Remede de Fortune / A Remedy for Fortune

8:00 p.m. • Friday, March 17, 2017 First Church in Cambridge, Congregational GUILLAUME de MACHAUT VI. Dancing en plein air Remede de Fortune / A Remedy for Fortune Instrumental: Dis tans plus (Jehan Lescurel, arr. Nagy) : Dis tans plus (Lescurel) Virelai: Dame, a vous sans retollir (RF6)

I. Prologue, or How to love well VII. Reunited with his Lady : Esperance qui m’asseure Messe de Nostre Dame: Kyrie I based on Machaut tunes (arr. Nagy) II. In the Court of Love Rondelet: Dame, mon cuer en vous remaint (RF7) : Qui n’aroit autre deport (RF1) : Hareu, hareu! / Helas! ou sera pris confors / Obediens usque ad mortem VIII. She loves me, she loves me not Ballade: Biauté qui toutes autres pere III. Love slays the Lover Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Ballade: Gais et jolis (instrumental) Complainte: Tieus rit au main qui su soir pleure (RF2)

All works by Guillaume de Machaut (c.1300-1377) unless otherwise noted. IV. Lady Hope comes to the Lover’s aid RF1-7 are songs from the Remede itself.

Chant royal: Joye, plaisance, et douce nourreture (RF3) Translations of all texts will be projected as supertitles. Motet: Qui es promesses de Fortune / Ha Fortune / Et non est qui adjuvet Complete texts & translations are available on our website: www.blueheron.org.

Baladelle: En amer a douce vie (RF4) Pre-concert talk by Matilda Bruckner (Boston College, retired) sponsored in part by The Cambridge Society for INTERMISSION

V. Wrestling with Doubt Blue Heron Martin Near Debra Nagy Bird song (instrumental): Or sus, vous dormes trop (anon., excerpt arr. Nagy) Scott Metcalfe, director countertenor, percussion recorders, douçaine & Ballade: Dame de qui toute ma joie vient (RF5) Les Délices Owen McIntosh Charles Weaver Debra Nagy, director tenor, percussion , voice & hurdy-gurdy Motet: Trop plus est bele que biauté / Biauté parée de valour / Je ne sui mie certeins Projections designed Jason McStoots Scott Metcalfe

 ,   by Shawn Keener tenor, narrator fiddle & harp

Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. The Lexington performance is supported in part by a Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org grant from the Lexington Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency. GUILLAUME de MACHAUT set to music; and a music section which complete works manuscript for Bonne, in Remede de Fortune / A Remedy for Fortune eventually comprised 19 lais, 23 , a the late 1340s (the so-called MS C), but setting of the Mass, a hocket, 42 ballades, 22 she died before it was finished and it was rondeaux, and 33 . The order in which completed either for her widower Jean or all this was to appear was carefully specified for their son Charles. The lavishly illustrated by the composer, as a manuscript compiled book concludes with the motet Trop plus Guillaume de Machaut first enters the Death, which peaked in France in the years at the very end of his life tells us: “Vesci est bele que Biauté, perhaps intended as a historical record in a few ecclesiastical 1348-50, killing 30-60% of the European l’ordenance que G. de Machau vuet qu’il ait memorial benediction for Bonne, “Far more documents from 1330-33 in which he is population, including about half of en son livre”: “This is the order which G. de beautiful than Beauty itself…, better than described variously as a clerk, almoner, Paris’s 100,000 inhabitants. By 1360 or so Machaut wishes to have in his book.” Goodness, and full of everything, in truth, notary, and secretary to the king of Bohemia, Machaut seems to have taken up residence that a good and beautiful lady should have.” Jean of Luxembourg. Machaut probably in Reims, where he had held a benefice at The Remede de Fortune, too, appears to be worked as Jean’s secretary, travelling all over the Cathedral since 1338. (A benefice was Bonne of Luxembourg dedicated to Bonne: the text identifies her Europe, until the king’s heroic if foolhardy an ecclesiastical appointment offering a & the Remede de Fortune more or less explicitly as the perfect lady of death at the battle of Crécy on August salary without requirement of service in the tale, to whom everyone rightly gives the 26, 1346. (He insisted on being led into return: a literal sinecure, sine cura or free of Of all his patrons, the one who seems to name bonne. battle, although he was by then completely pastoral duties.) He died sometime before have attracted Machaut’s warmest personal blind.) After Crécy, Machaut seems to November 9, 1377, when his position at devotion was Bonne of Luxembourg. TheRemede is a dit or narrative poem of over have served a number of other eminent the Cathedral of Reims passed to another. Born May 20, 1315, she died at age 34 on 4000 octosyllabic lines, telling the story of nobles, a confusing number of whom are September 11, 1349, perhaps of the Black a young and inexperienced lover and his named either Jean or Charles: his patrons While Machaut’s life is sparsely documented, Death, the mother of ten. Machaut may attempt to learn how to be happy, to live included the king of Bohemia’s daughter, his works are richly transmitted in a unique have undertaken the compilation of his first and love well, despite the reversals dished Bonne of Luxembourg; her husband Jean, series of six “complete works” manuscripts duke of Normandy, who became King Jean produced between c. 1350 and 1390, mostly II of France; their son Charles, the future under the author’s supervision, several …tousdis enclinoie …my heart and all my thoughts Mon cuer et toute ma pensee were ever inclined towards King Charles V; Charles’s brothers, Jean, abundantly illuminated. The manuscripts Vers ma dame qui est clamee my lady, who is proclaimed duke of Berry, and Philip the Bold, duke contain more than fifteen long narrative De tous sur toutes belle et bonne: by all beautiful and good above all: of Burgundy; Pierre de Lusignan, king poems or dits; a collection of lyric Chascun par droit ce nom li donne. everyone rightly gives her this name. of Cyprus; King Charles of Navarre, and known as the Loange des dames or Praise of — Remede de Fortune, 52-6 others. Machaut lived through the Black Ladies, consisting of some 280 poems not

4 5 out by Fortune and her wheel. Interspersed Our Remede The Story the “twelve things” he has promised to into the highly didactic story are seven reveal. Instead, he begins to tell us about lyric poems, set to music, which present Our concert version of the Remede, created The Remede de Fortune is an interesting how he first came to fall in love. He was a catalogue of exemplary forms arranged by Debra Nagy and myself, includes all (and funny) story for a few reasons. young, innocent, and foolish. His Lady, from old to new, from the traditional, of the lyrics and music from the poem, While it traffics in common themes from meanwhile, was perfection—his model in virtuoso lai, a comically extended although we have excerpted the Lai the medieval world of all things. Naturally, he kept his feelings complainte, and royal—forms and Complainte. (Performed complete, (including the central allegorical figures deeply hidden but learned to express both inherited from the previous century—to they would last approximately fifteen of Hope and Fortune and unrequited his despair and exaltation through poetry the newer forms of the so-called seconde and forty-five minutes, respectively.) pining for the beloved), there’s also some and song. rhétorique, the ballade and related baladelle, We have replaced most of the narration fascinating gender-role reversal. For the virelai, and the (here labelled with songs and motets by Machaut that instance, it’s the women here who are One day, his Lady asks him to recite a lai rondelet). The explicit goal of theRemede is explore the same themes. What remains, wise, deft, and strong: Hope is all-knowing (a long and complex lyric poem) for her to instruct its readers, by means of example describing the essence of the action, has and comforting, Fortune is powerful and enjoyment. When she asks him who wrote and plain teaching, in how to live ethically been translated into English prose to be virtually untouchable, and the Lady is a it, he is scared stiff. Should he tell her the in a world which is not designed to assure spoken. The supertitles provide slightly slightly manipulative power-broker who’s truth and risk rejection and humiliation? human happiness. Lady Hope teaches the condensed translations of the sung lyrics; well aware of her position and her ability Conversely, how could he possibly lie to lover to trust in hope, cultivate indifference the complete French texts and translations to extract favors and to grant or withhold the woman he loves? He does neither: to the vagaries of Fortune—whether you may be found on Blue Heron’s website, happiness. The Lover, on the other hand, bewildered and flabbergasted, fearing that are in her favor for the moment or not— www.blueheron.org. is practically a hysterical caricature: a he will drop dead on the spot if the Lady and do not desire, but accept the good whimpering, self-indulgent sot who is expresses the slightest disfavor towards things Love has given you without wishing For the projections, Shawn Keener has reduced to quivering and puddles of tears him (!), he runs off without saying a word. vainly for things which are impossible. drawn on illustrations from the Machaut at the slightest glance from his Lady. These ideas are summarized in the ballade manuscripts, especially those found in MS Overwhelmed by cowardice and with which we open our concert, Esperance C, which were created by a small team of Synopsis intimidated by the strength of his own qui m’asseure, and their essential kernel highly skilled and esteemed artists. feelings, he wanders until he comes upon is perfectly expressed in the tenor of the Our story begins with the Lover (our a secluded spot in a pleasure garden called motet Trop plus est bele, with which we —Scott Metcalfe narrator) attempting to enumerate all he the Park of Hesdin. First he cries himself conclude: “I am not certain of having a has learned through trial and experience. sick—lashing out at himself, Love, and lover, but I am a loyal friend.” He is easily distracted and veers off course, Fortune—in a 36-stanza Complainte that however, and doesn’t appear to list all would easily take 45 minutes to perform.

6 7 (We have excerpted it for this performance.) entire company then enjoys a great feast About the Artists Founded in 1999, Blue Heron presents a concert Having convinced himself that he is near followed by music and dancing. Before series in Cambridge, Massachusetts, and has death, he opens one eye to find a beautiful the Lover takes his leave, he and his Lady appeared at the Boston Early Music Festival; in New York City at Music Before 1800, The Cloisters woman sitting next to him. She is there to exchange rings as a token of their alliance. (Metropolitan Museum of Art), and the 92nd comfort him, instruct him about Love, and The Lover departs, singing a rondelet Street Y; at the Library of Congress and Dumbarton counsel him to adjust his attitude about (Dame, mon cuer en vous remaint) as he goes. Oaks in Washington, D.C.; at the Berkeley Early Fortune. She barely seems real; at length Music Festival; and in San Luis Obispo, Seattle, St. she introduces herself as Esperance—Hope. After spending the afternoon in a field Louis, Chicago, Cleveland, Milwaukee, Pittsburgh, Pledging her companionship through enjoying jousting and other diversions, the Blue Heron has been acclaimed by The Boston Globe and Philadelphia. This season’s highlights include a doubts and difficult times, she gives Lover can’t wait to get back to his Lady. But as “one of the Boston music community’s debut at the National Gallery of Art in a program designed to accompany the exhibition “Della the Lover her ring. His health restored, when he finds her, she appears to ignore indispensables” and hailed by Alex Ross in The New Robbia: Sculpting with Color in emboldened by Hope, the Lover goes off him. Stricken with grief and doubt, he Yorker for its “expressive intensity.” Committed to vivid live performance informed and enhanced by the .” Blue Heron has been in residence at the in search of his Lady—though he quickly asks whether she has decided to abandon study of original source materials and historical Center for Early Music Studies at Boston University loses faith, causing Hope to reappear. him; she reassures him that she is merely performance practices, Blue Heron ranges over a wide and at Boston College. In 2015 the ensemble acting to conceal their love, for true love repertoire, from plainchant to new music, with embarked on a long-term project to perform the Approaching his Lady’s castle, the Lover ought not to be revealed to a slanderous, particular specialities in 15th-century Franco-Flemish complete works of (c. 1420- comes upon a group dancing in a garden perverse, and inconstant society such as and early 16th-century English . Blue 1497). Entitled Ockeghem@600, it will wind up in and spots his Lady among them. The the world has presently become. Although Heron’s first CD, featuring music by Guillaume Du 2020-21, in time to commemorate the composer’s circa-600th birthday. dancers each take a turn singing and the assailed by fear and torments of all kinds, Fay, was released in 2007. In 2010 the ensemble Lover stumbles forward to join them. The he determines to believe and trust her. The inaugurated a 5-CD series of Music from the , including many world premiere recordings Lady notices the Lover and insists that he poem ends with a prayer of homage to of works copied c. 1540 for Canterbury Cathedral; the Les Délices explores the dramatic potential and take his turn to sing for the dance. The Love, in which Machaut signs his name in fifth disc was released in March 2017. Blue Heron’s emotional resonance of long-forgotten music. dancing winds up and the company departs. an anagram. recordings also include a CD of plainchant and Founded by baroque oboist Debra Nagy in 2009, polyphony to accompany Thomas Forrest Kelly’s Les Délices has established a reputation for unique Back at the castle, the Lady pointedly asks —Debra Nagy book Capturing Music: The Story of Notation and the programs that are, according to The New York the Lover where he has been and confronts live recording Christmas in Medieval England. Jessie Times, “thematically concise, richly expressive, him about running off. He confesses all to Ann Owens (UC Davis) and Blue Heron won the and featuring composers few people have heard 2015 Noah Greenberg Award from the American of… Concerts and recordings by Les Délices her and she grants him the gift of her love. Musicological Society to support a world premiere are journeys of discovery.” The ensemble’s debut They go together to hear Mass after which recording of ’s first book of CD was named one of the “Top Ten Early Music a sounds, announcing dinner. The (1542), to be begun next season. Discoveries of 2009” by NPR’s Harmonia, and the

8 9 group’s performances have been called “a beguiling Santa Maria” (2012–15) and “Le ” Reviewers describe Jason beyond. Musical and experience” (Cleveland Plain Dealer), “astonishing” (2016) has been praised by critics in Chicago, McStoots as having an artistic director of Blue (ClevelandClassical.com), and “first class” (Early Boston, Pittsburgh, and Milwaukee. After years “alluring tenor voice” Heron, he is also music Music America Magazine). Since Les Délices’ sold- working at the Newberry Library, Keener is now an (ArtsFuse) and as “the director of New York out New York debut at the Frick Collection, touring editor at A-R Editions, the leading North American consummate artist, City’s Green Mountain highlights have included New York’s Music Before publisher of scholarly editions of music. wielding not just a sweet Project (Jolle Greenleaf, 1800, Boston’s Isabella Stewart Gardner Museum, tone but also incredible artistic director) and has the San Francisco Early Music Society, the Yale technique and impeccable been guest director of Collection of Musical Instruments, and Columbia Acclaimed as a “lovely, pronunciation” (Cleveland TENET (New York), the University’s Miller Theater. Les Délices presents its tender high tenor” by The Plain Dealer). In 2015 he won a Grammy in Opera Handel & Haydn Society (Boston), Emmanuel own concert series in Cleveland art galleries and at New York Times, Owen with the Boston Early Music Festival for the music Music (Boston), the Tudor and Seattle Plymouth Church in Shaker Heights, OH, where McIntosh enjoys a diverse of Charpentier. A respected interpreter of early Baroque, Pacific Baroque Orchestra (Vancouver, the group is Artist in Residence. Les Délices has career of chamber music music whose solo appearances include Les plaisirs BC), Quire Cleveland, the Dryden Ensemble been featured on WCPN, WCLV and WKSU in and solo performance de Versailles (Charpentier), Orfeo, Il ritorno d’Ulisse (Princeton, NJ), and Early Music America’s Young Ohio, WQXR in New York, and NPR’s syndicated ranging from bluegrass to in patria, Vespers of 1610 (Monteverdi), Abduction Performers Festival Ensemble. Metcalfe also enjoys Harmonia and Sunday Baroque, and music from reggae, heavy metal to art from the Seraglio(Mozart), Christmas , St. a career as a baroque violinist, playing with Les their debut CD appeared in the audio-guide for song, and opera to oratorio. Mark Passion (Bach), Dido and Aeneas (Purcell), Délices (dir. Debra Nagy), Montreal Baroque (dir. Watteau, Music, and Theater, a special exhibit at A native of remote Northern California, Mr. and (Handel), he has appeared with Boston Eric Milnes), and other ensembles, and directing New York’s Metropolitan Museum of Art. The McIntosh has shared the stage with the country’s Lyric Opera, Emmanuel Music, Pacific MusicWorks, the baroque orchestra at Oberlin Conservatory. He ensemble’s third CD, “Age of Indulgence,” will be finest ensembles, including Apollo’s Fire, Blue TENET, San Juan Symphony, Bach Ensemble, taught vocal ensemble repertoire and performance released in 2017. Heron, Boston Baroque, Carmel Bach Festival, Les Casals Festival, Seattle Early Music Guild, practice at Boston University from 2006-2015 and Canards Chantants, New Vintage Baroque, Staunton Tragicomedia, and Tanglewood Music Center. He is is at work on a new edition of the songs of Gilles Music Festival, TENET, Trident Ensemble, True a core member of Blue Heron and can be heard on Binchois. A musicologist trained at Concord, San Diego Bach Collegium, and the all Blue Heron recordings. Other recording credits the University of Chicago, Grammy-nominated Choir of Trinity Wall include Lully’s Pysché, Handel’s Acis and Galatea, Shawn Keener brings a Street. Recent solo engagements include Mozart’s Die Blow’s Venus and Adonis, and Charpentier’s Acteon Debra Nagy has been called a “musical polymath” scholar’s eye to the design Zauberflöte with Boston Baroque, Haydn’s L’isola with BEMF (CPO), Fischer Vespers (Toccata (San Francisco Classical Voice) for her accomplished process, combining a disabitata with the American Classical Orchestra, Classics), and Awakenings with Coro Allegro performances as a singer and historical wind player. commitment to historical Monteverdi’s Vespers of 1610 with Apollo’s Fire and (Navona). One of North America’s leading performers on the accuracy with the simple with Green Mountain Project, Bach’s St. Matthew baroque oboe, Debra is a principal player with delight of seeing primary Passion with Grand Rapids Symphony, Il ritorno American Bach Soloists, Seattle Baroque Orchestra, sources first-hand. Her d’Ulisse in patria with Opera Omnia and Boston Scott Metcalfe has gained wide recognition as one and Apollo’s Fire, and is a regular guest with the work with Chicago’s Newberry Consort for Baroque, and the Evangelist in Bach’s St. John Passion of North America’s leading specialists in music from Handel & Haydn Society and the Boston Early programs such as “Rosa das Rosas: Cantigas de with Tucson Chamber Artists. the fifteenth through seventeenth centuries and Music Festival, among other ensembles. A dedicated

10 11 chamber musician, Debra sings regularly with Emmanuel Music, is the founder of Les Boston Baroque, and the Handel & Haydn Society. Acknowledgments Délices (whose debut Mr. Near was Music Director of Exsultemus from Blue Heron’s existence as a performing ensemble (The site was originally built by Evan Ingersoll, is made possible by the devotion, hard work, and who also designed our programs for many years.) recording was named 2009 to 2012. financial support of a community of board members, Our concerts are recorded by Philip Davis (Cape “One of the Top Ten Early staff, volunteers, donors, and concertgoers. We Ann Recordings) or Joel Gordon; Joel is also the Music Discoveries of offer our grateful thanks to all those who join us in engineer for our CDs, working with our producer creating, nurturing, and sustaining an organization Eric Milnes. Kathy Wittman (Ball Square 2009”) and performs late Charles Weaver performs dedicated to making the music of the 15th and 16th Films) is our videographer and Liz Linder is our as a on early plucked-string centuries come alive in the 21st. photographer. Our debt to these wonderful people who have shaped our look and sound is impossible regular guest with Blue instruments as a recitalist Blue Heron is extraordinarily fortunate to work to overstate. Heron and the Newberry Consort. She has recorded and as an accompanist. with a slate of talented, skilled, and devoted over 30 CDs with repertoire ranging from 1300- Chamber music appearances designers, engineers, videographers, and We are very grateful to the gracious hosts who offer 1800 and has had live performances featured on photographers. Our programs, postcards, season their hospitality to musicians from out of town. include Quicksilver, Early brochure, advertisements, and CD booklets are CBC Radio Canada, Klara (Belgium), NPR’s Music New York, Piffaro, designed by Melanie Germond and Pete Goldlust. Many thanks to our board and to all our volunteers Performance Today, WQXR (New York City) and Chamber Music Society of Erik Bertrand maintains and rebuilt our website. for their help this evening and throughout the year. WGBH Boston. Debra is an unabashed foodie who Lincoln Center, the Folger loves commuting by bike from her home in Consort, Blue Heron, Musica Pacifica, and the We are honored and grateful to have so many generous donors. Cleveland’s historic Ohio City neighborhood. Boston Early Music Festival Chamber Ensemble. Donations Received between March 15, 2016 and March 15, 2017 He is on the faculty of the Juilliard School, where he teaches “Historically Informed Performance on ARCHANGEL ($10,000 +) GUARANTOR ($1,000 – $2,499) Countertenor Martin Plucked Instruments,” and last season was the Paul LaFerriere & Dorrie Parini Anonymous Near enjoys a varied career assistant conductor for Juilliard Opera’s production Harry J. Silverman John Paul Britton & Diane Britton John A. Carey exploring his twin passions of Cavalli’s La Calisto. He also works with the New ANGEL ($5,000 +) John & Ellen Harris for early music and new York Continuo Collective, an ensemble of players Anonymous Mary Eliot Jackson music. Mr. Near recently and singers exploring seventeenth-century vocal Philip H. Davis Lydia Knutson & Fred Langenegger Alice Honner-White & Peter C. White Michael P. McDonald sang in the solo quartet of music in semester-length workshop productions, Cindy & Peter Nebolsine Susan Miron Arvo Pärt’s Passio with the and has taught at the Lute Society of America Richard L. Schmeidler Andrew Sigel Boston Modern Orchestra Summer Workshop in Vancouver, the Madison In honor of Mimi & Elliott Sprinkle BENEFACTOR ($2,500 – $4,999) Erin E. M. Thomas Project, was the countertenor Early Music Festival, and the Western Wind Peggy & Jim Bradley James Catterton & Lois Wasoff Charitable Gift Fund soloist in the premiere performance of Dominick Workshop in ensemble singing. Mr. Weaver is Diane L. Droste Fred Franklin & Kaaren Grimstad PATRON ($500 – $999) DiOrio’s Stabat mater with Juventas New Music associate director of music at St Mary Church in Mary Briggs & John Krzywicki Peggy Badenhausen & Tom Kelly Ensemble, sang the role of Hamor in Norwalk, Connecticut, where he specializes in William & Elizabeth Metcalfe Myron & Rebecca Barnett Handel’s Jephtha with Boston Cecilia, and was Renaissance polyphony and Gregorian . Prof Jessie Ann Owens Thomas & Rebecca Barrett Joan Margot Smith Katie and Paul Buttenwieser noted for his “fine work” in Buxtehude’s Heut Peter Belknap & Jennifer Snodgrass Elizabeth C. Davis triumphieret Gottes Sohn with Boston Baroque. He Michal Truelsen & Jody Wormhoudt Damon Dimmick

12 13 Helen Donovan & Holly Nixholm Richard Tarrant Ruth Morss BOARD OF DIRECTORS John F. Dooley Anne Umphrey Amy Mossman John Yannis, president Eastern Bank Charitable Foundation Nicholas H. Wright Perry & Susan Neubauer Mary Briggs, treasurer David R. Elliott Kate & Ted Ongaro Richard Schmeidler, clerk Marie-Pierre & Michael Ellmann SUPPORTER ($100 – $249) Stephen H. Owades Peter Belknap Laurie J. Francis Anonymous (4) Lee Ridgway Damon Dimmick Hope Hare Alan Amos Allen Rossiter Scott Metcalfe Veronique & Ivan Kugener Margaret & Charles Ashe Joan Doyle Roth Susan Miron Richard O'Connor & Julianne Lindsay Jeffrey Del Papa & Susan Assmann Nancy & Ronald Rucker Harry Silverman Mastwood Charitable Foundation Elaine V. Beilin & Robert H. Brown Jr. Ronald V. Lacro & Jon P. Schum Jennifer Farley Smith Anne H. Matthews & Edward Fay, Jr. Barbara Boles Polly S. Stevens Laura Zoll Merrill Family Charitable Foundation, Inc. Joan Boorstein Judith Ogden Thomson Scott Metcalfe Jill Brand & Thomas Nehrkorn Vendini, Inc. GENERAL MANAGER John Yannis Michael Scanlon Spyros Braoudakis Charles A. Welch Ann Besser Scott James Burr Carol Wetmore, in memory of Joan Yannis OFFICE ADMINISTRATOR Janet Stone Richard Silverman, in memory of Mary & Kenneth Carpenter Heather Wiley & Peter Renz Eugenie M. Ellicott Robert Cochran T. Walley Williams III VOLUNTEERS Robert B. Strassler Maureen A. Conroy Linda & Bill Wolk Daryl Bichel Bettina Siewert & Douglas Teich Nathaniel S. & Catherine E. Coolidge Jill Brand Michael Wise & Susan Pettee Boston Early Music Festival FRIEND ($50 – $99) Dan Clawson Alex Yannis Martha S. Dassarma Anonymous (2) Sheila Clawson John Yannis Elizabeth Davidson Julie Rohwein & Jonathan Aibel Sue Delaney Martha W. Davidson Edward & Matilda Bruckner David Fillingham SPONSOR ($250 – $499) Catherine Davin, in memory of Joe Davin Wallace & Barbara Dailey Alexandra Hawley Anonymous Carl & May Daw Mark Davis Anne Kazlauskas Joseph Aieta, III Charles & Sheila Donahue Edward S. Ginsberg Mary Kingsley Thomas N. Bisson Samuel Engel & Anne Freeh Engel Joan Hadly Bob Loomis Frank & Betsy Bunn Carol Fishman Ivan Hansen Hannah Loomis Keith Ohmart & Helen Chen Constance & Donald Goldstein Marcia W. Jacob Elena Loomis Susan Cornwall & Nick Pappas Liz Goodfellow Tom and Kathy Kates Ian McGullam Pamela Dellal Terrie Harman Joann Keesey John Nesby Alan Durfee David Harrison Catherine Liddell Anna Nowogrodzki Aaron Ellison Peter & Jane Howard Stephen Livernash Beth Parkhurst Kathleen Fay & Glenn KnicKrehm Richard F. Hoyt, Jr. Stephen Moody Christopher Petre James A. Glazier & James A. Ferguson Jean & Alex Humez Mary Lynn Ritchey Karen Prussing Nancy Graham Thomas Hyde Robert Rood Samuel Rubin Paul Guttry Louis Kampf & Jean Jackson Katy Roth Cheryl Ryder Emorcia V. Hill Barry Kernfeld & Sally McMurry Huguette Shepard Laura Sholtz Martha Maguire & Oleg Simanovsky David Kiaunis Arthur Shippee & Mary Porterfield Susan Singer June Matthews Carole Friedman & Gail Koplow Lari Smith Jennifer Farley Smith Jim Meyer Pat Krol Frank E. Warren Brooks Sullivan Kenneth & Karen Near Penelope Lane Binney & Bob Wells Charlotte Swartz Virginia Newes Rob & Mary Joan Leith Patricia Wild Erin EM Thomas Richard Odermatt John Lemly Kathy Wittman Sonia Wallenberg Dan Powell James Martin Linda C. Woodford Ava Ziporyn Tracy Powers Amy Meltzer & Philip McArthur Elizabeth Wylde Laura Zoll Jerome Regier Brian McCreath

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