33rd SEASON

Vivaldi: Gloria And Magnificat

Monica Huggett Debra Nagy oboe Kris Kwapis trumpet

Friday 22 December 2017 Alix Goolden Hall Concert Season

Legacy of the Fugue A Telemann Celebration 13 January 2018 Saturday 8pm 24 March 2018 Saturday 8pm Alix Goolden Hall Alix Goolden Hall Diderot String Quartet NEW YORK La Rêveuse FRANCE When Leipzig composer Felix Mendelssohn A master of instrumental music, Telemann revived Bach’s music, it finally received universal enjoyed more fame and adoration in his time admiration. The Diderot String Quartet performs than even the lauded J.S. Bach. Open to French excerpts from The Art of Fugue alongside and Italian influences as well as the new galant Mendelssohn’s No. 4 Fugue for String Quartet, style that flourished in Germany, he excelled in Op. 81 and his much-loved String Quartet No. 2, chamber music, creating a charming synthesis Op. 13, in a beautiful nod to Bach, the of European styles at the crossroads between Baroque master. Baroque and Classicism.

Bach and Sons War and Peace 10 February 2018 Saturday 8pm 22 April 2018 Sunday 3pm Alix Goolden Hall Alix Goolden Hall Elinor Frey, viola da gamba The Tallis Scholars UK Luc Beauséjour, harpsichord MONTREAL Peter Phillips, music director Two of Canada’s leading exponents of historically- To commemorate the centenary of the end of informed performance bring to life masterpieces World War I, Peter Phillips has put together a of high Baroque chamber music by Johann stirring program with masses on the theme of Sebastian Bach and his sons Johann Christoph the Armed Man (L’homme armé), =chansons Friedrich and Carl Philipp Emanuel. describing a battle (La Batalla), movements from Victoria’s Requiem Mass, and deeply moving funeral motets: Tavener from the funeral of Princess Diana, Mouton from the funeral of Anne of Brittany, and Lobo from the funeral of Philip II of Spain. Vivaldi: Gloria And Magnificat

Chorus Kathleen Allan, Emily Cheung, Arwen Myers, Margaret Obenza soprano Danielle Sampson, Jane Long, Cassie Webster alto Liz Hamel, Laura Pudwell, Vicki St. Pierre tenor Christina Stelmacovich, Laura Beckel Thoreson, Debi Wong bass Vicki St. Pierre chorus master

Orchestra Monica Huggett musical direction and violin solo Debra Nagy oboe Kris Kwapis trumpet Linda Melsted, Christi Meyers, Angela Malmberg violin I Chloe Meyers, Chloe Kim, Elyssa Lefurgey Smith, Noemy Gagnon-Lafrenais violin II Mieka Michaux, Joanna Hood violas Beiliang Zhu, Marina Hasselberg cello Natalie Mackie violone Katrina Russell bassoon Deborah Fox lute Christina Hutten organ, harpsichord

A Northwest Baroque Masterworks project with special thanks to the Canada Council for the Arts for touring support.

3 Vivaldi: Gloria And Magnificat

Laetatus Sum RV 607

Concerto for Oboe and Trumpet in D major, RV 563 Debra Nagy oboe solo Kris Kwapis trumpet solo 1. Allegro 2. Grave 3. Allegro

Magnificat RV 610

1. Magnificat 2. Et exultavit 3. Quia respexit Jane Long alto Debi Wong bass 4. Et misericordia 5. Deposuit potentes 6. Esurientes implevit 7. Suscepit Israel 8. Sicut locutus 9. Gloria

INTERMISSION

Concerto for Oboe and Violin in B flat major. RV 548 Debra Nagy oboe solo Monica Huggett violin solo 1. Allegro 2. Largo 3. Allegro

Gloria RV 589

1. Gloria in excelsis Deo 2. Et in terra pax 3. Laudamus te Arwen Myers soprano I Danielle Sampson soprano II 4. Gratias agimus tibi 5. Propter magnam gloriam 6. Domine Deus Arwen Myers soprano I 7. Domine, Fili unigenite 8. Domine Deus, Agnus Dei Laura Pudwell tenor 9. Qui tollis peccata mundi 10. Qui sedes ad dexteram Patris Vicki St. Pierre tenor 11. Quoniam tu solus sanctus 12. Cum Sancto Spiritu

4 Texts and Translations

Laetatus Sum RV 607

Laetatus sum in his quae dicta sunt mihi: I rejoiced at the things that were said to me: in domum Domini ibimus. We shall go into the house of the Lord. Stantes erant pedes nostri: Our feet were standing: in atriis tuis Ierusalem. in thy courts, O Jerusalem. Ierusalem quae aedificatur ut civitas: Jerusalem, which is built as a city: cuius participatio eius in idipsum. that is compact together. Illuc enim ascenderunt tribus, tribus Domini: For thither did the tribes go up, the tribes of the Lord: testimonium Israel the testimony of Israel, ad confitendum nomini Domini. to praise the name of the Lord. Quia illic sederunt sedes in iudicio: Because their seats have sat in judgment: sedes super domum David. seats upon the house of David. Rogate quae ad pacem sunt Ierusalem: Pray ye for the peace of Jerusalem: et abundantia diligentibus te. And abundance for them that love thee. Fiat pax in virtute tua: Let peace be in thy strength: et abundantia in turribus tuis. and abundance in thy towers. Propter fratres meos et proximos meos: For the sake of my brothers and my neighbors: loquebar pacem de te. I spoke peace of thee. Propter domum Domini Dei nostri: For the sake of the house of the Lord our God: quaesivi bona tibi. I have sought good things for thee. Gloria Patri et Filio : Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio et nunc et semper: As it was in the beginning, now, and forever: et in secula seculorum. Amen. world without end. Amen.

Magnificat RV 610 1. My soul doth magnify the Lord 1. Magnificat anima mea Dominum 2. And my spirit hath rejoiced in God my Saviour. 2. Et exultavit spiritus meus in Deo salutari meo. For he hath regarded: the lowliness of his handmaiden. Quia respexit humilitatem ancillæ suæ: For behold, from henceforth: all generations shall ecce enim ex hoc beatam me dicent call me blessed. omnes generationes. For he that is mighty hath magnified me: Quia fecit mihi magna qui potens est, and holy is his Name. et sanctum nomen eius. 3. And his mercy is on them that fear him: 3. Et misericordia eius a progenie in progenies throughout all generations. timentibus eum. 4. He hath showed strength with his arm: 4. Fecit potentiam in brachio suo, He hath scattered the proud in the imagination dispersit superbos mente cordis sui. of their hearts.

5 5. Deposuit potentes de sede 5. He hath put down the mighty from their seat: et exaltavit humiles. and hath exalted the humble and meek. 6. Esurientes implevit bonis 6. He hath filled the hungry with good things: et divites dimisit inanes. and the rich he hath sent empty away. 7. Suscepit Israel puerum suum recordatus 7. He remembering his mercy hath holpen misericordiæ suæ, his servant Israel: 8. Sicut locutus est ad patres nostros, 8. As he promised to our forefathers, Abraham et semini eius in sæcula. Abraham and his seed, forever. 9. Gloria Patri, et Filio, 9. Glory be to the Father, and to the Son, et Spiritui Sancto: and to the Holy Ghost; Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in sæcula sæculorum. Amen. world without end. Amen.

Gloria RV 589

1. Gloria in excelsis Deo 1. Glory be to God on high 2. Et in terra pax hominibus bonae voluntatis. 2. And in earth peace, goodwill towards men, 3. Laudamus te, benedicimus te, adoramus te, 3. We praise thee, we bless thee, we worship thee, we glorificamus te, glorify thee, 4. Gratias agimus tibi, 4. We give thanks to thee, 5. Propter magnam gloriam tuam, 5. For thy great glory, 6. Domine Deus, Rex caelestis, Deus Pater 6. O Lord God, Heavenly King, God the Father omnipotens, Almighty. 7. Domine Fili unigenite, Jesu Christe, 7. O Lord, the only-begotten Son, Jesu Christ; 8. Domine Deus, Agnus Dei, Filius Patris, 8. O Lord God, Lamb of God, Son of the Father, 9. Qui tollis peccata mundi, 9. Thou that takest away the sins of the world, miserere nobis; have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. 10. Qui sedes ad dexteram Patris, 10. Thou that sittest at the right hand of God the Father, miserere nobis. have mercy upon us. 11. Quoniam tu solus Sanctus, tu solus Dominus, 11. For Thou only art holy; Thou only art the Lord; tu solus Altissimus, Jesu Christe, Thou only, O Christ, art most high 12. Cum Sancto Spiritu: in gloria Dei Patris. 12. with the Holy Ghost, in the glory of God the Father. Amen. Amen.

6 Programme Notes

The Ospedale della Pietà (Hospice of Mercy), an of twenty to twenty-five stringed instruments with a orphanage for girls which specialized in musical training, harpsichord or organ playing the basso continuo. The was one of four charitable orphanages in Venice that women at the Pietà also played wind instruments such as educated and cared for homeless or unwanted children. those featured in the concertos in tonight’s program, and First as violin teacher and later as musical director, Vivaldi seems to have habitually adjusted his concertos Vivaldi worked on and off at thePietà until 1740. to suit the players on hand. The festive Concerto in D Because of him, their music program became exceptional. major RV 563 survives as a concerto for two trumpets Each Sunday, the orchestra and choir offered public or two oboes; tonight’s version is one trumpet and one performances of Vivaldi’s music for the city’s elite. oboe. Both concertos are in three-movement concerto Eventually, these outstanding musical events became form, with contrasting fast–slow–fast movements that one of the city’s main attractions, often featuring the Vivaldi helped establish and which later became standard composer himself on violin. Charles de Brosses, a in the Classical era. The second movementlargo of the French traveller in Venice, reported in 1739 that, Concerto for Oboe and Violin in B flat major RV 548 for “there is nothing so charming as to see a young and example, provides a slower and quasi-mournful foil to the pretty nun in her white robe, with a bouquet of piece’s brighter first and third movements. It is estimated pomegranate flowers over her ear, leading the orchestra that Vivaldi wrote between three and five hundred and beating time with all the grace and precision concertos. Remarkably, he was also a prolific composer imaginable”. “Their voices”, he added, “are adorable for of vocal music. their quality and lightness”. Vivaldi’s sacred vocal works Laetatus Most of Vivaldi’s music was intended for performance Sum, Magnificat, and Gloria were in all likelihood at the Ospedale della Pietà, and as such was performed composed for the women at the Pietà, where, according entirely by women. His concertos especially showcased to de Brosses, people could hear women sing “like the abilities of his students. His orchestra consisted angels”. The shortest of these three pieces is the lively

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EMSI wishes to thank…

The EMSI Volunteer Guild Alix Goolden volunteers Caroline Mitic, graphic designer for EMSI David Strand, maintainer of the EMSI website

www.earlymusicsocietyoftheislands.ca

7 setting of Psalm 121, the Laetatus Sum in F major RV beautifully captures the jubilant mood of the Gloria—a 697, for choir, strings, and continuo. “Laetatus Sum” celebratory passage in the Catholic Mass praising God the is one of fifteen “Songs of Ascent” from the Book of Father and Christ. Psalms that narrate the pilgrims’ journey to Jerusalem, The Gloria, the only one of these three sacred works and its joyful music helps convey their enthusiasm and demonstrably composed for the Pietà, is written for unrelenting faith. In contrast, the “Magnificat” is a soprano, alto, tenor, and bass. Women who sang sacred bible canticle sung at the end of Vespers, in which Mary music were not allowed to share choir lofts with men so praises God as she prepares to become the mother of they had to sing the lower parts. Contraltos would have the Messiah. Composed sometime between 1717 and sung Vivaldi’s tenor parts, all of which lie comfortably 1719, and revised in the 1720s, Vivaldi’s Magnificat in within the low contralto range, and women with G minor RV 610 consists of nine musical numbers, each exceptionally low voices would have sung the bass parts. corresponding to one section of the “Magnificat” poem. A few surviving documents of the time refer to a handful Six are choral numbers (nos. 1, 3, 4, 5, and 7), and of female singers at the Pietà as “tenors” or “bass singers”. three are for soloists (nos. 2, 6, and 8). Each number is Tenor and bass parts were sung at notated pitch or, as in different in terms of its mood, key, tempo, or texture. An tonight’s performance, transposed up an octave. illustration, the lively “Et exultavit spiritus emus” in B Like all his other musical compositions, Vivaldi’s flat major (“My spirit rejoices,” no. 2) for three soloists, works for the famous all-female choir and orchestra strings, and chorus, is followed by a mournful and much of the Ospedale della Pietà disappeared following the slower choral “Et misericordia ejus” in C minor (“He composer’s death in 1741 and were believed lost until has mercy,” no. 3). Vivaldi maximizes contrast of these their accidental discovery in the 1920s. Modern ears musical elements, as well as mood, in his Gloria in D first heard the music of the Red Priest in the 1950s, major RV 589 for four-part choir, strings, oboe, trumpet, much later than other leading composers of the period and continuo. This sacred vocal work composed around such as Handel or Bach. Nonetheless, Antonio Vivaldi 1715 consists of twelve musical numbers, four of which conquered modern audiences and became one of the require soloists (nos. 3, 6, 8, and 10). Vivaldi’s powerful most performed and recorded composers in history. and joyful opening number “Gloria,” perhaps one of the most memorable sections in this well-known sacred work, Maria Virginia Acuña (edited)

8 The Artists

Monica Huggett on the East Coast. Her annual appearances at the Oregon Monica Huggett was born in in 1953. She took Bach Festival are some of the festival’s most popular. up the violin at age six and at sixteen entered the Royal Monica’s hundred plus recordings have won numerous Academy of Music as a student of . prizes and acclaim. In addition to her baroque violin Beginning as a freelance violinist in London at the age recordings, she recorded “Angie” with The Rolling Stones of seventeen, Monica has since earned her living solely in 1972. She received the Gramophone Award for as a violinist and artistic director. In 2008, she was her recording of Biber’s violin sonatas (2002) and her appointed inaugural artistic director of The Juilliard recording of J.S. Bach’s “Orchestra Suites for a Young School’s Historical Performance Program where she Prince” with Gonzalo X. Ruiz, and Ensemble Sonnerie continues as artistic advisor. Monica’s expertise in was nominated for a Grammy™ Award and won the the musical and social history of the Baroque Era is Diapason d’or in 2009. Monica lives in Portland where unparalleled among performing musicians today. This she enjoys cycling and gardening somewhat compulsively. huge body of knowledge coupled with her unforced and expressive musicality has made her an invaluable resource Jane Long to students of baroque violin and 19th century period Hailed as a “clear, agile soprano” (The Georgia Straight), performance practice. Vancouver native Jane Long performs as a chamber Monica founded her own London-based Ensemble singer, concert soloist, and recitalist. In recent years, Sonnerie and co-founded the Amsterdam Baroque she has had the honour of studying with renowned Orchestra and the Montana Baroque Festival. She has musicians including Emma Kirkby, Andreas Scholl, worked with at the Academy Richard Egarr, and Andrew Lawrence-King. Some of of Ancient Music and with the English her recent highlights include solo concert performances Concert, toured the United States in concert with James with pianist Jane Coop, Handel’s Nine German Galway, and serves as artistic director of Portland Baroque Arias, concert performances of Bach’s cantata 82 Ich Orchestra where she made her first appearance in 1992 habe Genug, Handel’s Messiah, the Britten-Pears Baroque playing Vivaldi’s Four Seasons. From 2006 to 2017, she Vocal Programme, Bach’s St John Passion, and singing was also artistic director for Irish Baroque Orchestra the title role in Opera After Hours’ production of Dido where she recorded “Flights of Fantasy,” named by Alex and Aeneas. Jane also joined the Vancouver Chamber Ross in the New Yorker as Classical Recording of the Choir on tours of Eastern Canada and the United Year for 2010. States, performing as soloist in their production of Monica is a frequent guest director and soloist around Bach Magnificat and Vivaldi Gloria with Symphony the world. Her past and future collaborations include Nova Scotia. Jane received her M.Mus (Vocal the Irish Baroque Orchestra, Esterhazy Hofkapelle, the Performance) from the Guildhall School of Music Victoria Symphony, Early Music Vancouver, as well as & Drama in London, England. She now works as a a revival of Breathtaking: A Voice and Cornetto Entwined freelance artist and lives in Vancouver with her husband with Bruce Dickey and Hana Blažíková in spring 2018 and two young children.

9 Arwen Myers Danielle Sampson Praised for her artistry and warm, clear tone, soprano Danielle Sampson most recently appeared as La Musica Arwen Myers is quickly gaining a reputation as a and Ninfa in the Pacific MusicWorks production of captivating and sensitive interpreter of new & Early Monteverdi’s Orfeo. Highlights of her last season include music. A versatile artist equally comfortable in oratorio, “The Combat” with Seattle Opera, Bach’sMagnificat and chamber music, and on the stage, Arwen has been a Wachet Auf with Early Music Vancouver, and her debut soloist with Portland Baroque Orchestra, Astoria Music with SF Soundbox performing in Ashley Fure’s Shiver Festival, Montana Baroque Music Festival, Indianapolis Lung. She has performed with the Boston Early Music Symphony Orchestra, Westobou Festival, and Festival in Monteverdi’s Il Ritorno d’Ulisse in Patria Indianapolis Baroque Orchestra. She was featured on the (Melanto) and L’incoronazione di Poppea (La Virtù, world premiere performance & recording of Robert Kyr’s Pallade), and with Early Music Vancouver in Purcell’s Paradiso with Sacred Music at Notre Dame in 2016 – the Dido and Aeneas (the Sorceress) and Pergolesi’s Stabat role of Beatrice written for her by the composer. Mater. She sang Ruggiero in Handel’s Alcina and the title Current season highlights include solo appearances in role in Handel’s Ariodante with Black Box Baroque, Bach’s B Minor Mass with Portland Baroque Orchestra, and appeared with Liaison, Nash Baroque Ensemble, John Muehleisen’s Pietà with the Portland Symphonic and Jarring Sounds for the 2016 Berkeley Early Choir, Respighi’s Laud to the Nativity with Trinity Music, Music Festival. and song recitals with Northwest Art Song – an ensemble Danielle has appeared with Amaranth String Quartet, founded by Arwen and mezzo-soprano Laura Beckel Alabama Symphony Orchestra, Baroque Chamber Thoreson in 2015. A native of Augusta GA, Arwen Orchestra of Colorado, American Bach Soloists, and holds degrees from the Indiana University Jacobs School California Bach Society, among others. She is a founding of Music. She is currently Music Associate at Trinity member of the guitar/voice duo Jarring Sounds (with Episcopal Cathedral in Portland OR, and an active Adam Cockerham), and performs with Cappella SF, the freelance artist in the Northwest and across new bay area octet Gaude, and Seattle’s Byrd Ensemble. the United States. She earned her B.M at the University of Denver’s Lamont School of Music, and her MM at the San Laura Pudwell Francisco Conservatory of Music. Danielle currently Laura's reputation as a superb vocalist is well-established resides in Seattle. by her performances worldwide. Her vast repertoire ranges from Early music to contemporary works. Vicki St. Pierre Laura is at home on the operatic, oratorio, and recital On the operatic stage, Vicki has appeared in stage, and has received international acclaim for her Monteverdi’s Orfeo, Charpentier’s Actéon, and recordings. She has performed across Canada with Monteverdi’s Il ritorno d’Ulisse in Patria with Opera such opera companies as Opera Atelier, the Calgary Atelier, Dido and Aeneas with Ensemble Masques de Opera, Vancouver Early Music, and Festival Vancouver, Montreal and Toronto Masque Theatre, Rossini’s Il as well as the Houston Grand Opera and the Cleveland Barbiere di Siviglia with Toronto Philharmonia, Opera. Laura participates in many festivals, appears and L’Incoronazione di Poppea with Opera Atelier, regularly with the Toronto Consort, and is a frequent Cleveland Opera, and Early Music Vancouver. guest soloist with Tafelmusik, the Kitchener-Waterloo More recent engagements include the role Nutrice Symphony, the Calgary Philharmonic Orchestra, in Monteverdi’s L’Incoronazione di Poppea with the the Toronto Chamber Choir, Symphony in London, UK, the role Nova Scotia, and the St. Lawrence Choir, of the Sorceress in Purcell’s Dido and Aeneas with Les to name a few. Violons du Roy at Carnegie Hall, Messiah with

10 Orchestra London, Pergolesi’s Stabat Mater with 13 Tafelmusik, Pacific MusicWorks, Bach Collegium San Strings, and Splendors of the Emperor’s Chapel with The Diego, Oregon Bach Festival, Staunton Music Festival, Toronto Consort. Apollo’s Fire, Indianapolis Baroque Orchestra, Bourbon Vicki was Director of Music at the Cathedral Church Baroque, and Lyra Baroque, making music with directors of St. James in Toronto, the music director for the New such as Andrew Parrott, Monica Huggett, Alexander Hamburg Live! Festival of the Arts, a lecturer at the Weimann, Barthold Kuijken, Matthew Halls, Jacques Royal Conservatory of Music, an assistant conductor Ogg, and Masaaki Suzuki. Her playing is heard on with Opera Atelier, and faculty at COSI, a summer opera Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and training program in Sulmona, Italy. She taught voice at Dorian labels, including the 2013 GRAMMY nominated Wilfrid Laurier University, adjudicates music festivals and recording of Handel’s Israel in Egypt with Trinity Baroque competitions, and conducts an auditioned community Orchestra in NYC. With a B.Mus and M.Mus in choir. Recently, she completed her doctoral studies in trumpet performance from the University of Michigan, performance at the University of Toronto under the Kris also holds a D.M.A. in historical performance, and tutelage of Dr. Darryl Edwards. enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Debi Wong Jacobs School of Music Historical Performance Institute. Debi Wong is a Canadian mezzo-soprano, actor, and There she teaches cornetto and baroque trumpet in stage director. She has been praised for possessing a “rich- addition to teaching at her home in Seattle and online. toned” voice (The Vancouver Sun, CAN) and creating performances that are “mind-blowing” (Schmopera, Debra Nagy CAN) and “unique and magical” (Rondo Classic, Praised for her “dazzling technique and soulful FI). She is also the founder and artistic director of the expressiveness” (Rocky Mountain News), and a musical Vancouver-based opera company, re:Naissance. approach that’s “distinctly sensual…pliant, warm, and Debi performs regularly with White Sparrow, her sweet” (New York Times), Debra Nagy is one of North award-winning lute and voice duo co-founded in 2011 America’s leading performers on the baroque oboe. She with Solmund Nystabakk . The duo has given recitals plays principal oboe with the American Bach Soloists and across Europe and North America, most notably on Apollo’s Fire, and is a regular guest with the Handel & the Stockholm Early Music Festival series, at the BRQ Haydn Society and Boston Early Music Festival, among Vantaa Festival, the Copenhagen Renaissance Festival, other ensembles. A dedicated chamber musician, Debra the Laus Polyphinae Festival in Antwerp, and on the is the founder of Les Délices, whose debut recording was Fabulous Fringe series at the Utrecht Early Music named “One of the Top Ten Early Music Discoveries Festival. This season, their debut recording Mister of 2009”. And she performs late-medieval music as Dowland’s Midnight was released on SibA/Naxos records. a regular guest with Boston’s acclaimed Blue Heron Debi is a graduate of Yale University (M.Mus) and and the Newberry Consort. Debra has received many The Yale Institute of Sacred Music (Dipl. in Sacred awards for her creative and scholarly pursuits including Music), where she studied vocal performance and first prize in the American Bach Soloists Young Artists was the recipient of the 2010 Margot Fassler award Competition and a 2010 Creative Workforce Fellowship for outstanding performances in sacred music. She is from Cuyahoga Arts & Culture. She has recorded over currently a doctoral candidate at the Sibelius Academy 30 CDs with repertoire ranging from the 14th to 17th in Finland. centuries and has had live performances featured on CBC Radio, Klara (Belgium), NPR’s Performance Today, Kris Kwapis WQXR (New York City), and WGBH (Boston). She is Kris Kwapis appears regularly as soloist and principal also an unabashed foodie who loves commuting by trumpet with period-instrument ensembles across bike from her home in Cleveland’s historic Ohio North America, including Portland Baroque Orchestra, City neighborhood.

11 Supporting the Society

Make a Donation help the Fund grow. These operating grants will both assist The Early Music Society of the Islands relies on in presenting artists who would otherwise be unaffordable individual donations, memberships, and grants to and ensure the long-term sustainability of the Society. sustain its operations each year. Your donation will help Tax receipts will be provided. to present concerts featuring internationally-renowned artists and to promote interest and appreciation of Early You can contribute directly to this Fund in three ways: Music in the community. MAIL By sending a cheque to: Ways to Donate Early Music Endowment Fund, Victoria Foundation, ONLINE To make a secure online donation Suite #109–645, Fort Street Victoria, BC V8W 1G2 by Visa, MasterCard or AmEx, visit: www.earlymusicsocietyoftheislands.ca ONLINE Donate online by Visa, MasterCard, Amex at the Victoria Foundation’s Web site: MAIL Please send cheque payable to EMSI to: http://www.victoriafoundation.bc.ca/web/give/ways Click EMSI Donations c/o McPherson Box Office, on “give now” to go to CanadaHelps, select “Donate #3 Centennial Square, Victoria BC V8W 1P5 Now” and choose “Early Music Endowment Fund” from the drop-down list. THROUGH UNITED WAY OR EMPLOYEE CAMPAIGNS If your employer participates in BEQUESTS OR GIFTS OF SECURITIES the United Way or other employee campaigns, Bequests or gifts of life insurance or securities may you can support the Early Music Society of the Islands be arranged through the Victoria Foundation. by writing in the gift on your pledge For more information, visit www.victoriafoundation.bc.ca card. Our charitable registration number is or phone the Foundation at (250) 381–5532. 11889-0367-RR0001. Sponsorships To discuss donation options, please contact BUSINESS SPONSORS The Society welcomes business Rondallyn Perras, Fundraising Director sponsorships and will provide appropriate public [email protected] acknowledgement of such support. Tax receipts are issued for all donations of $10 and over. CONCERT SPONSORS James Young, Artistic Director [email protected] would be Donate for the Future pleased to offer guidance and information relating to gifts The Early Music Endowment Fund is owned and to support a specific concert. managed on our behalf by the Victoria Foundation. Each year, part of the investment income is given as Please contact us at: a grant to EMSI and the balance is re-invested to [email protected]

Thank you for your generosity in supporting Early MusicS on southern Vancouver Island www.earlymusicsocietyoftheislands.ca PHONE 250-882-5058

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