John Finney, Music Director and Conductor Darryl Hollister, Associate Conductor and Accompanist with Christian Figueroa, tenor Darryl Hollister, piano

Jessica Lizak, flute Richard Shaughnessy, clarinet Sandi-Jo Malmon, violoncello Eric Galm, percussion

The audience is respectfully asked to turn off electronic devices and refrain from taking flash photography during the performance. If accompanying children under seven years of age, please be seated with them in the back half of the performance hall. Thank you.

Sunday, November 18, 2018 St. Mark’s School, Southborough, MA 4:00 p.m.

Concert Program All music by MASS (selections) arr. Doreen Rao Christian Figueroa, tenor

DEVOTIONS BEFORE MASS Hymn and Psalm: “A Simple Song” Responsory: Alleluia SECOND INTROIT Prayer for the Congregation (Chorale: “Almighty Father”) CONFESSION Trope: “I Don’t Know” GLORIA Gloria tibi Gloria in Excelsis Trope: “Half of the People” CREDO Trope: “I Believe in God” THE LORD’S PRAYER Our Father Trope: “I Go On” SANCTUS AGNUS DEI PAX: COMMUNION (“Secret Songs”)

I N T E R M I S S I O N Sonata for Clarinet and Piano Richard Shaughnessy, clarinet Darryl Hollister, piano

Take Care of This House / My House (A Choral Suite) arr. Rob Fisher

West Side Story (Choral Suite) arr. Mac Huff Something’s Coming – Tonight Maria – One Hand, One Heart I Feel Pretty – Cool – America Somewhere Make Our Garden Grow (from ) arr. Robert Page 4

John Finney Heritage Chorale Music Director and Conductor John Finney is widely praised as a musician of great vitality and versatility. He has conducted the Heritage Chorale since 1987 in performances of choral repertoire from more than six centuries, ranging from the Renaissance era to the present day. Works performed by the Heritage Chorale under John Finney’s direction include Mendelssohn’s Elijah, Handel’s Israel in Egypt, Orff’s Carmina Burana, and the Requiems of Mozart, Brahms, Fauré, and Duruflé. He has conducted members of the Heritage Chorale during three international concert tours, to Europe in July 2010 (with concerts in Prague and Vienna), to Canada in July 2012 (with concerts in Montréal and Québec City), and to Ireland in July 2015 (with concerts in Galway, Derry, and Dublin). John Finney has served for more than 30 years as Director of Music at the Wellesley Hills Congregational Church in Wellesley Hills. He holds the title of Distinguished Artist-in-Residence at Boston College, where he is Conductor of the University Chorale of Boston College and the Boston College Symphony Orchestra. He tours regularly with the University Chorale, and has conducted that ensemble in concerts in major cities throughout the world, including Rome, Prague, Vienna, Dublin, and Barcelona. Since 2013, he has performed as harpsichordist/organist and conductor at the acclaimed Bach Festival in Blue Hill, Maine. He was Associate Conductor and Chorusmaster of the world-renowned Handel & Haydn Society in Boston from 1990 until 2014. He has been a member of the organ faculty of The Boston Conservatory, and taught for six years at the Academy for Early Music in Bressanone, Italy. He holds degrees in organ performance from the Oberlin College Conservatory of Music and The Boston Conservatory.

DARRYL HOLLISTER Associate Conductor and Accompanist Darryl Hollister was born in Detroit, Michigan. He received his B.Mus. from Michigan State University, where he studied with Ralph Votapek and Deborah Moriarty, and his M.Mus. from New England Conservatory of Music where he studied with Patricia Zander. He is an active accompanist and performer in the Boston area. He serves as assistant conductor to the Dedham Choral Society, Coro , The Heritage Chorale, and Commonwealth School Chorus and Chorale. Since he started championing the works of African and African-American composers, Mr. Hollister has performed premieres of works by various leading composers. At the Festival of African and African-American Music in St. Louis in 2000 he premiered The Spring of Esentreby Gyimah Labi, Concertino Africana for Piano and Orchestra by Paul Konye, and participated in the North American premiere of Baptism of Fire – Symphony Concertante for 5

Three Pianos and Orchestra by Gyimah Labi. In December 2002 he performed a recital of African Piano Music at Harvard University in Cambridge, Massachusetts. In April 2003 he gave the world premiere of Three Ivory Magnolia Fantasiesby Gary Nash in a recital at Mississippi Valley State University. In August 2003 at The International Symposium and Festival on Composition in Africa and the Diaspora at Churchill College, Cambridge, England, he performed premieres of works by Paul Konye, Wallace Cheatham, Akin Euba, Gary Nash, Robert Kwami and Joshua Uziogwe. In May 2007 he was featured as piano soloist in the Heritage Chorale’s performance of Beethoven’s Choral Fantasia.

CHRISTIAN FIGUEROA Tenor Puerto Rican singer and actor Christian Figueroa has delighted audiences with his unique combination of vocal and dramatic skills in performances ranging from the stage, television, movies, to the recital hall. Christian graduated from Syracuse University and received his Masters in Music from the New England Conservatory of Music. He has been profiled on CNN’s Career Connections and on the People En Español Website. Christian was recently named by “El Planeta” Newspaper of Boston as one of the “100 Most Influential People for the Hispanic Community of Massachusetts”. He has been a guest vocalist at Carnegie Hall on several occasions and has performed as a soloist in The Orchestra Sings, The Orchestra Moves, The Orchestra Rocks, & The Orchestra Swings concerts. For the Peace Corps 50th Anniversary Celebrations Christian was asked to sing the National Anthem at Fenway Park. He has performed and recorded the role of Antigonus in the opera Winter’s Tale with the Boston Modern Orchestra Project. It can be heard on the BMOP Sound Record Label. Christian also stays active in the commercial and film world and can be seen in the German movies Ways Of Love as Dante Farinelli, and Why Did I Say Yes? as Andrew the Hotel Manager. He can be seen next in the new show Castle Rock on HULU. He can also be seen as “Chris” the singing store clerk for the Connecticut State Lottery, and in spots for KFC, United Airlines, Bank of America, TJ Maxx, LEGO, Pearl Vision, Orbit Gum, Vista Print, and Anton’s Cleaners among others. Some of Christians opera and theater credits include Camille Di Rosillon in The Merry Widow, Tamino in Die Zauberflote, El Toreador in Ainadamar, Ezekiel Cheever in The Crucible, El Remendado in Carmen, Toby Higgins in The Rise and Fall of the City of Mahagonny, Il Conte Ivrea in Un Giorno Di Regno, Alphonse in La Vie Parisienne, Vitellozo in Lucrezia Borgia, Patacha in L’etoile, El Señor Alcade in The Summer King, Che in Evita, Giuseppe Nacarelli in The Light in the Piazza, Manny Munoz in City of Angels, Ike Skidmore in Oklahoma, and Lt. Peter Wright in The Secret Garden. Upcoming engagements include solo work with the Stamford Symphony, Maryland Symphony, and Boston Musical Theater. 6

Program Notes

Leonard Bernstein …if enough hearts would open themselves to the beauty of great music, there would be no room left in any of those hearts for evil, greed or hate…1 Bernstein could have been thinking of himself when he said: “Every author spends his entire life writing the same book”. He was an unrelenting and persuasive commentator on the world in which he lived, tirelessly using his many talents to understand the complexities of his life and times. He deployed music and language to do battle with anger, doubt, faith, and human frailty. Consequently, there are themes, melodies, harmonies, and rhythms that recur in his work, exploding complacence and sowing beauty. Leonard Bernstein’s persona and accomplishments made him an icon of 20th century American music. He is said to have regretted not having composed more, but the concert hall and musical theater pieces he did create gained him considerable acclaim. His successes as a pianist, conductor, educator, and social activist further enhanced his celebrity. Bernstein was born in Lawrence, Massachusetts, in 1918. At 13 he began taking piano lessons at the New England Conservatory of Music, and appeared for the first time as a concert pianist at 16. Three years later he met Aaron Copland (on Copland’s 37th birthday). Their friendship lasted for almost half a century and had a significant impact on Bernstein’s music and career. At 21, he graduated from Harvard University with a Bachelor’s degree in Music, and a year later he made his first appearance as a symphonic conductor at the Tanglewood Music Festival. At 23, he received his diploma in conducting from the Curtis Institute of Music, and in the same year conducted a professional orchestra for the first time – the Boston Pops. Bernstein’s relationship with the New York Philharmonic began in 1943, when he substituted for its conductor, Bruno Walter. He was appointed Director for its 1958-59 concert season, becoming the first American-born and trained music director of a major world orchestra. During that season, he conducted the first of his 53 CBS-televised performances of the Philharmonic’s Young People’s Concerts. After more than 1,000 performances, Bernstein’s tenure with the Philharmonic ended in 1969. He conducted the Orchestra for the last time in 1989, the year before he died at the age of 72. He had become an international superstar – a recipient of 22 honorary degrees, 13 decorations by foreign governments, 23 Grammy Awards, 17 Platinum/Gold and international record awards, 10 Emmy Awards, and many dozens of other television, arts, and civic awards. Though such recognition must have been personally gratifying, Bernstein would likely have been most pleased by the impact of his music on the lives of generations of young people, musicians, and music lovers. His stage, ballet, film, orchestra, and chorus works abound with dynamic, cutting-edge themes and sound, providing a lasting testament to his compassionate genius. 7

Mass Bernstein wrote Mass at the request of Jacqueline Kennedy Onassis for the September 1971 inauguration of the John F. Kennedy Center for the Performing Arts in Washington, D.C. To help with the lyrics, he recruited lyricist and composer, Stephen Schwartz (Godspell and Pippin). Toegether, they envisioned a fully staged, dramatic pageant. The full original version featured 32 movements, on-stage and pit orchestra musicians, three choirs, and 20-30 soloists presenting an unforgettable musical theater experience about tradition, belief, doubt, sacrilege, and blessing. MASS has also been performed over the years in a concert setting. In this Centennial Celebration program, the Heritage Chorale presents Doreen Rao’s 40- minute adaptation for soloists and chorus. Though Jewish by birth, Bernstein chose the Roman Catholic Mass for the context of his Mass. He transformed a 400-year rite “into a tense, dramatic dialog with music and lyrics of the 20th century vernacular”2 that echo the turbulent times and restless youth culture of the 1960s and the crisis of faith spawned by the assassinations of John Kennedy, Robert Kennedy, and Martin Luther King Jr. Bernstein creates a cacophony of complaints that grow into a rage, eventually arrested by a flute solo and then a single clear note, a prelude to a finale in which the singers praise God and request God’s blessing.

Sonata for Clarinet and Piano Bernstein composed this sonata in his early twenties. It became his first published composition and premiered in 1942 at the Institute of Modern Art in Boston with David Glazer on clarinet and Bernstein on piano. About ten minutes long, the work has two movements – the first lyrical and the second more lively, ending with a flourish. The music is reminiscent of Bernstein’s early experiences at Tanglewood in 1941-42, his contacts with Hindemith and Copland, and jazz elements possibly inspired by time spent in Key West. It resonates with the iconic melodies and rhythms that have come to typify Bernstein’s work.

“Take Care of This House”/”My House” These two selections are from lesser known Bernstein musical theater projects. “My House” is from the little known 1950 adaptation of J.M. Barrie’s Peter Pan for which Bernstein wrote songs and incidental music. He had little direct involvement with the original Broadway production that starred Boris Karloff and Jean Arthur, but he did write the music and lyrics for seven of its songs. “Take Care of This House” is a gem from the 1976 Broadway musical 1600 Pennsylvania Avenue. After only seven performances and 13 previews, the production closed, though the score by Alan Jay Lerner and Bernstein was reviewed favorably. 8

West Side Story (stage and film) The stage production was a creative collaboration – Bernstein (music), Jerome Robbins (conception and choreography), Arthur Laurents (book), and Stephen Sondheim (lyrics). It opened at the National Theater, Washington D.C. on August 12, 1957, and on Broadway on September 26, 1957 at the Winter Garden Theatre. Its awards include: 1958 – 1 Theatre World Award and 2 Tony Awards 1980 – 1 Drama Desk Award 2009 – 1 Broadway Revival Award, 1 Grammy Award, 1 Theatre World Award The film was a spectacular success, earning a range of awards: 1961 – 10 Academy Awards in its 11 nominated categories, including Best Picture 1962 – 1 Grammy Award for Best Soundtrack Album and #1 on the Billboard chart for 54 weeks The 20-minute Choral Suite of West Side Story presented by the Heritage Chorale includes “Something’s Coming”, “Tonight”, “Maria”, “One Hand, One Heart”, “I Feel Pretty”, “Cool”, “America”, and “Somewhere.” This impressive list of unforgettable songs is only part of the reason that West Side Story is such a national treasure. Audiences bond with its music and story, cheering for love to overcome the ugliness of class and racial prejudice.

“Make Our Garden Grow” In 1953, Lillian Hellman proposed to Bernstein that he create a musical theater piece based on Voltaire’s 1758 novella, “Candide”. His Candide was first performed in 1956, but over the years, the piece was significantly changed by a variety of playwrights and lyricists with only occasional involvement by Bernstein. Make Our Garden Grow survives these mutations, gifting us with Bernstein’s optimistic response to the doubts and questions that both troubled and fascinated him throughout his life, infusing those who perform it and those who hear it with a sense of quiet glory and timeless beauty. We’re neither pure, nor wise, nor good We’ll do the best we know. We’ll build our house and chop our wood And make our garden grow... And make our garden grow.

1 Essay by Jamie Bernstein; https://leonardbernstein.com/about/humanitarian 2 Leonard Bernstein at 100 9

Heritage Chorale — Fall 2017

Sopranos Claudia Abramson, Acton Lois Novotny, Wayland Judy Cadorette, Framingham Erin Perry, Framingham Marie Cosma, Framingham Janet Petren, Holliston ֍ Cindy Courtney, Hopkinton Elaine Recklet, Hudson ֍ Kathy Duckett, Townsend Toni Smit, Franklin Marianne Faling, Natick Monica Spencer, Hopkinton Lois Finstein, Framingham § Ann Swanson, Wellesley Hills Ann Harris, Hopedale Jeannette Taylor, Concord Janice Johnson, Northborough ֍ Barbara Timko, Hopkinton Olga Kouchpil, Framingham Heidi Trefonas, Medway Jill McGee, Melrose Dianna Vosburg, Holliston Liz Megerle, Bedford Nancy Westbom, Wayland Karleen Mohn, Mendon Meagan Whelihan, Framingham Wendy Moran, Holliston Altos Christine Beach, Wellesley Anne Lysaght, Wellesley Liz Borths, Sherborn Deborah Marion, Natick Janet Buerklin, Framingham ֍ Eve L. Mertens, Southborough Debbie Chase, Framingham Joyce Miller, Bolton Patricia Collins, Wayland Rose Neuman, Framingham Janee Connor, Holliston Marilyn Paterno, South Hadley ֍ Linda Foley, Acton Martha Remington, Bolton Rita H. Ghilani, Ashland Wendy Robbins, Natick Judy Hall, Sudbury Pam Roberts, Framingham Jess Haugsjaa, Framingham Nancy Schaad, Medfield Laura Helliwell, Framingham Andrea Seiver, New Braintree Roberta Jackson, Ashland Deborah Silen, Auburndale Sarallyn Keller, Natick Anne Ten Eyck, Framingham § Judy Kramer, Acton Mary Weinstein, Hopkinton Cathy Leonard, Holliston Debbie Wolozin, Sudbury Tenors Barbara Bertram, Natick Joe McIlwain, Framingham Barbara Bolten, Natick Craig Parker, Woburn Martin Everett, Ashland Robert Seraphin, Franklin Jonathan Guest, Natick § Chris Vagnini, Medfield Michael McGee, Woburn Basses Laury Ashin, Natick Les Kramer, Acton Allan Beth, Newton Eric Kuo, Framingham Neil Cudmore, Woburn Burt Payne, Wayland Zenon Cybriwsky, Marlborough Dennis Pioppi, Wellesley Stéfane Cahill Farella, Framingham Keith Sims, Wayland Wayne Hall, Sudbury § Mike Zarin, Natick Ted Hatch, Wayland

֍ Past Presidents § Section Leaders 10

Chorale History — A Proud Tradition 82 Years Young The Heritage Chorale celebrates its 82nd season in 2018-2019. Though much has changed over the past eight decades, our resolve to enrich ourselves and our community with song remains strong. Originally named the Framingham Choral Society, the Chorale was founded in the fall of 1937 by a small group of Framingham residents on a budget of $62! Except for a brief time during World War II, the Chorale has rehearsed and performed in Framingham and nearby communities ever since. The number of singers has fluctuated from a group of 40 to our present membership of about 85 from more than two dozen Metrowest communities. Since 1987, we’ve been led by Music Director John Finney, aided by Associate Conductor and Accompanist Darryl Hollister. Mr. Finney, part of a long and proud tradition of outstanding directors—Dr. Edward Gilday (the Chorale’s founder), Allen Lannom, John Oliver, and Chris Carlson—has encouraged high standards of musical excellence and led us to a series of invigorating successes. During its 82-year history, the Chorale has performed a wide range of both classical and contemporary choral works. In its earliest seasons, its annual productions of Messiah were performed to sold-out audiences. Most recently, the Chorale has performed works of Bach, Handel, Haydn, and Fauré, as well as contemporary composers Daniel Pinkham, Morten Lauridsen, Randall Thompson, and Eric Whitacre. In February, 1988, the Chorale added a Pops-style concert to its season. This lighter musical fare, often designed around themes, presents popular pieces from opera, movies, and musical theater. A broad range of collaborations has enriched Chorale programming. In 2015, the Chorale collaborated with Monroe Crossing, one of the finest Bluegrass bands in America, to present The World Beloved: A Bluegrass Mass by Carol Barnett. Later in the same year, the Chorale presented Rutter’s Mass of the Children in collaboration with VOICES Boston, the superb children’s chorus that frequently performs with the Boston Symphony Orchestra. Our Shakespeare and Friends program in 2016 was a collaboration with the Handel and Haydn Society’s Young Women’s Chorus (YWC), directed by Alyson Greer. The Chorale also has collaborated with symphonic groups including the New Philharmonia Orchestra for Mahler’s Symphony No. 2 and Brahms’ A German Requiem, the Wellesley Symphony Orchestra for Beethoven’s 9th Symphony, and the Boston College Symphony Orchestra for Mendelssohn’s Lobgesang.

Visit www.heritagechorale.org —optimized for viewing from any device [phone, tablet, computer]—for additional information about concerts, membership, organization, and activities. Register to receive emailed newsletters and share comments by completing the Write Us form on the Contact page. 11

Securing the Chorale’s Future

The Heritage Chorale has been providing the Metrowest community with high quality performances of outstanding musical works since its formation in 1937. Each year, the generosity of valued Friends, Supporters, Advertisers, Sponsors, and grant-providing organizations helps the Chorale build on its proud history. The costs to present wonderful music with appropriate musical accompaniment continue to increase, however, and the long-term financial health of the organization requires our attention. To help meet ever-increasing challenges, financial support may be offered through gifts and bequests of money made to the Targeted Funds, and through gifts and bequests of money or securities made to the Heritage Chorale Fund. Three Heritage Chorale Targeted Funds are available for contributors of cash gifts of $250 or more. Donations may be made to: • The Concert Fund to cover the presentation of music that would ordinarily exceed annual operating budget capabilities • The Capital Fund to enable one-time purchases of material goods for the Chorale • The Outreach Fund to assist in bringing music to those who might otherwise be unable to attend Chorale concerts and to provide scholarship money for dues The Heritage Chorale Fund – a permanent, unrestricted endowment fund managed by the Foundation for Metrowest – accepts significant gifts of cash or other property received through current giving or by bequest. Income from this Fund supports the Chorale’s operations, while the principal is invested to produce both growth and income and remains untouched. Learn more about donation options and the Chorale’s Gift Acceptance Policy by emailing [email protected] or by calling 508-270-3999 and asking that the chairperson of the Development Committee contact you. Your continuing support is greatly appreciated by the members of the Chorale and has substantial impact on fellow music-lovers in the Metrowest community. 12

Heritage Chorale Friends and Supporters 2018-2019 The Heritage Chorale is grateful to the following individuals and businesses for their generosity. Their support is critical to the Chorale’s performance of major choral works at an affordable price.

Heritage Marianne Faling Jeannette H. Taylor Circle John Finney Anne & Chris Ten Eyck Jonathan Guest Nancy & Tom Westbom Les & Judy Kramer orchestra Frances Ames Margaret F. Mullin Circle Janet Buerklin Marilyn Paterno Barbara & Craig Burley Janet & Stephen Petren Joyce Miller & Robert Busch Elaine & Peter Recklet Neil Cudmore & Craig Parker Robert & Kathleen Seraphin Martin & Jackie Everett John and Mary Stasik Laura & Peter Helliwell Heidi & Peter Trefonas Liz Megerle

Benefactors Barbara Bertram Sarallyn Keller Barbara Bolten & Allan Green Rose Neuman Judith & Edmund Cadorette Lois & Schlomo Novotny Marie & Richard Cosma Donna Paruti Robert Downs Erin Perry Kathy & Lee Duckett Nancy Schaad Lois & Arthur Finstein Deborah A. Silen, M.D. Rita Ghilani Ann & Bill Swanson Ann Harris Carol & Jeffrey Traenkle Circle of Claudia & Bob Abramson Linda J. Livingstone friends Janee Connor Nannette MacPhail Cindy Courtney Burt & Felicia Payne Robert Diefenbacher Dennis Pioppi Donna Drvaric Matthew & Laurie Smith Linda & Peter Foley Mary Weinstein Ted & Mary Hatch Julia Westbom Patrons Christine & Stephen Beach Deborah Marion Elizabeth Borths Eve Mertons Anne P. Cook Wendy Moran Don & Dorothy Goddard Harry & Barbara Morgan Jay A. Goldstein MD Martha Remington Wayne & Judy Hall Andrea Seiver Roberta Jackson Dr. & Mrs. William Silen Caroline Kiessling Keith & Pat Sims Cathy Leonard Toni Smit Anne Lysaght Diana & John Vosburg Susan MacDonald Michael Zarin 13

MAtching Eli Lilly and Company Gifts SunLife Thermo Fisher Scientific

The Chorale is honored to recognize donations that have been made in memory of the following individuals: Michelle L. Cadorette Hank Lysaght Barbara Downs Anne M. Pollock Mr. & Mrs. L. J. Faling Jeanette & Meyer Saval Selma & Joseph Finstein Bill & Gabrielle Seiver Ann Friedman The Rev. & Mrs. Herbert Tobaben Tom & Dorris Hood Louis M. Trefonas Irene LaScala thank you Successfully producing high-quality concerts each year depends not only on the financial support of sponsors and grantors, but also on non-monetary generosity. The Chorale sincerely appreciates Mary Ann Morse Healthcare Corporation for its continuing support. “The Fifth Section” Each season the call goes out for volunteers to help with concert activities that require attention while Chorale members are rehearsing or performing. Thankfully, though the list of needs seems to expand each year, the number of helpers who donate their time, talents, and resources also increases. The Chorale extends heart-felt appreciation to its “Fifth Section” volunteers who do so much to enhance the enjoyment and comfort of concert audiences.

“I lov e to hea r a choi r. I lov e th e h uma nity, to see the faces of real people devoting themse lves to a piece of music. I like the teamwork. It makes m e fee l opti mistic about th e h uma n race wh e n I s ee th e m coop erating like that.” — Paul McCartney The Chorale’s commitment to creating beautiful music is constant, but its singers do change. We are thrilled that so many return year after year, but from time to time some our 15+ year members do become alums. This season, we extend our most sincere appreciation and best wishes to two members of our Chorale family – Irene Morth has left the soprano section after 26 years and Don Goddard has left the tenor section after 35 years. We hope their future is filled with harmony and happiness. 14

governance

Board of Directors — officers President Treasurer Clerk Kathy Duckett Nancy Westbom Heidi Trefonas Directors Claudia Abramson Ann Harris Judy Kramer Barbara Bolten Laura Helliwell Bob Seraphin John Finney (ex-officio) Jonathan Guest Anne Ten Eyck

Music Director and Conductor: John Finney Associate Conductor and Accompanist: Darryl Hollister Activity Area Leads (in activity alphabetical order) Membership: (continued) Member Communications Development: Laura Helliwell Toni Smit Craft Fair New Member Reception Janet Buerklin Marianne Faling Friends & Supporters Section Leaders Sarallyn Keller Lois Finstein – soprano Grants Anne Ten Eyck – alto Ann Harris Jonathan Guest – tenor Silent Auction Wayne Hall – bass Laura Helliwell Production: Anne Ten Eyck Finance: Nancy Westbom CD Orders & Distribution Governance: Jonathan Guest Janet Petren Marketing: Claudia Abramson Chorus Manager Creative Services Anne Ten Eyck Claudia Abramson Front of House Online Calendars Bill Swanson Barbara Bolten Reception Coordinator Social Media (Facebook) Liz Borths Bob Seraphin Risers Social Media (Instagram) Michael McGee Dianna Vosburg Scott Hall Rehearsal Setup Tickets Heidi Trefonas Claudia Abramson Stage Setup Website & Newsletter Chris Vagnini Claudia Abramson Venue Contact Membership: Elaine Recklet Marilyn Paterno Member Breaks Programming: Judy Kramer Ann Swanson Librarian Judy Kramer 15

Index of Advertisers Page Advertiser 35 Advanced Gems & Jewelry 33 Anderson Driving School 30 Attorney Donna M. Paruti 34 Attorney Denise Yurkofsky 31 Automatic Appliance 35 Autumn Hills Orchard 32 Centre Music House 34 Charles River Insurance Brokerage 31 Christine’s Day Spa & Electrolysis, Inc. 19 Coldwell Banker Residential Brokerage 25 Commonwealth Chorale 34 Deborah Wolozin, PhD 22 Fairway Mortgage 27 Fitness Together 24 Framingham Family Dental Care 35 Janee’s Originals 34 Jewell Insurance Agency 23 Judy Cadorette and Janet Petren 31 Dr. Mark Fried, DMD 29 Dr. Katherine D. Hein, MD, PC 31 Dr. Joan M. Petracca, DMD 29 Laurie Petren-Smith 18 Lightship Wealth Strategies, Inc. 30 Loulou’s Music Together 34 Master Mechanics Automotive 28 Milford-Franklin Eye Center 17 Monument Group Wealth Advisors, LLC 26 Moodz Spa and Salon 33 Music Go Round 16 MutualOne Bank 31 Natick Dental Associates 31 Performance Health Center 33 Pet Care of Metrowest 30 Prana Center 27 Programs for Working People 35 S & R Construction 34 Salon 4 Inc. 30 Salon R · Skin 26 Sound & Spirit 21 Spectrum Music 32 Strike Up The Band 31 Sudbury Taylor Rental Company 32 Tilly & Salvy’s Bacon Street Farm 28 True North Financial Partners LLC 25 Wellesley Choral Society 20 Wellesley Symphony Orchestra 16 17 18 19 20 21 22 23 24 25 26

2018-2019 Season

A Winter’s View Come Alive! Dec 7 • 8, 2018 March 15 • 16 • 17, 2019 Common Street Walnut Hill School Spiritual Center for the Arts Natick, MA Natick, MA

soundandspirit.net 27 28 29 30 31 32 33 34 35 Coming next from the Heritage Chorale: 46th Annual

MarchHeritage 23, 2019 Craft Fair Keefe Tech High School 750 Winter Street, Framingham Saturday, 10 a.m. - 4 p.m. www.heritagefair.org Spring Concert & 3rd Annual Silent Auction at

MayA 11, Festival2019 of Psalms Nevins Hall, Memorial Building 150 Concord Street, Framingham Saturday, 4 p.m. www.heritagechorale.org