Ockeghem@600 | Concert 4 ECCE ANCILLA DOMINI 8 PM Saturday, October 15, 2016 First Church in Cambridge, Congregational 4 PM Sunday, October 16, 2016 S. Stephen's Church, Providence Ockeghem@600 | Concert 4 ECCE ANCILLA DOMINI SOURCES AND SURVIVORS Living in an age of blithely easy access to Philippe Bouton (1418-1515) and produced (c. 1420-1497) cantus digital copies of practically anything, we may at the Bourgeois workshop at the Habsburg- Ave Maria • ml ms jm dm Margaret Lias Martin Near find it hard to imagine just how precious a Burgundian court of . The first Johannes Regis (c. 1425-1496) thing was notated music in the years before section of the manuscript is devoted entirely Ave Maria • ml mn dm Ave Maria…virgo serena • om ms jm st pg tenor & contratenor Ottaviano Petrucci developed a system for to Masses by Ockeghem; it seems to have been Owen McIntosh printing polyphonic music, issuing his first planned as a sort of commemorative volume to Ockeghem Jason McStoots book, the Harmonice musices odhecaton (One him and to Johannes Regis, for it also contains Missa Ecce ancilla domini Mark Sprinkle Hundred Songs of Harmonic Music) of 1501. five of Regis’s seven extant . (Two of Kyrie • ml st om dm / Christe • mn jm ms pg / Kyrie • ml st om dm Sumner Thompson Gloria • ml st ms dm Composers seem to have worked out their these, too, survive only there.) Sometime after • Credo mn jm dm pg creations on reusable slates, transcribing the Bouton’s death the manuscript made its way bassus — intermission — Paul Guttry results into some sort of exemplar from which into Spanish hands. In the seventeenth century David McFerrin a scribe would produce workaday performance it came into the possession of Cardinal Fabio Ockeghem Il ne m’en chault plus de nul ame • ml ms dm copies or, in special cases, ornately decorated Chigi, later Pope Alexander VII, and eventually Scott Metcalfe presentation manuscripts for nobles or other it wound up in the Vatican Library. Antoine Busnoys (c. 1430-1492) director & fiddle Ma damoiselle, ma maistresse • mn om sm wealthy patrons. Virtually nothing in the hand of a composer survives from the fifteenth century, The Mass featured on today’s program, ?Ockeghem and even copies of treasures like polyphonic Ockeghem’s Missa Ecce ancilla domini, was Permanent vierge • mn jm dm pg st masses or motets are breathtakingly scarce. originally the first work in the codex (its Ockeghem One single manuscript copied shortly after the order was subsequently altered), and its first Missa Ecce ancilla domini Sanctus • ml jm om pg / Benedictus • mn jm death of Johannes Ockeghem in 1497 contains opening was spectacularly illustrated. Indeed, Agnus • mn om ms dm almost all of his settings of the Ordinary of the it is likely that the Chigi Codex survived not Mass (nine complete cycles and three partial because later generations prized the music it cycles), plus the incomplete Requiem. While contained—Chigi’s librarian noted laconically some of these survive in perhaps one other on a leaf of the book that “la musica è stimata source, four Masses are transmitted uniquely in molto buona” (the music is considered very this one manuscript, as is Ockeghem’s short but good)—but because it was so handsomely typically rich setting of the Marian antiphon written and so lavishly illuminated. Ockeghem@600 is a long-term project exploring the complete works of Ave Maria. We owe our knowledge of many Johannes Ockeghem in thirteen concert programs presented between 2015 and 2021. of Ockeghem’s works to a kind of miracle— In addition to the lovely depiction of the Blue Heron is very pleased to have Professor Sean Gallagher as adviser for the entire project. and we have lost at least four other masses, if Annunciation and the colorful marginalia, Pre-concert talk by Sean Gallagher (New England Conservatory of Music) references to them in treatises of the fifteenth note the text in the tenor part at lower left— sponsored in part by The Cambridge Society for Early Music and sixteenth centuries can be believed. not the words of the Mass itself, but those of the plainchant antiphon which Ockeghem has The manuscript in question, the Chigi Codex, taken as the basis of his piece: “Behold the Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. was commissioned by or for the French noble handmaid of the Lord: be it unto me according Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 Fifteenth-century songs, the best of which are lent support in a detailed rhythmic analysis exquisitely crafted masterpieces of an artistry by Sean Gallagher, adviser to Blue Heron’s and profundity every bit the equal of the later Ockeghem@600 project.1 Permanent vierge art song repertory, were often copied into combines a French rondeau with two - pocket-size volumes for collectors. (Whether texted cantus firmi, both Marian antiphon such chansonniers were ever used by musicians is chants, in a hybrid form known nowadays as doubtful: they tend to be decorated objets d’art, a -. The French poem glosses not performing materials, and in any case it is the text of yet another antiphon, Mulier amicta virtually certain that fifteenth-century singers sole, which the scribe wrote sideways in the performed songs from memory.) A typical margin. The words are from Revelation 12:1: example is the so-called Dijon chansonnier “And there appeared a great wonder in heaven; from c. 1465-1470s, the only source of a woman clothed with the sun, and the moon Permanent vierge. Although unascribed in under her feet, and upon her head a crown of Dijon, the song is copied there between two twelve stars.” other anonymous songs that are elsewhere —Scott Metcalfe ascribed to Ockeghem. The attribution of 1 Permanent vierge to Ockeghem, first proposed Sean Gallagher, “Syntax and style: rhythmic patterns in the music of Ockeghem and his contemporaries,” Biblioteca Apostolica Vaticana, MS Chigi C VIII 234, fos. 19v-20. by the nineteenth-century music historian Full-color digital images are available at http://digi.vatlib.it/view/MSS_Chig.C.VIII.234. in Philippe Vendrix, ed., Johannes Ockeghem. Paris: August Wilhelm Ambros, has recently been Klincksieck, 1998, pp. 681-705. to thy word” (Luke 1:38). This and later entries format seen in Chigi, in which all the voices of of the antiphon text, alongside and sometimes a polyphonic texture appear adjacent to each directly below the words of the Mass, appear other (not in score), scribes and printers were to instruct the performer to sing “Ecce ancilla beginning to favor partbooks, one for each domini” where the tenor part quotes the chant, part. The partbook format brings with it a new an audible sign of the Mass’s dedication. danger, that one (or more) of the books might not survive. This is precisely what happened Manuscripts may be fragile bearers of cultural with Petrucci’s Motetti a cinque of 1508, which artifacts like polyphonic music, but prints is the only source of Regis’s five-voice setting of from the early sixteenth century have not the Marian sequence Ave Maria…virgo serena. fared all that much better. Petrucci’s books Our performance employs a reconstruction were published in very small runs, most of of the missing voice by Theodor Dumitrescu. which has disappeared. Less than half of the (Quite a lot of the material in this motet may first edition ofOdhecaton remains, just one sound familiar from Josquin’s celebrated work copy of the second edition of 1503, and five beginning with the same text. Dumitrescu has of the third of 1504. And in the early years of also proven that Josquin is not the innovator in the new century a new format was becoming this case, but is rather emulating the now less more popular. Rather than the choirbook well-known master of the previous generation.) Dijon, Bibliothèque municipale MS 517, fos. 165v-166. Digital images at patrimoine.bm-dijon.fr/pleade/img-viewer/MS00517/viewer.html. 4 5 TEXTS & TRANSLATIONS Ave Maria gratia plena, dominus tecum: Hail Mary, full of grace, the Lord is with thee: Te collaudat celestis curia, The heavenly host praises you: benedicta tu in mulieribus et benedictus blessed art thou among women and blessed is the tu mater es regis et filia. you are the mother of the king, and his daughter. fructus ventris tui Jesus Christus. Amen. fruit of thy womb, Jesus Christ. Amen. per te reis donatur venia, through you the guilty are forgiven, per te justis confertur gratia. through you the just receive grace.

Ergo maris stella, Therefore, star of the sea, Ave Maria gratia plena, Hail Mary, full of grace, verba dei cella tabernacle of the word of God, dominus tecum, virgo serena. the Lord is with you, serene virgin. et lucis aurora, and light of the dawn, paradisi porta, gate of paradise, Benedicta tu in mulieribus, Blessed are you among women, per quam lux est orta: through whom the light appeared: qui peperisti pacem hominibus who gave birth to peace for men natum tuum ora pray to your son et angelis gloriam, and glory for angels, et benedictus fructus ventris tui and blessed is the fruit of your womb, ut nos salvat a peccatis that he absolve us from sin qui coheredes ut essemus sui who, through his grace, made it possible et in regno claritatis, and in his kingdom of light, nos fecit per gratiam. for us to share his inheritance. quo lux lucet sedula, where light shines eternally, collocet per secula. grant us a place forever. Per hoc autem ave And through this “Hail,” mundo tam suave so sweet for the world, contra carnis iura, contrary to the law of the flesh genuisti prolem, you gave birth to your son, Kyrie eleison. Lord, have mercy. novum stella solem a new star from which Christe eleison. Christ, have mercy. nova genitura. would issue a new sun. Kyrie eleison. Lord, have mercy.

Tu parvi et magni Of small and great, leonis et agni, of lion and lamb— salvatoris Christi of our savior Christ— Gloria in excelsis deo, et in terra pax Glory to God in the highest, and on earth templum extitisti, you became the temple, hominibus bone voluntatis. Laudamus te. peace to all of good will. We praise you. We sed virgo intacta. while remaining a virgin. Benedicimus te. Adoramus te. Glorificamus te. bless you. We adore you. We glorify you. We Gratias agimus tibi propter magnam gloriam give thanks to you for your great glory. Lord Tu floris et roris, Of the flower and the dew, tuam. Domine deus, rex celestis, deus pater God, heavenly king, almighty God the Father. panis et pastoris, of the bread and the shepherd, omnipotens. Domine fili unigenite, Jesu Lord Jesus Christ, only begotten Son. Lord virginum regina, queen of virgins, Christe. Domine deus, agnus dei, filius patris. God, lamb of God, Son of the Father. Who rosa sine spina, rose without thorn, Qui tollis peccata mundi, miserere nobis. Qui takes away the sins of the world, have mercy genitrix es facta. you became the mother. tollis peccata mundi, suscipe deprecationem on us. Who takes away the sins of the world, nostram. Qui sedes ad dexteram patris, receive our prayer. Who sits at the right hand Tu civitas regis justitie, You are the city of the king of justice, miserere nobis. Quoniam tu solus sanctus, tu of the Father, have mercy on us. For you alone tu mater es misericordie, you are the mother of mercy, solus dominus, tu solus altissimus, Jesu Christe, are holy, you alone are the Lord, the Most de lacu fecis et miserie from the abyss of filth and misery cum sancto spiritu in gloria dei patris. Amen. High, Jesus Christ, with the Holy Spirit in the theophilum reformans gratie. restoring to grace those beloved of God. glory of God the Father. Amen. 6 7 Credo in unum deum, patrem I believe in one God, the Father almighty, Il ne m’en chault plus de nul ame I no longer care for another soul omnipotentem, factorem celi et terre, maker of heaven and earth and of all things Fors de vous qui mon cueur enflame Save you, who inflame my heart visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord Jesus A vous bien loyaument amer. To love you most loyally. unum dominum Jesum Christum, filium dei Christ, the only Son of God, eternally unigenitum: et ex patre natum ante omnia begotten of the Father. God from God, Car pour tout m’en vous tiens et clame For I shall cleave to you forever and proclaim secula. Deum de deo, lumen de lumine, Light from Light, true God from true God. Que tant je vueil et que tant j’ame How much I desire and how much I love, deum verum de deo vero. Genitum non Begotten, not made; of one being with the Plus que nul sans riens excepter, More than any other without exception, factum, consubstantialem patri: per quem Father, through whom all things are made. For S’ils en devoyent tous crever Even if they all burst from hearing it omnia facta sunt. Qui propter nos homines us and for our salvation he came down from Et deusse perdre du corps l’ame. And if I should lose the soul from my body. et propter nostram salutem descendit de Heaven. He was born of the Holy Spirit and celis. Et incarnatus est de spiritu sancto ex the Virgin Mary, and was made man. He was Il ne m’en chault… I no longer care… Maria virgine: et homo factus est. Crucifixus crucified for our sake under Pontius Pilate, etiam pro nobis sub Pontio Pilato: passus died, and was buried. On the third day he et sepultus est. Et resurrexit tertia die rose again, in accordance with the Scriptures. secundum scripturas. Et ascendit in celum: He ascended into heaven and is seated at the Ma damoiselle, ma maistresse, My fair lady, my mistress, sedet ad dexteram patris. Et iterum venturus right hand of the Father. He will come again Ayez pitié de la destresse take pity on the distress est cum gloria judicare vivos et mortuos: to judge both the living and the dead, and his De mon pauvre doloureux cuer of my poor suffering heart, cujus regni non erit finis. Et in spiritum kingdom shall have no end. And I believe in Ou autrement vostre rigueur for otherwise your hardness sanctum dominum et vivificantem qui ex the Holy Spirit, the Lord, the giver of life, who L’occira bien brief de tristesse. will very soon kill him from grief. patre procedit. Qui cum patre et filio simul proceeds from the Father, who with the Father adoratur et conglorificatur: qui locutus est and Son is worshipped and glorified, who has Car tellement Desir le presse For Desire so presses him per prophetas. Et unam sanctam catholicam spoken through the prophets. And I believe Que son mal tous les jours ne cesse: that his pain never ceases: et apostolicam ecclesiam. Confiteor unum in one holy, catholic and apostolic church. I Il est mort, par mon createur. he is dead, by my creator! baptisma in remissionem peccatorum. Et confess one baptism for the forgiveness of sins. expecto resurrectionem mortuorum, et vitam And I await the resurrection of the dead, and Ma damoiselle, ma maistresse, My fair lady, my mistress, venturi seculi. Amen. the life of the world to come. Amen. Ayez pitié de la destresse take pity on the distress De mon pauvre doloureux cuer. of my poor suffering heart.

Vos voyez bien qu’il ne s’adresse You surely see that he addresses himself Il ne m’en chault plus de nul ame I no longer care for another soul Qu’a vous seulle, ne n’a promesse to you alone, nor has he made any promise Fors de vous qui mon cueur enflame Save you, who inflame my heart Que d’estre vostre serviteur, but to be your servant, A vous bien loyaument amer, To love you most loyally, Et sans l’avoir trouvé menteur, and without having found him false Sans jamais vous habandonner, Never to adandon you, Luy donnez dueil a grant largesse. you are causing him sorrow in abundance. A tousjours estre vostre dame. Forever to be your lady. Ma damoiselle… My fair lady… Qu’on m’en loue ne qu’on m’en blame, Whether I am praised or blamed for it, Quoy qu’on en disoit, homme ou femme, Whatever anyone has said, man or woman, Ilz en ont tous beau grumeller. They can all grumble as much as they like.

8 9 Mulier amicta sole A woman clothed with the sun ABOUT THE ARTISTS et luna sub pedibus eius and the moon beneath her feet

Permanent vierge, plus digne que nesune, Permanent virgin, more worthy than any other, femme couverte du soleil de justice, woman clothed with the sun of justice, chief couronné par divin artifice head crowned by divine artifice de douze estoiles, supeditant la lune. with twelve stars, standing above the moon. Esmerveillant nature et loy commune, Astounding nature and earthly law, tu enfantas par supernel office, you bore a child by supernal action, permanent vierge, plus digne que nesune, permanent virgin, more worthy than any other, femme couverte du soleil de justice. woman clothed with the sun of justice. Preordonnée sans differance aucune Preordained without any distinction Blue Heron has been acclaimed by The Boston Founded in 1999, Blue Heron presents a du redempteur fille, mere et nourrice, the redeemer’s daughter, mother, and nurse: Globe as “one of the Boston music community’s concert series in Cambridge, Massachusetts, soiez pour nous advocate propice, be a propitious advocate for us, indispensables” and hailed by Alex Ross in The and has appeared at the Boston Early Music toy supplions, tres belle, clere, brune, we beseech you, most lovely, radiant, burnished, New Yorker for the “expressive intensity” of its Festival; in New York City at Music Before Permanent vierge, plus digne que nesune… Permanent virgin, more worthy than any other… interpretations. Combining a commitment 1800, The Cloisters (Metropolitan Museum of to vivid live performance with the study Art), and the 92nd Street Y; at the Library of tenor i of original source materials and historical Congress and Dumbarton Oaks in Washington, Pulcra es et decora, filia Jherusalem: Fair and comely art thou, O daughter of Jerusalem: performance practices, Blue Heron ranges D.C., at the Berkeley Early Music Festival; terribilis ut castrorum acies ordinata. terrible as an army arrayed for battle. over a wide repertoire from plainchant to new and in San Luis Obispo, Seattle, St. Louis, music, with particular specialities in 15th- Chicago, Cleveland, Milwaukee, Pittsburgh, and tenor ii century Franco-Flemish and neglected early Philadelphia. Blue Heron has been in residence Sancta dei genitrix, virgo semper Maria, Holy mother of God, ever-virgin Mary, 16th-century English polyphony. Blue Heron’s at the Center for Early Music Studies at Boston intercede pro nobis ad dominum Jhesum intercede for us with the lord Jesus Christ. first CD, featuring music by , University and at Boston College. In 2015 the Christum. was released in 2007. In 2010 the ensemble ensemble embarked on a long-term project inaugurated a 5-CD series of Music from the to perform the complete works of Johannes Peterhouse Partbooks, including many world Ockeghem@600 Sanctus, sanctus, sanctus, dominus deus Ockeghem; entitled , it will Holy, Holy, Holy, Lord God of hosts. Heaven and premiere recordings of works copied c. 1540 sabaoth. wind up in 2020-21, in time to commemorate earth are full of your glory. Hosanna in the highest. for Canterbury Cathedral; four discs have been Pleni sunt celi et terra gloria tua. Osanna in the composer’s circa-600th birthday. Blessed is he who comes in the name of the Lord. released to date and the fifth is due out in the excelsis. Hosanna in the highest. spring of 2017. Blue Heron’s recordings also Benedictus qui venit in nomine domini. Music historian and pianist Sean Gallagher (pre- include a CD of plainchant and polyphony Osanna in excelsis. concert speaker and adviser for Blue Heron’s to accompany Thomas Forrest Kelly’s book Ockeghem@600 project) Capturing Music: The Story of Notation and the joined the faculty of the Agnus dei, qui tollis peccata mundi, miserere Lamb of God, who takes away the sins of the world, live recording Christmas in Medieval England. New England Conservatory nobis. have mercy on us. Jessie Ann Owens (UC Davis) and Blue Heron in 2013. His research Agnus dei, qui tollis peccata mundi, miserere Lamb of God, who takes away the sins of the world, won the 2015 Noah Greenberg Award from the focuses on late medieval nobis. have mercy on us. American Musicological Society to support a and in Agnus dei, qui tollis peccata mundi, dona Lamb of God, who takes away the sins of the world, world premiere recording of ’s , and the Low nobis pacem. grant us peace. first book of madrigals (1542). Countries, with particular emphasis on Johannes 10 Translations from the French by Scott Metcalfe 11 Ockeghem and his contemporaries. His book under the baton of Harry highlights include solo appearances with the Handel’s Almira, Apollo on the 15th-century composer Johannes Regis Christophers. In 2015, Handel & Haydn Society in performances of in Monteverdi’s Orfeo, and was published by Brepols in 2010, and he is she made her Lincoln Bach and Monteverdi, a debut with Boston Eumete and Giove in Il editor or co-editor of four further volumes, Center solo debut singing Baroque as Achilla in Handel’s Giulio Cesare, ritorno d’Ulisse in patria, including Secular Renaissance Music: Forms and Mozart’s Requiem. Select and various programs with Blue Heron. all with the Boston Early Functions (Ashgate, 2013) and (with Thomas solo appearances this Music Festival, Pedrillo in F. Kelly) The Century of Bach and Mozart: season include Princeton Acclaimed as a “lovely, tender high tenor” by Mozart’s Abduction from the Perspectives on Historiography, Composition, Pro Musica, Portland The New York Times, Owen McIntosh enjoys Seraglio and Evangelist in Theory and Performance (Harvard, 2008). He Symphony Orchestra, a diverse career of chamber music and solo Bach’s St. Mark Passion with has taught at the University of North Carolina at Handel Society of Dartmouth, Arcadia Players, performance ranging from bluegrass to reggae, Emmanuel Music, and soloist for Monteverdi’s Chapel Hill, Harvard University (where he was Cleveland Orchestra, and Emmanuel Music. heavy metal to art song, Vespers of 1610 with the Green Mountain awarded the Phi Beta Kappa Prize for excellence An avid supporter of ensemble work, Margaret and opera to oratorio. A Project. He has also performed with Boston in teaching), and Boston University. In 2007 he was a founding member of The Skylark Vocal native of remote Northern Lyric Opera, Pacific MusicWorks, Boston was Visiting Professor at Villa I Tatti in Florence. Ensemble and is a member of Seraphic Fire, California, Mr. McIntosh Camerata, TENET, San Juan Symphony, Pablo He frequently presents pre-concert talks and Boston Baroque, Voices of Ascension, Sacred has shared the stage with the Casals Festival, Early Music Guild of Seattle, lecture-recitals on a wide range of topics. Music in a Sacred Space, Emmanuel Music, country’s finest ensembles, Tragicomedia, and the Tanglewood Music and Musica Sacra New York. Margaret is also including Apollo’s Fire, Blue Center. Mr. McStoots can be heard on all six of Bass-baritone Paul Guttry has performed proud of her administrative work as chorus Heron, Boston Baroque, Blue Heron’s recordings, and also appears on the throughout the USA and internationally with representative for the Handel & Haydn Society Carmel Bach Festival, Les Grammy-nominated recording of Lully’s Pysché Sequentia, Chanticleer, the Boston Camerata, and as a member of the Board of Directors for Canards Chantants, New Vintage Baroque, and on other discs of music of Charpentier and and New York’s Ensemble for Early Music. A Lorelei Ensemble. Staunton Music Festival, TENET, Trident John Blow with the Boston Early Music Festival founding member of Blue Heron, he has also Ensemble, True Concord, San Diego Bach on the CPO label. He is a voice teacher at appeared in and around Hailed for his “voice of seductive beauty,” Collegium, and the Grammy-nominated Choir Brandeis University and a stage director, staging Boston as soloist with baritone David McFerrin has won critical of Trinity Wall Street. Recent solo engagements operatic works with Connecticut Early Music Emmanuel Music, the acclaim in a variety of repertoire. His opera include Mozart’s Die Zauberflöte with Boston Festival, Amherst Early Music Festival, Wayland Handel & Haydn Society, credits include Santa Fe Opera, Seattle Opera, Baroque, Haydn’s L’isola disabitata with the First Unitarian Players, and Brandeis University. the Boston Early Music Florida Grand Opera, the Rossini Festival in American Classical Orchestra, Monteverdi’s Festival, the Tanglewood , and numerous Vespers of 1610 with Apollo’s Fire and with Scott Metcalfe has gained wide recognition as Music Center, Cantata roles with Boston Lyric Green Mountain Project, Bach’s St. Matthew one of North America’s leading specialists in Singers, Boston Cecilia, Opera. As a concert soloist Passion with Grand Rapids Symphony, Il ritorno music from the fifteenth through seventeenth Prism Opera, Boston he has sung with the d’Ulisse in patria with Opera Omnia and Boston centuries and beyond. Musical and artistic Revels, Collage, the Boston Modern Orchestra Cleveland Orchestra, Israel Baroque, and the Evangelist in Bach’s St. John director of Blue Heron, he is also music director Project, and Intermezzo. Paul can be heard Philharmonic, and Boston Passion with Tucson Chamber Artists. of New York City’s Green on all Blue Heron’s recordings, on discs of Pops, and in recital at the Mountain Project (Jolle medieval music by Sequentia, Kurt Weill’s Caramoor, Ravinia, and Described by critics as “a gifted young tenor Greenleaf, artistic director) Johnny Johnson and French airs de cour with Marlboro Festivals. Last with wonderful comedic talents,” an “alluring and has been guest director the Boston Camerata, and on Emmanuel season Mr. McFerrin was an Adams Fellow at tenor voice,” and a “bright, clear and fully- of TENET (New York), the Music’s Bach CDs. the Carmel Bach Festival in California, debuted fledged tenor sonority,”Jason McStoots has Handel & Haydn Society with the Vermont Symphony and Boston’s performed around the world. In 2015 he was (Boston), Emmanuel Music Mezzo-soprano Margaret Lias has been chamber orchestra A Far Cry, and appeared with honored with a Grammy award with the Boston (Boston), the Tudor Choir celebrated for her “warm,” “arresting,” and “rich- the Handel & Haydn Society in Boston, Canada, Early Music Festival for his roles of Ixion in and Seattle Baroque, Pacific toned” singing. Since her Boston Symphony and California. He was also runner-up in the La descente d’Orphée aux enfers and Forestan Baroque Orchestra (Vancouver, BC), Quire Hall debut in 2011 with the Handel & Haydn Oratorio Society of New York’s 2016 Lyndon in La couronne de fleurs, both by Charpentier. Cleveland, the Dryden Ensemble (Princeton, Society, Margaret has been a frequent soloist Woodside Solo Competition. Upcoming Recent appearances include Tabarco in NJ), and Early Music America’s Young 12 13 Performers Festival Ensemble. Metcalfe also with Concerto Palatino OCKEGHEM@600 enjoys a career as a baroque violinist, playing and has sung the Evangelist with Les Délices (dir. Debra Nagy), Montreal in Bach Passions with the Ockeghem@600 is Blue Heron’s multi-year OCKEGHEM@600 | 2015-2021 Baroque (dir. Eric Milnes), and other ensembles, Handel & Haydn Society, project to perform the complete works of Most programs are organized around a setting and directing the baroque orchestra at Oberlin the Boulder Bach Festival, Johannes Ockeghem, one of the very greatest Conservatory. He taught vocal ensemble the Oriana Singers of composers of the Western tradition, in of the mass, but all will also include motets repertoire and performance practice at Boston Vermont, Seraphim Singers, thirteen programs over the course of seven and songs by Ockeghem and other composers: University from 2006-2015 and is at work on a Boston’s Chorus Pro seasons. Inaugurated in the spring of 2015, Binchois, Du Fay, Regis, Busnoys, Josquin, new edition of the songs of . Musica, and the Andover Ockeghem@600 will wind up in 2020-21, just Obrecht, and others. Choral Society, among others. Mr. Sprinkle was in time to commemorate the 600th anniversary Countertenor Martin Near enjoys a varied a member of the Cambridge Bach Ensemble of Ockeghem’s birth in circa 1420. 2014-15 | Predecessors & contemporaries career exploring his twin passions for early and a fellow of the Britten-Pears School and has 1. Ockeghem & Binchois: Missa de plus en plus music and new music. Mr. Near recently sang recorded for Dorian, Koch, Harmonia Mundi, Besides concerts, the undertaking requires in the solo quartet of Arvo Pärt’s Passio with Decca, Arabesque, and Telarc. and will include a significant component of 2. The ive:F Ockeghem, Regis, Busnoys, the Boston Modern Orchestra Project, was the research into the many questions of fifteenth- Faugues & Caron countertenor soloist in the premiere performance Praised for his “elegant style” (The Boston century performance practice which remain of Dominick DiOrio’s Stabat mater with Juventas Globe), Sumner Thompson is highly sought unsolved puzzles—questions as basic as pitch 2015-16 | Early masses I New Music Ensemble, after as both baritone and tenor. His appearances level, voice types, and scoring. By the end sang the role of Hamor on the operatic stage include roles in the Boston we expect to have a better understanding of 3. L’homme armé in Handel’s Jephtha with Early Music Festival’s productions of Conradi’s such issues. We will also have created a new Boston Cecilia, and was Ariadne (2003) and Lully’s Psyché (2007) and complete practical edition of the music of 2016-17 | Early masses II noted for his “fine work” several European tours with Contemporary Ockeghem, scrupulously based on the original 4. Ecce ancilla domini in Buxtehude’s Heut Opera Denmark as Orfeo sources and rigorously tested in practice. 5. Caput triumphieret Gottes in Monteverdi’s L’Orfeo. Sohn with Boston Baroque. He has performed across Along the way we will also explore music of 2017-18 | Masses based on songs He sings regularly with North America as a soloist Ockeghem’s predecessors (Du Fay, Binchois, Emmanuel Music, Boston Baroque, and the with Concerto Palatino, et al.), contemporaries (Regis, Busnoys, et al.), 6. Ma maistresse & Au travail suis Handel & Haydn Society. Mr. Near was Music Tafelmusik, Apollo’s Fire, and followers (Josquin, Obrecht, Agricola, 7. Fors seulement Director of Exsultemus from 2009 to 2012. Les Boréades de Montréal, Isaac, et al.), developing and sharing with Les Voix Baroques, Pacific our audiences a sense of the entire fifteenth- 2018-19 | Speculative music Tenor Mark Sprinkle’s singing has been Baroque Orchestra, the century repertoire. Succeeding our series described as “expressive,” “very rewarding,” King’s Noyse, Mercury Baroque, and the of recordings of music from the Peterhouse 8. Cuiusvis toni “outstanding,” “vivid,” and “supremely stylish.” symphony orchestras of Charlotte, Memphis, partbooks, the fifth and final volume of which 9. Prolationum He has collaborated with the Boston Early and Phoenix. Recent highlights include will be released in spring 2017, a new series of Music Festival, the Boston Camerata, the Monteverdi’s Vespers of 1610 and a new Vespers five CDs is being planned, including a 2-CD set 2019-20 | Freely composed masses Mark Morris Dance Group, Emmanuel Music, of 1640 with the Green Mountain Project, of all of Ockeghem’s songs. 10. Missa quinti toni Boston Baroque, the Handel & Haydn Society, Buxtehude’s Membra Jesu Nostri with Les Voix 11. Missa sine nomine and many others, performed at festivals in Baroques and Houston’s Mercury Baroque, Joining Blue Heron as adviser for Bergen (Norway), Vancouver, Edinburgh, and Mozart’s Requiem at St. Thomas Church in Ockeghem@600 is Professor Sean Gallagher Aldeburgh (UK), and worked as a soloist and New York City, a tour of Japan with Joshua of the New England Conservatory, one of the 2020-21 | Last things & legacies ensemble singer under Seiji Ozawa, Christopher Rifkin and the Cambridge Concentus, a return world’s leading experts on Ockeghem and the 12. Requiem Hogwood, William Christie, Roger Norrington, to the Carmel Bach Festival, and Britten’s War music of the fifteenth century. 13. Missa Mi mi John Nelson, Andrew Parrott, Grant Llewellyn, Requiem with the New England Philharmonic and Craig Smith. He has appeared as a soloist and several guest choruses. 14 15 uses means both melodic and rhythmic (pitch His rhythm, too, is complex and varied, WHO WAS JOHANNES OCKEGHEM? and duration, the basic elements of music). oftentimes obscuring the music’s organization His counterpoint spins out long-limbed, into regular metrical units of two or three. Johannes Ockeghem was born in Saint Caron, and , who supple, and simply gorgeous melodies whose Captivating at first hearing, Ockeghem’s music relationship to one another is not obvious— rewards the closest possible study and repeated Ghislain, near the city of in the glory in having studied this divine art there are few unanimous cadences and few listening. of Hainaut (now in ) around 1420. under John Dunstable, Gilles Binchois, He first enters the historical record in 1443 as immediately noticeable points of imitation, and Guillaume Du Fay, recently a vicaire-chanteur at the church of Our Lady in although many subtle instances occur, often —Scott Metcalfe , a modest appointment appropriate deceased. Nearly all the works of these almost hidden within the texture of the music. to a young professional singer. By 1446 he had men exhale such sweetness that in my become one of seven singers in the chapel of opinion they are to be considered most Charles I, duke of Bourbon, and in 1451 he suitable, not only for men and heroes, joined the musical establishment of Charles but even for the immortal gods, Indeed, THE MUSIC OF JOHANNES OCKEGHEM VII, king of France. He served the French I never hear them, I never study them, royal court as premier chapelain for the rest of his career, mainly residing in Tours in the without coming away more refreshed and wiser. Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Valley, where he held the prestigious Masses, three partial Mass cycles, an independent Credo, and an incomplete Requiem. and well-remunerated post of treasurer at the royal collegiate church of Saint Martin. A Ockeghem died on February 6, 1497. His SONGS passing was mourned by numerous musicians friend and colleague of the greatest musicians Aultre Venus Ma bouche rit ¿Qu’es mi vida preguntays? of the previous generation, Guillaume Du and poets. The most famous lament on his death is Nymphes des bois, by the Burgundian court Baisiés moi Ma maistresse by Johannes Cornago, with Fay and Gilles de Bins (usually known by the D’un autre amer Mort tu as navré added voice by Ockeghem sobriquet Binchois), he was esteemed by his chronicler and poet Jean Molinet, later set to music by Josquin Desprez—an act of homage Fors seulement contre ce Alius discantus super O rosa bella S’elle m’amera / Petite camusette contemporaries and successors as a master Fors seulement l’actente Permanent vierge Se vostre cuer beyond compare, enormously skilled as both that Ockeghem had previously rendered Binchois with Mort, tu as navré de ton dart. Il ne m’en chault Prenez sur moi Tant fuz gentement singer and composer, as well as virtuous, Je n’ay dueil (two versions) Presque transi Ung aultre l’a generous, and kind. Ockeghem left us about two dozen French La despourveue Quant de vous songs, just over a dozen Masses, and four motets, L’autre d’antan Writing in 1477, the theorist Johannes Les desleaux Tinctoris placed him at the head of an exalted a relatively small output for one of the greatest company of modern composers: composers of all time. Perhaps no composer other than Bach has equalled Ockeghem in MOTETS MASSES …at this present time, not to mention contrapuntal skill, and the two men are also equally astonishingly able to invest their work Alma redemptoris mater Missa Au travail suis Missa Fors seulement innumerable singers of the most with meaning at every level, from the smallest Ave Maria Missa Caput (Kyrie, Gloria, Credo) beautiful diction, there flourish, surface detail to the deepest, largest-scale, awe- Intemerata dei mater Missa cuiusvis toni Missa Ma maistresse whether by the effect of some celestial inspiringly complex structure, in music that Salve regina Missa De plus en plus (Kyrie, Gloria) influence or by the force of assiduous is at once intensely sensuous and rigorously Missa Ecce ancilla Missa sine nomine a 5 practice, countless composers, among intellectual, of extraordinary beauty and Missa L’homme armé (Kyrie, Gloria, Credo) Credo sine nomine them Johannes Ockeghem, Johannes rhythmic vitality. Ockeghem’s music has the Missa Mi mi miraculous effect of taking hold of and altering Missa quinti toni a 3 Regis, Antoine Busnoys, Firminus our sense of time, and to do so Ockeghem Missa prolationum Requiem (incomplete)

16 17 OCKEGHEM’S LIFE & TIMES Ockeghem Music & other arts History 1450 • c. 1450 first extant compositions: • February 1453 Binchois retires • 1453 end of Hundred Years War Ma maistresse, Missa Caput from Burgundian court and moves between France and England • by 1451 joins the French royal to Soignies • 1453 Constantinople falls to the Ockeghem Music & other arts History chapel of Charles VII; lives in • b. c. 1450 Ottoman Turks Tours until his death 1400 • Guillaume Du Fay • 1404 d. Philip the Bold, duke of • John Dunstaple d. 1453 b. c. 1397, Bersele, near ; succeeded by John • 1452 encounters Guillaume Du Fay • Josquin Desprez the Fearless at meeting between French royal b. c. 1450–55, ?near Saint Quentin • Gilles de Bins, dit Binchois court and ducal court of Savoy b. c. 1400, ?Mons • 1409 Pope Alexander VI elected: • there are now three popes • by 1454 appointed first chaplain b. c. 1457-8, Ghent • Rogier van der Weyden of French royal chapel b. c. 1400, Tournai • Leonardo da Vinci • January 1, 1454 presents the king b.1452 (died 1519) • c. 1410 Jean, duke of Berry, with “a book of song”; receives commissions Très riches heures, a New Year’s gift of four ells of • 1455 Johannes Gutenberg illustrated by Limbourg brothers cloth in return completes printing of the Bible c. 1412-16 in Mainz • 1455 meets Du Fay again • January 1, 1459 gives the king “a 1410 • Johannes Ciconia d. 1412 • 1414-18 Council of Constance very richly illuminated song” and • October 25, 1415 receives a New Year’s gift in return Battle of Agincourt • 1459 named treasurer of the • 1419 d. , collegiate church of St. Martin ; succeeded by in Tours Philip the Good 1460 • c. 1460 Mort tu as navré de ton • Binchois • 1461 d. Charles VII; 1420 • Johannes Ockeghem b. c. 1420 • Binchois is organist at St. Waudru, • 1422 Charles VII becomes dart (lament for Binchois) d. September 20, 1460, in Soignies succeeded by Louis XI in Saint Ghislain, near Mons, Mons, 1419-23 King of France • 1462 travels to Bourges • R. van der Weyden • 1467 d. Philip the Good, County of Hainaut, diocese of • Johannes Regis b. c. 1425 • June 1462 travels to d. June 18, 1464, in Brussels duke of Burgundy; succeeded by Cambrai • Jean Fouquet b. 1420 (d. 1481) • February- 1464 travels • Charles d’Orléans to Cambrai and stays with Du d. January 4/5 1465 • 1468 wedding of Charles the Fay; ordained as a priest on this • Donatello d. 1466 Bold and Margaret of York 1430 • Binchois at Burgundian court • 1431 Joan of Arc burned at the occasion? by at least January 1431 stake in Rouen by the English; • 1465-7 Busnoys composes In • c. 1460-5 contact with Busnoys hydraulis, praising Ockeghem • Antoine Busnoys b. c. 1430-35 Henry VI of England crowned king of France in Notre-Dame in Tours • Christine de Pizan d. c. 1430 de Paris • 1467/8 Missa L’homme armé • Alain Chartier d. 1430 • 1435 Treaty of copied in Bruges • François Villon b. c. 1430 between France and Burgundy • Jean Molinet b. c. 1435 • 1436 armies of Charles VII 1470 • 1470 travels to on 1 or 2 • Du Fay • 1477 d. Charles the Bold, • 1436 Santa Maria del Fiore reclaim Paris diplomatic embassies (adds 4th d. November 27, 1474, duke of Burgundy; Burgundy (Florence) completed with voice to Cornago’s Qu’es mi vida in Cambrai absorbed into the French crown dome engineered by Filippo preguntays) • 1478 William Caxton Brunelleschi; Du Fay composes • lament for Du Fay (lost) publishes first printed copy Nuper rosarum flores for • 1475/6 Missa Mi mi of the Canterbury Tales consecration th copied in Bruges (written late 14 century) • 1476/7 Missa cuius vis toni 1440 • 1443-44 earliest documentation: • • 1449 French reconquer copied in Bruges vicaire-chanteur at church of Our d. July 9, 1441, Bruges Normandy Lady, Antwerp • • 1446-8 first of seven singers in b. c. 1446, Ghent 1480 • All of Ockeghem’s surviving • 1483 d. Louis XI; music composed by c. 1480? succeeded by Charles VIII the chapel of Charles I, duke of • 1440s earliest cyclic Masses, Bourbon composed in England, reach the • August 1484 travels to Damme continent via : Missa and Bruges; banquet in his honor Caput, Missa Veterem hominem, etc. at St. Donatian, Bruges • 1444 Cosimo de’ Medici founds • 1488 travels to Paris Laurentian Library in Florence • 1448 Pope Nicholas V founds 1490 • d. February 6, 1497, • Busnoys d. 1492 Vatican Library presumably in Tours • Regis d. c. 1496 ?Soignies

18 19 HOW DID OCKEGHEM SPELL HIS NAME? ACKNOWLEDGEMENTS

Jehan de Ockeghem was born around 1420 in the and Jehan very likely grew up speaking French Blue Heron’s existence as a performing ensemble Blue Heron is extraordinarily fortunate to work small town of Saint Ghislain, near Mons, in the as his first tongue. By the mid-1440s he was is made possible by the devotion, hard work, with a regular slate of talented, skilled, and county of Hainaut and in the diocese of Cambrai. living and working in France, and from about and financial support of a community of devoted designers, engineers, videographers, and Saint Ghislain lies in modern-day Belgium, about 1450 until his death in 1497 he was a member of board members, staff, volunteers, donors, and photographers. Our programs, postcards, season 50 miles southwest of Brussels and less than ten the chapel of the the king of France and lived in concertgoers. We offer our grateful thanks to brochure, advertisements, and CD booklets are miles from the present312 border with France.LES ARTISTESTours, TOURANGEAUX in the Loire Valley. all those who join us in creating, nurturing, and designed by Melanie Germond and Pete Goldlust. sustaining an organization dedicated to making Erik Bertrand maintains and rebuilt our website; The county of HainautObligis or ouHainaultObligys was(Nicolas), a The m-Flemish brodeur, family paroisse name Saint- was a source of the music of the 15th and 16th centuries come the site was originally built by Evan Ingersoll, lordship within the HolyVineent, Romanil Tours Empire (1531), with avait endless rpouse confusion Jehanne to Preze, speakers fille of de Fench, Italian, alive in the 21st. who also designed our programs for many years. its capital at Mons Jehan(Bergen Preze, in Flemish); maitre des the oeu German, vres de maconuerie and other languages, de la ville de and it may be Our concerts are brilliantly recorded by Philip name comes from Tours.the river . Hainaut found spelled in a bewildering variety of ways in Special thanks to Brett Kostrzewski for help in the Davis (Cape Ann Recordings) or Joel Gordon; preparation of an edition of the Missa Ecce ancilla Joel is also the engineer for our CDs, working comprised what is nowOdin the (sireBelgian Girard), provinceTIl' brodeurcontemporary des rois sources: Louis XII Ockeghem, et Fran- Okeghem, dei from the original sources. Many thanks to with our producer Eric Milnes. Kathy Wittman of Hainaut and part eoisof the)H. Frenchparoisse département Notre - DameOkegheem, de I'Ecrignolle, Ockegheem,it Tours, Okeghen, est Okeghan, the Rev'd John D. Alexander, James Busby, Cory (Ball Square Films) has recently joined us as of , and includedeire the dans cities I'nrventaire of , des archivesOkenghem, d'Arnhoise, Ockenheim, en t498l'ten Okekam, Obekhan, to the east of Mons, and, to the southwest, MacLean, and everyone at S. Stephen's Church for videographer. Liz Linder is our photographer. Our 1504 eorume ayant recu plusieursObergan, payements Hockeghen, de Hoquegan, celte ville Hocquergan, welcoming us to Providence. debt to these wonderful people who have shaped and thepour diocesan divers seat travaux of Cambrai, de son art.Hoiquergan, Holreghan, Okegus. Eugène both in latter-day France. In 1420 the county Giraudet, in Les artistes tourangeaux (Tours, our look and sound is impossible to overstate. Nons avons rencontre e~alement un grand nombre de fois We are very grateful to the gracious hosts who offer was ruled by Jacqueline, daughter of duke 1885), reproduces a presumed autograph mu- their hospitality to musicians from out of town. Wilhelm II of -Straubing,Ie nom de eet artistebut in 1432 dans lessignature registres on des p. deliberations 312, but fails to indicate the Many thanks to our board and to all our volunteers it was ceded to the Duchynicipales.mr of BurgundyiI fig-ure underit titre source, fie conseiller whichet is pair otherwise de la ville. unknown and is for their help this evening and throughout the year. Philip the Good; in 1477,Dans upon nne assernhleethe death of tenue now Ie 7apparentlyavril 15z3. lost.sons Nevertheless, Ia presi- modern Charles the Bold, itdeuce passed de to Jacques the Habsburgs de Beanne, scholarship hailli de Touraine,has generally dans lehut accepted the We are honored and grateful to have so many generous donors. with the rest of the Burgundiand'aviser aux . mesures de sureteauthenticityit adopter of ponr the lasignature, defense de in part due to Ia ville, Girard Odin s'eugage,the detailunusual curieux, formationit fournir of the jus- c, which could Donations Received between October 6, 2015 and October 6, 2016 The composer’s givenqu'au name no.ubre was Jehan de soixaute(or Jean), ouvriersbe taken hrodeurs for an e; (I). such an oddity, as Jaap van James Catterton & Lois Wasoff Charitable Gift Fund normally given~n as Johannes~531, in Latinii, enrich or other it de s~~Benthem h.rod~ries has Iewritten, poele on “mightdais enplead against any ARCHANGEL ($10,000 +) Michal Truelsen & Jody Wormhoudt non-French contexts.- toile The d surname or et d arjreut, suggests doublethat suggestion a l'interieur of de a satiunineteenth-century blanc, noir attempt Harry J. Silverman his family originatedet in [auue the town et decore of Okegem de fleurs on de[at] lis forgery.” et de salnrnandres The signature, ; ce dais assuming it is ANGEL GUARANTOR ($1,000 – $2,499) { the Dendre, IIless I{ than . ~~ 35 milesdestine to ilthela north reception in indeed de la genuine, nouvelle establishes reioe Eleonore that, at least on ($5,000 +) Anonymous Anonymous East"4~"d Flanders.,ll1'l"'t,''lf'',\ulriehe, But during the later dont Middle I'eutree Ages, soleullelle"'n'eutthis one occasion, lieu the qu'au composermois spelled his last Alfred Nash Patterson Foundation for the Choral Arts Hainaut1f"" \ wasI culturallyd'oeloLre and linguistically 1532. French, name OCKEGHEM. Philip H. Davis Fred Franklin & Kaaren Grimstad John Paul Britton & Diane Britton J ;( Ockeghem (Jehan de). premier chapelain, chantre de la William & Elizabeth Metcalfe John A. Carey chapelle de Louis XI et de Charles VIII, tresorier de Saint, Richard L. Schmeidler Elizabeth C. Davis Daniel & Ann Donoghue BENEFACTOR ($2,500 – $4,999) John & Ellen Harris Peggy & Jim Bradley Robert J. Henry Diane L. Droste Mary Eliot Jackson Cindy & Peter Nebolsine Mary Briggs & John Krzywicki Joan Margot Smith Lydia Knutson & Fred Langenegger Marlin. Peu de noms ont <'Ie aussi defigures que eelui de c; Anne H. Matthews & Edward Fay, Jr. grand musicieu et chanteur; ainsi, on l'a appeJe tour it tour Peter Belknap & Jennifer Snodgrass

20 21 (1) Papier journal ordioaire des deliberations ot assembJees f.'lites ell l'ostel et maison de la communite de la ville et cite de Tours, tome XV. Susan S. Poverman Laurie J. Francis Tom and Kathy Kates Stephen Moody Richard Silverman, in memory of Eugenie M. Ellicott Emorcia V. Hill Joann Keesey Lari Smith In honor of Mimi & Elliott Sprinkle Jean & Alex Humez David Kiaunis Annlinnea & Michael Terranova Erin E. M. Thomas Paul LaFerriere & Dorrie Parini Pat Krol Dr. E. K. Thomas Nicholas H. Wright Deborah Malamud & Neal Plotkin Penelope Lane Judith Ogden Thomson Jim Meyer Rob & Mary Joan Leith Dr. Marsha Vannicelli PATRON ($500 – $999) Richard Odermatt James Martin Sonia Wallenberg Anonymous Dan Powell Amy Meltzer & Philip McArthur Binney & Bob Wells Peggy Badenhausen & Tom Kelly Tom Regan Ruth Morss Patricia Wild Katie and Paul Buttenwieser Jerome Regier Amy Mossman Martin & Phyllis Wilner Helen Donovan & Holly Nixholm Nancy & Ronald Rucker Perry & Susan Neubauer Linda & Bill Wolk David R. Elliott Polly S. Stevens Virginia Newes Linda C. Woodford Marie-Pierre & Michael Ellmann Alex Yannis Stephen H. Owades Joel Gordon Rosemary Reiss Hope Hare SUPPORTER ($100 – $249) Lee Ridgway Arthur Hornig Anonymous (2) Sue Robinson Richard O'Connor & Julianne Lindsay Joseph Aieta, III William Hobbie & Virginia Rogers William Lockeretz Alan Amos Joan Doyle Roth Martha Maguire & Oleg Simanovsky Margaret & Charles Ashe Katy Roth BOARD OF DIRECTORS Mastwood Charitable Foundation Jeffrey Del Papa & Susan Assmann Jennifer Farley Smith & Sam Rubin Michael P. McDonald Marilyn Boenau Ronald V. Lacro & Jon P. Schum John Yannis, president Scott Metcalfe Joan Boorstein Richard Tarrant Mary Briggs, treasurer Susan Miron Jill Brand & Thomas Nehrkorn Anne Umphrey Richard Schmeidler, clerk Kenneth & Karen Near Spyros Braoudakis Charles A. Welch Peter Belknap Tracy Powers Nanu Brates & Sandy Reismann Heather Wiley & Peter Renz Damon Dimmick Ann Besser Scott Edward & Matilda Bruckner Elizabeth Wylde Scott Metcalfe Andrew Sigel Robert Cochran Susan Miron Robert B. Strassler Maureen A. Conroy FRIEND ($50 – $99) Harry Silverman Michael Wise & Susan Pettee Martha W. Davidson Anonymous (2) Jennifer Farley Smith Carl & May Daw Julie Rohwein & Jonathan Aibel Laura Zoll SPONSOR ($250 – $499) Pamela Dellal Noël Bisson GENERAL MANAGER Anonymous Charles & Sheila Donahue C.C. Cave & Peter Rothstein John Yannis Thomas & Rebecca Barrett Alan Durfee John & Cindy Coldren OFFICE ADMINISTRATOR Daryl Bichel Samuel Engel & Anne Freeh Engel William Cooke Janet Stone Thomas N. Bisson Carol Fishman Mark Davis VOLUNTEERS Barbara Boles Constance & Donald Goldstein Katherine Ellis Frank & Betsy Bunn Liz Goodfellow Brenda & Monroe Engel Jill Brand Anna Nowogrodzki Catherine Davin, in memory of Joe Davin Nancy Graham Edward S. Ginsberg Anne Kazlauskas Beth Parkhurst John F. Dooley Michelle Gurel Anne Huntington & Lorna Cohen Mary Kingsley Samuel Rubin Eastern Bank Charitable Foundation Terrie Harman Carole Friedman & Gail Koplow Bob Loomis Jennifer Farley Smith Aaron Ellison David Harrison Catherine Liddell Hannah Loomis Erin E.M. Thomas Jean Fuller Farrington Eiji Miki & Jane Hever Stephen Livernash Elena Loomis Sonia Wallenberg Kathleen Fay & Glenn KnicKrehm Louis Kampf & Jean Jackson Beverly Woodward & Paul Monsky Ian McGullam Gerry Weisenberg

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