon, and at the International Grieg Piano Competition in Norway, where she will be adjudicating. She has recorded solo, concerto and chamber music works for ECM, About the Artists

Harmonia Mundi, Naxos, and New York Philomusica Records, and the Ruhr Festival has released several of her live recordings, including a solo album as a premium of Fono Forum Magazine. Of her live recording of the Mendelssohn Concerto No. 1, Fanfare Magazine hailed her “delicacy and fluidity of touch…this version now sits at the top of the pile of Mendelssohn Firsts, alongside Perahia, Serkin, and John Ogdon.” Her recording of Hindemith’s chamber music works with Spectrum Berlin was awarded a special prize by the International Record Review. Ya-Fei Chuang gives master classes throughout the US, Europe, and Asia, including annually at the Mozarteum, Salzburg. She is on the faculty of the Boston Conservatory, the Conservatory Preparatory Division, and is the instructor of the piano performance seminar for NEC Continuing Education.

Pamela Dellal, mezzo-soprano, acclaimed soloist and recitalist, has been praised for her “exquisite vocal color,” “musical sensitivity,” and “eloquent phrasing.” She sang the premiere of Harbison’s The Seven Ages in New York, , Boston, and London; she debuted at the Kennedy Center under Julian Wachner in Bach’s , and at Lincoln Center under William Christie in Handel’s Messiah. She has performed under Seiji Ozawa, Christopher Hogwood, Paul McCreesh, Bernard Labadie, and Roger Norrington. She has performed leading roles in Handel’s Alcina, Britten’s Albert Herring and Rape of Lucretia, Purcell’s , Mozart’s and Così fan Tutte, Barber’s Vanessa, and Harbison’s Winter’s Tale. She has performed with the Handel and Haydn Society, Aston Magna, Boston Early Music Festival, Tokyo Oratorio Society, Opera Company of Boston, the National Chamber Orchestra, Boston Baroque, Baltimore Choral Arts Society, and the Dallas Bach Society, and has appeared in concert in major cities in Europe, the UK, Australia and Japan. With , Ms. Dellal has made numerous recordings of the music of Hildegard von Bingen, and has toured the US, Europe, and Australia. Passionate about chamber music, early music, and contemporary music, she performs frequently with Dinosaur Annex, Boston Musica Viva, Ensemble Chaconne, Blue Heron, and the Musicians of the Old Post Road. She has been a regular soloist in Emmanuel’s Bach Cantata Series since 1984, having performed almost all 200 of Bach’s sacred cantatas. Ms. Dellal has made over 25 recordings on various labels. About the Artists

Daniel Doña, violist, has distinguished himself as an active performer and pedagogue. Dr. Doña serves on the faculty of Boston University, where he serves as Assistant Chair of the String Department, Coordinator of String Chamber Music, and Lecturer of Viola, String Pedagogy and String Literature. Dr. Doña is violist of the prizewinning Arneis Quartet.Performances with Arneis include appearances at the Beijing Modern Music Festival, Music on Main (Vancouver) and Stanford University’s Lively Arts series. Daniel’s performances have been broadcast on CBC Radio 2, WGBH and WCLV. Dr. Doña also performs with the Orchestra of Emmanuel Music and is Principal Violist of the Marsh Chapel Collegium. He is on the faculty of the Dana Hall School of Music, the Boston Youth Symphony Orchestras and Project STEP. He has presented guest masterclasses at the University of Connecticut, Northwestern University Music Academy and Miami University.Dr. Doña pursues interdisciplinary projects with a passion. He is a recipient of a Humanities Enhancement Project Award from the Boston Uni- versity Center for the Humanities, enabling him to curate a series exploring connections between poetry and music. An enthusiastic advocate of new music, he has commissioned and premiered works by Aaron Travers and Orianna Webb.Dr. Doña received his AB in Philosophy from the Uni- versity of , where he was awarded the inaugural David Fulton Award for excellence in in- strumental performance. He received his MM in Viola Performance from the University of Okla- homa where he studied with Matthew Dane (viola) and Felicia Moye (violin). At Boston University he studied with Michelle LaCourse, Steven Ansell and Ed Gazouleas. He received his PD and DMA from BU and was a two-time recipient of the String Department Award.

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, the Beijing Modern Music Festival in . Arneis 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 and was the Fellowship Quartet at the Apple Hill Center for Chamber Music. The Quartet was 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

Pianist Brett Hodgdon is a collaborative artist, vocal coach, and conductor living in Boston, Massachusetts. Equally comfortable as chamber musician and vocal collaborator, he has performed for audiences at Jordan Hall, the Kennedy Center, Wolf Trap Opera Company, Tanglewood Music Center, and the Aspen Music Festival, as well as in the Emmanuel Music Chamber Series. Away from the recital stage, Mr. Hodgdon is on the music staff at the Boston Lyric Opera, after having been an Emerging Artist at the company. Mr. Hodgdon recently joined the faculty at the University of Connecticut as Director of the Opera Theater. This year he will make his UConn conducting debut with Britten’s Albert Herring. He is the rehearsal pianist for Emmanuel Music’s Bach Cantata Series. A doctoral candidate in collaborative piano at the New England Conservatory, Mr. Hodgdon’s research centers on French of the mid-twentieth century.

Cellist Agnes Kim, described as a “hair-raising performer” in The Boston Musical Intelligencer after her performance with the award-winning Arneis Quartet, has actively performed as a recitalist, chamber musician, and orchestral player. She currently serves as principal cellist in Haffner Sinfonietta and Hwaum Chamber Orchestra of Boston, and plays for Boston Philharmonic Orchestra. She was a founding member of Trio Eca and Haffner Chamber Players. Her performance as a member of Korea-based Trio Sol was broadcasted nationally on MBC in Korea. Ms. Kim was winner of the Artist International Audition and a recipient of the John Lad Prize, Aldo Pariot Scholarship, Eric Von Baeyer Scholarship, and prizes from International Chamber Music Ensemble Competition and Ibla Grand Prize. She has collaborated in concerts with Marc Johnson, Peter Zazofsky, Michelle LaCourse, Ursula Holliger, and St. Lawrence String Quartet. Ms. Kim received a Doctor of Musical Arts degree from Boston University where she was a student of Leslie Parnas. Born in Pennsylvania, USA, and raised in Busan, Korea, she was trained at Busan High School of Arts and holds degrees from Peabody Institute of Johns Hopkins University and New England Conservatory where she studied with Steven Kates and Yeesun Kim. She participated in the Aspen Music Festival, Chamber Residency and Master Classes at Banff Center, Apple Hill Center for Chamber Music, Emerging Quartet and Composers Program at Deer Valley Festival, St. Lawrence String Quartet Seminar, Juilliard Quartet Seminar and Encore School for Strings. About the Artists

Baritone David Kravitz’s 2014-2015 season includes his company debuts at Opera Saratoga as Don Magnifico in La cenerentola, at Palm Beach Opera for the world premiere of Ben Moore’s Enemies, A Love Story, and at the American Repertory Theater for the world premiere of Matthew Aucoin’s Crossing, directed by Tony Award winner Diane Paulus, along with a return to Boston Lyric Opera for La traviata. He also sings Britten’s War in Symphony Hall with the Boston University Symphony Orchestra. Last season featured his debuts at Ash Lawn Opera as Tevye in Fiddler on the Roof, and at Dallas Opera for Tod Machover’s Death and the Powers. In previous seasons, he has sung with Washington National Opera, , Glimmerglass Opera, Chicago Opera Theater, Lyric Opera of Kansas City, Atlanta Opera, Chautauqua Opera, Opera Memphis, Florentine Opera, and other companies throughout the United States. His many concert appearances include the Boston Symphony Orchestra, the Philadelphia Orchestra, the Baltimore Symphony, Boston Baroque, Boston Modern Orchestra Project, and Emmanuel Music, under conductors such as James Levine, , and Charles Dutoit. An exceptionally versatile artist, his repertoire ranges from Bach to Verdi to Stephen Sondheim to cutting-edge contemporary composers such as Mohammed Fairouz, John Harbison, Lee Hyla, and Tod Machover. Mr. Kravitz has recorded for the Naxos, BIS, Koch International Classics, BMOP/sound, Albany Records, and New World labels. Before devoting himself full-time to music, his distinguished legal career included clerkships with the Hon. Sandra Day O’Connor and the Hon. Stephen Breyer.

Violinist Danielle Maddon is well known to New England audiences for her vibrant playing and broad experience as a soloist, concertmaster, recitalist, chamber and orchestral musician. Performing on both modern and period instruments, Ms. Maddon has appeared in venues including Carnegie Hall, Vatican City, and Tokyo’s Suntory Hall, in repertoire spanning four centuries. Critics have hailed her playing as “magnificent,” “stunning,” “masterful,” and “heartfelt.” She performs with Boston Baroque, Emmanuel Music, Boston Pops, Boston Musica Viva, Handel and Haydn Society, Cantata Singers, Boston Cecelia, and other groups. Ms. Maddon was twice awarded full fellowships to both the Tanglewood Music Center and the Philharmonic Institute, winning concertmaster posts for conductors Kurt Masur, Michael Tilson-Thomas, Leonard Slatkin, and Sir Charles Grove. For four seasons, she was concertmaster of the Tallahassee Symphony. Ms. Maddon performed for two years as a first violinist in the Singapore Symphony Orchestra, and tutored violin students at the National University of Singapore. As concertmaster and soloist for the under Richard Pittman, she has performed twelve violin concertos by modern masters including Berg, Harbison, Dutilleux, and Lutoslawski. On March 2, 2014, she premiered a new violin concerto by Bernard Hoffer, commissioned by the New England Philharmonic and written for her. About the Artists

Hailed by the New York Times as “imaginative and eloquent” and dubbed “a local hero” by , cellist Rafael Popper-Keizer maintains a vibrant and diverse career as one of Boston’s most sought-after artists. He is principal cellist of the Boston Modern Orchestra Project, Emmanuel Music, and the Boston Philharmonic Orchestra, and a core member of some of New England’s most celebrated chamber groups, including the Chameleon Arts Ensemble, Winsor Music, the Ibis Camerata, and Monadnock Music. His 2003 performance with the Boston Philharmonic of the Saint-Saëns Concerto in A minor was praised by the Globe for “melodic phrasing of melting tenderness” and “dazzling dispatch of every bravura challenge.” More recent solo appearances include Strauss’ Don Quixote, with the Boston Philharmonic and Beethoven’s Triple Concerto with Emmanuel Music. Mr. Popper- Keizer has been featured on close to two dozen recordings, including the premieres of Robert Erickson’s Fantasy for Cello and Orchestra, Thomas Oboe Lee’s tone poem Eurydice, Yehudi Wyner’s De Novo for cello and small chamber ensemble, Malcolm Peyton’s unaccompanied Cello Piece, and major unaccompanied works by Kodaly and Gawlick. As an alumnus of the New England Conservatory, Mr. Popper-Keizer studied with master pedagogue and Piatigorsky protégé Laurence Lesser; at the Tanglewood Music Center he was privileged to work with Mstislav Rostropovich, and was Yo-Yo Ma’s understudy for Strauss’ Don Quixote under the direction of Seiji Ozawa. His prior teachers include Stephen Harrison, at Stanford University and Karen Andrie, at the University of California at Santa Cruz.

Pianist Esther Ning Yau, native of Hong Kong, is currently a faculty member of the Collaborative Piano Department at Longy School of Music of Bard College, and the Preparatory and School of the Continuing Education departments at New England Conservatory. In the summer, Ms. Yau is also a member of the Piano Faculty at International Music Academy in Cremona (Italy) and previously, Regensburg (Germany). An active soloist and chamber musician, Ms. Yau’s performances have brought her to numerous concert venues world-wide, including Jordan Hall in Boston, Merkin Concert Hall in New York, Museum of Arts in Puerto Rico, Giovanni Arvedi Auditorium in Cremona, National Concert Hall in Taipei, Esplanade in Singapore and Government House in Hong Kong. As founding member of New Piano Quartet, Innonet Trio and Duo Anime, she is featured frequently at the Longy Septemberfest, Harvard-Epworth Church Concert Series, WCRB Live at Copley, First Night Boston, Newport Symposium Chamber Music Concert and Bar Harbor Music Festival. Ms. Yau holds a double Master’s Degree in Piano Performance and Collaborative Piano from New England Conservatory of Music, where she studied with Patricia Zander and Irma Vallecillo. She has received fellowships from International Institute of Vocal Arts in Italy, UCLA Song Festival, Aspen Music Festival, Music Academy of the West and Yellow Barn Music Festival. She has also worked as a staff pianist at Boston Conservatory and Meadowmount School of Music. Apart from her musical duties, Ms. Yau is currently serving as a member of the New England Conservatory Alumni Council. 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.

Introducing 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 , 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 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. Community Connections

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 long-time cellist of the renowned Vermeer Quartet, Marc Johnson. Ms. 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. Lee performs regularly as a member of Boston Baroque and Trio Speranza. Cora 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, She 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. 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 Orchestra.

EMMANUEL MUSIC 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 • 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 assistance in program editing • Ellen Mayo, for coordinating our volunteer activities • Volunteers for the Chamber concerts: Beth Baiter, Penny Caponigro, Catherine- Mary Donovan, Gaby Friedler, Ron Johns, and Walter Jonas. • Susan Larson, for her “way with words” • Members of the Boston Musician’s Association, Local 9-535 of the American Federation of Musicians

Remembering Christopher Hogwood

The Emmanuel Music community mourns the loss of long time Advisory Board member and guest conductor Christopher Hogwood. A pioneer in the historically informed movement, he touched the lives of many of our musicians during his tenure as Artistic Director of the Handel and Haydn Society. On Sunday mornings when he was in Boston, he could often be found at Emmanuel Church, either conducting the Cantata or out listening in the congregation. Our thoughts go out to his family and friends.

~ Ryan Turner, Artistic Director Concert Underwriting

Emmanuel Music Concert Underwriting 2014-2015 Emmanuel Music 2013-2014 Season Cumulative Giving Timely, generous support is critical for artistic planning. We are especially grateful to the September 1, 2013 to August 31, 2014 following individuals for helping us underwrite the 2014-2015 season.

Support of the Artistic Season Eran Egozy and Yukiko Ueno-Egozy The Klarman Family Foundation

The Position of Artistic Director H. Franklin and Betsy Bunn Belden and Pamela Daniels

Evening Concert Series Alan J. and Suzanne W. Dworsky The Mattina R. Proctor Foundation Joan Margot Smith

Community Connections Program The Rowland Foundation

The Bach Institute The Klarman Family Foundation Drs. Peter Libby and Beryl Benacerraf Oberlin College and Conservatory

Chamber Music Series Sarah M. Gates Kate and Tom Kush John Pratt

The Cantata Series Anonymous (3) Sarah M. Gates The Barrington Foundation Mary Eliot Jackson H. Franklin and Betsy Bunn Errol Morris and Julia Sheehan Margaret Hornady-David and Donald Jaylyn Olivo and Dale Flecker David Ruth Tucker and Dan Hazen Coventry Edwards-Pitt and Matthew David Vargo and Sheila Collins Weinzierl Estate of F. Blair Weille We welcome the opportunity to discuss additional underwriting opportunities for the 2014- 2015 artistic season. For more information, please contact Pat Krol, Executive Director, at [email protected] or call 617.536.3356. Concert Underwriting

Emmanuel Music 2013-2014 Season Cumulative Giving September 1, 2013 to August 31, 2014

We gratefully acknowledge gifts to Emmanuel Music received between September 1, 2013 and August 31, 2014. 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 Pat Krol, Executive Director, at [email protected] or call 617.536.3356.

$50,000+ Margaret Hornady-David and Donald David Anonymous Butler and Lois Lampson Young Music Fund, Emmanuel Church Drs. Peter Libby and Beryl Benacerraf Joan Margot Smith Massachusetts Cultural Council John Pratt $20,000+ Ruth Tucker and Dan Hazen The Barrington Foundation Elizabeth Boveroux $2,500+ H. Franklin and Betsy Bunn Paul and Katie Buttenwieser Belden and Pamela Daniels David Cook and Annemarie Altman Kate and Tom Kush Coventry Edwards-Pitt and Matthew The Rowland Foundation Weinzierl Emmanuel Church $10,000+ Mary Eliot Jackson Julian and Marion Bullitt David Kravitz and Majie Zeller Eran Egozy and Yukiko Ueno-Egozy Patricia Krol and Stephen Chiumenti Sarah M. Gates Edward and Joan Mark Timothy and Jane Gillette Leonard Matczynski The Klarman Family Foundation Errol Morris and Julia Sheehan Cynthia Livingston and Richard Shader Vincent Stanton, Jr. and Viva Fisher The Mattina R. Proctor Foundation David Vargo and Sheila Collins $1,000+ $5,000+ Anonymous Anonymous (2) The Atlantic Philanthropies Director/ Hanna and James Bartlett Employee Designated Gift Fund Jaylyn Olivo and Dale Flecker Gail and Darryl Abbey Cumulative Giving

Richard and Mahala Beams $500+ Willa and Taylor Bodman Anonymous Boston Cultural Council Roberta Anderson and David Dysert Thomas Burger and Andrée Robert Lois Beattie Pauline Ho Bynum Olivier and Jude Bedel Fay Chandler Laura Beeghly Diana Post and Hal Churchill James and Margaret Bradley Oberlin College and Conservatory Bill Chapman Pamela Dellal Victoria Cowling Chu and Michael Chu Scott Dunbar Warren Cutler Charles L. Felsenthal Phillip M. Henry John and Rose Mary Harbison Deborah A. Hoover John Hull Saj-Nicole Joni Rachel Jacoff Margot L. Kittredge Margaret and Peter Johnson Robert Levin and Ya-Fei Chuang Paul E. Keane and Linda Baron Davis Mark Morris Kathryn and Edward Kravitz Bill Nigreen and Kathleen McDermott Lorraine Lyman Anthony Pangaro Camille and William Malamud Winifred and Leroy Parker Ruth and Victor McElheny Peggy Pearson Robert E. Meyers Sheila D. Perry George and Martha Mutrie Bernie and Sue Pucker Joan and Roderick Nordell Joseph Quinn Olive Bridge Fund Robert Schuneman Perkins School for the Blind Plimpton-Shattuck Fund William and Lia Poorvu Roy W. Tellini Eric Reustle Winsor Music Inc. David Rockefeller, Jr. Benjamin Zander David and Marie Louise Scudder Robert N. Shapiro $250+ David Stevens and Marjorie Albright Alchemy Foundation Jeffrey Thomson and David Janero Joan and Donald Allen Magdalena Tosteson Beth Baiter Debra and Ian Wallace Michael Beattie Peter Wender Charles and Birgit Blyth Dana Whiteside Miriam and Lewis Braverman Robert Zevin Penelope Caponigro Mary and Kenneth Carpenter John and Sally Davenport Cumulative Giving

Françoise and Michel Epsztein Mary Chamberlain Robert and Margaret Faulkner Sally Chisholm Andrew L. Gangolf Lynn Cohen Tom and Jody Gill John and Cindy Coldren Robert and Anne Goble Dr. John D. Constable Joshua Gordon and Naomi Botkin Sally R. Coughlin Wendy and Clark Grew Charles and Carol Cox Frank and Susan Kelley Bruce and Susan Creditor Danielle Maddon and Geoffrey Steadman Fay Dabney Charles Maier Elizabeth Davidson Cecily and Alan Morse Mary-Catherine Deibel Ellen and John O’Connor Barbara DeVries William J. Pananos Charles and Sheila Donahue Bonnie Payne and Roger Tobin Elsa Dorfman and Harvey Silverglate Dianne Pettipaw Ursula Ehret-Dichter Pauline Ratta Ann and Will Equitz Rosemary Reiss and Avner Ash Susan Feder Dayla Arabella Santurri and Stephen E. Gobish Harriet Feinberg David Satz GE Foundation* William and Micho Spring David Getz Alan Strauss Kathleen Gladstone Myles and Lise Striar Nadja Gould William and Lisa Strouss Winifred P. Gray Ann B. Teixeira Mary Jewett Greer Elizabeth and Peter Thomson David and Harriet Griesinger Grenny Thoron The Rev. Constance A. Hammond Robert and Binney Wells Suzanne and Easley Hamner Robert and Marcia Handin $100+ John Heiss Anonymous (2) Randy Hiller Mike and Serafin Anderson Leslie M. Holmes Tom Barber Marcia Jacob Elaine Beilin Mary and Ben Jaffee Linda Cabot Black Ann G. Johnson Tom and Susan Blandy E. Dolores Johnson Marie-Paule Bondat and Michael Karr Sutti and Ehud Koch Esther Breslau Dr. A.A. and LaVerne Koeller Alan Brock Linda and Paul Krouner Dorothy Blanchard Brown Jane Bryden and Chris Krueger Ethel Bullitt Terry Kutolowski and Rick Muth Cumulative Giving

Kathie C. Larsen Erin E.M. Thomas Susan Larson and Jim Haber Allen and Karen Thompson Rebecca A. Lee Tyler and Marcia Tingley Fred and Jean Leventhal Doris Tsao Deborah Lemont Victor and Mary Tyler James C. Liu and Alexandra G. Bowers William L. Vance Peter T. Loizeaux Charles Warren Raymond and Martha Longa Ed and Amy Wertheim Christopher Lydon Marilee Wheeler Barbara T. Martin James White Susan Maycock and Charles M. Sullivan T. Walley Williams, III Suzanne McAllister and Ralph Engstrom Mrs. Katherine B. Winter Donna and Alec Morgan Heather Wittels Peggy Morrison Anna K. Wolff Nancy Mueller Carl Woodbury Susan Hall Mygatt Carol P. Woodworth Henry Paulus Evelyn S. Wyman Nancy Peabody Joseph L. Pennacchio, M.D. John Petrowsky $50+ Harold I. Pratt Anonymous (3) Ceasar and Deborah Raboy Gerald and Miriam Berlin Janice Randall Dr. Michael Bierer and Elizabeth Bierer Kelly Reed and Kenneth Williams Timothy E. Blackburn Adam Reeves and Anne Kelly Christopher Buckley Allan Rodgers Dangoule Budris Virginia Rogers and William Hobbie Paul H. Carr David Roochnik and Gina Marie Crandell Paula Chasan Frederick and Eleanor Sabini Suzanne Colburn Frank Sander Allan and Grace Dibiase Michael J. Scanlon Mary Dill Nancy Shafman and Mark Kagan Allison Donelan Joseph Shandling Marie-Pierre and Michael Ellmann Andrew Sigel Brenda and Monroe Engel Jill and David Silverstein Jean Fuller Farrington Jean Chapin Smith William Faucon Mr. and Mrs. Richard Southgate Gaby Friedler C. & V. Steadman Helen Glikman and Dan Bartley Bob and Dorothy Stuart Elizabeth and Ron Goodman Susan Swan Bernard S. Greenberg Cumulative Giving

Dave and Lynne Harding David Steadman Susan Haule Joel Stein Linda Heffner Alys Terrien-Queen Edwin and Mary Hiller Stewart and Sondra Vandermark Jeanne O. Holland Sonia Wallenberg Margot Dennes Honig F. Blair Weille^ Carol Hornblower and Fred Weber Martin and Phyllis Wilner Samuel Clowes Huneke Stephen Wolfberg John Hancock Financial Services* Robert Wyckoff and Maya Hasegawa Rosemary S. Kean Peter and Cornelia Keenan ^Deceased John and Jonell Kenagy *Matching Gift Tom and Vera Kreilkamp Sara and Eben Kunz Margot Lacey Penelope Lane Peter A. Lans Michael and Elisabeth Lay Helene L. Leighton Mary Lincoln Robert and Gwyneth Loud Carol Marshall Jane Roland Martin Joseph T. McGrath Ralph and Sylvia Memolo Barbara B. Merrifield Martha Moor Roslin P. Moore Eileen and Lawrence Moyer Nancy Netzer and Robert Silberman Elizabeth Nordell and Rudy Perrault Eugene Papa Peter Pochi Kathleen Powers Julie Ramsey and David Cutwright Nancy and Ronald Rucker Rena and Michael Silevitch Marilyn Ray Smith and Charles Freifeld Diane Sokal and Randolph Meiklejohn The Orchestra of Emmanuel Music emmanuelemmanuel mozart musicmusic mozart Ryan Turner, Artistic Director

20 14 15 crossroads bach

St. John Passion

EVENING CONCERTS MENDELSSOHN/WOLF CHAMBER Crossroadswww.emmanuelmusic.orgwww.emmanuelmusic.org SERIES, YEAR I October 17, 2014, 8 PM Emmanuel Church, 4 PM Pickman Hall - Longy School of Music November 6 and 16, 2014 April 12, 2015 Bach: St. John Passion BACH CANTATA SERIES March 21, 2015, 8 PM Sundays at 10 AM Emmanuel Church September 21, 2014 - May 17, 2015

Mozart: Abduction from the Seraglio THE BACH INSTITUTE May 9, 2015, 8 PM January 9 - 26, 2015 Emmanuel Church FREE THURSDAY LINDSEY CHAPEL SERIES Thursdays at 12 noon February 19 - March 26, 2015 bach

MENDELSSOHN/WOLF CHAMBER 2014-2015 seAson TICKeTs SERIES, YEAR I BUY A sUBsCRIPTIon And sAve Emmanuel Church, 4 PM www.nePhilharmonic.org November 6 and 16, 2014 April 12, 2015 All Aboard! BACH CANTATA SERIES DECEMbEr 14, 2014 | 3PM | Tsai PErforManCE CEnTEr Sundays at 10 AM MIChAel GAndolfI Night Train to Perugia bosTon PrEMiErE September 21, 2014 - May 17, 2015 ARThUR honeGGeR Pacific 231 THE BACH INSTITUTE heIToR vIllA-loBos Little Train of Caipira & Toccata January 9 - 26, 2015 from Bachianas Brasileiras No. 2 RoB KAPIlow Chris van Allsburg’s Polar Express, FREE THURSDAY LINDSEY David Kravitz, baritone, CHAPEL SERIES newton Public schools all City Treble singers, Kathryn Denney, Director Thursdays at 12 noon February 19 - March 26, 2015 Innovation & Tradition in Concert www.nEPhilharmonic.org | 855-463-7445 Season 17

“all-star lineup of chamber musicians” 14 15 – The Boston Globe

concert 2 winds of music, passing on Saturday, November 8, 2014, 8 PM First Church in Boston Clara Schumann Drei Romanzen for violin & piano, Op. 22 John Woolrich A Cabinet of Curiosities for wind quartet & piano Sunday, November 9, 2014, 4 PM First Church in Boston String Trio in-B-flat Major, D. 581 Dan Welcher Florestan’s Falcon for flute & piano www.chameleonarts.org Piano Quartet in E-Flat Major, Op. 47 617-427-8200

2014

2015 ARTISTIC DIRECTOR: GIL ROSE

JORDAN HALL October 12 Surround Sound SUNDAY 3:00 AT NEW ENGLAND RONALD BRUCE SMITH, ANTHONY PAUL DE RITIS, DAVID FELDER CONSERVATORY Patrick De Ritis, bassoon | Laura Aikin, soprano | Ethan Herschenfeld, Pre-concert talk one hour prior to concert December 7 Fantastic Mr. Fox SUNDAY 3:00 TOBIAS PICKER Co-production with ODYSSEY OPERA subscriptions available Featuring the Boston Children’s Chorus January 24 Magyar Madness SATURDAY 8:00 BÁLINT KAROSI, GYÖRGY LIGETI, BÉLA BARTÓK, KATI AGÓCS Gabriela Diaz, violin | Lorelei Ensemble

March 5 Blizzard Voices THURSDAY 8:00 JOHN HARBISON, PAUL MORAVEC Winner of the BMOP-NEC Composition Competition: TBA New England Conservatory Concert Choir

www.bmop.org BOSTON MODERN ORCHESTRA PROJECT 781.324.0396 LONGY EVENTS 2014-2015 For more information about Longy events, visit www.longy.edu.

November 25, 7:30pm March 10, 7:30pm Longy Conservatory Orchestra Longy Conservatory Orchestra Geoffrey McDonald, conductor Geoffrey McDonald, conductor Sanders Theatre, Sanders Theatre, Harvard University Including a Side by Side performance with members of the Longy Conservatory March 20, 7:00pm Orchestra and students from El Sistema- Side by Side: 2015 Longy Gala inspired music programs. Sanders Theatre and January 25, 7:00pm Annenberg Hall, Harvard University Faculty Artist Recital Mihail Jojatu, cello April 17–18 Wayman Chin, piano Spring Opera Performance Edward M. Pickman Concert Hall Geoffrey McDonald, conductor Donna Roll, director

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 Scott Metcalfe Music Director

2014-15 SubScriptiOn SerieS Oct. 18 • 8 pm Special event: A MASS for St. AuguStine of cAnterbury nov. 15 • 3pm & 8pm Dec. 18 & 19 • 8 pm / Dec. 20 • 2:30 pm Capturing MusiC: chriStMAS in 15th-Century FranCe & Burgundy Writing & Singing MuSic in the Middle AgeS Feb. 21 • 8 pm ockegheM, binchoiS & du fAy All Concerts & Events at: first church in cambridge • 11 garden St. Mar. 21 • 8 pm ockegheM, buSnoyS, regiS, (617) 960-7956 cAron & fAugueS www.blueheronchoir.org 75th Diamond Anniversary Season

Let's Celebrate Together!

Carmina, and Coronations! 75th Diamond Anniversary Season / Let's Celebrate Together! 3-Concert Series ¥ Friday nights in Sanders Theatre November 14, 2014 May 8, 2015 ORFF Carmina Burana HANDEL & HAYDN 'Coronation' March 13, 2015 Anthems & Mass BIZET 'Carmen' in Concert

MasterworksChorale.org ¥ (617) 858-6785 Steven Karidoyanes, conductor

Peggy Pearson, Artistic Director Thanksgiving Concert with Young Artist Rebecca Printz, mezzo-soprano Sunday, November 30 at 7:00 pm Follen Community Church 755 Mass. Ave., Lexington Haydn: Quartet in B flat, op. 33, no. 4 Bolcom: Serenata Notturna Mamuya: Song for the Spirit (World Premiere) Bach: Cantata bwv 170 “Vergnügte Ruh’, beliebte Seelenlust”

Tickets and Information: www.winsormusic.org or 781-863-2861 Fine Musical Instruments at auction

November 9 | 12PM | 63 Park Plaza, Boston

Jill Arbetter 509.970.3216, [email protected] www.skinnerinc.com

Fine Italian Violin, Joannes Franciscus Pressenda, Turin, 1835, est. $180,000-220,000 to be sold November 9th

Auction and previews are open to the public MA/lic. #2304 COME. PLAY YOuR PART.

Contributions to Emmanuel Music are an opportunity to: • Support over 200 of Boston’s most outstanding musicians • Support over 50 concerts and cantatas each year • Ensure that many of our concerts remain free and open to the public

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to discuss underwriting opportunities please call Pat krol, executive director, 617.536.3356

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Emmanuel Music | PO Box 171184 | Boston, MA 02117 | 617.536.3356 | emmanuelmusic.org