FOLGER CONSORTRT 2020/21 SEASON OF EARLRLYLY MUMUSIC Celebre batbtbrate thethheSeaSSeasoonn A Virtual Holiday Concerrt

December 11, 2020 – January 55, 2021 BOARD OF GOVERNORS J. May Liang, Chair D. Jarrett Arp, Vice-Chair Roger Millay, Vice-Chair Andrew Altman Sir Simon Russell Beale, CBE Jeff Bleich Rebecca Bushnell Vinton Cerf Florence H. Cohen Folger Shakespeare Library is the Philip Deutch world’s largest Shakespeare Debbie Driesman collection, the ultimate resource for Susan Sachs Goldman exploring Shakespeare and his world. Rosa Joshi The Folger welcomes millions of visitors Derek Kaufman online and in person. We provide Gail Kern Paster unparalleled access to a huge array of Eugene Pinkard resources, from original sources to modern Stuart Rose interpretations. With the Folger, you can Charles Roxburgh experience the power of performance, the Paul Smith wonder of exhibitions, and the excitement Ramie Targoff of pathbreaking research. We offer the

opportunity to see and even work with early Ex Officio modern sources, driving discovery and Michael Witmore transform ing education for students of all ages. Shakespeare belongs to you. His world is vast. Come explore. Join us online, SENIOR DIRECTORS on the road, or in Washington, DC. Michael Witmore, Director Abbey Silberman Fagin, Learn more at folger.edu. Chief Advancement Officer Janet Alexander Griffin, Director of Programming Eric M. Johnson, Director of Digital Access Ruth Taylor Kidd, 201 East Capitol Street, SE OLGER SHAKESPEARE LIBRARY SHAKESPEARE OLGER Chief Financial Officer Washington, DC 20003 Kathleen Lynch, 202.544.7077 Executive Director, Folger Institute The Folger is undergoing a major Peggy O’Brien,

F renovation to expand public spaces, Director of Education improve accessibility, and enhance Greg Prickman, the experience for all who visit. See Eric Weinmann Librarian updates at folger.edu/renovation.

This performance was recorded at St. Mark’s Episcopal Church on Capitol Hill, Washington, DC, in November 2020.

2 FOLGER CONSORT Robert Eisenstein Christopher Kendall Artistic Directors

with Margaret Owens, oboe, recorder Crossley Hawn, soprano Anna Marsh, bassoon P. Lucy McVeigh, alto Paula Maust, organ Robert Petillo, tenor Risa Browder, violin, violin piccolo Edmund Milly, bass Nina Falk, viola John Moran, cello

Wachet auf a 4 Three Bransles doubles – Spagnoletta – Philov instruments Praetorius In dulci jubilo Praetorius Es ist ein Ros entsprungen Praetorius Pavane de Spaigne – Three Volte instruments Praetorius En natus est Emmanuel Praetorius

A Virgin Unspotted William Billings Sweet was the Song the Virgin Sung Anonymous Greensleeves Traditional Divisions on Greensleeves instruments Anonymous Remember O Thou Man Thomas Ravenscroft Bethlehem Billings

Wachet auf a 2 Praetorius From Cantata BWV 140, Wachet auf Recitativo: Er kommt, er kommt Duetto: Wenn kömmst du mein Heil : Zion hört Recitativo: So geh herein zu mir Duetto: Mein Freund ist mein Chorale: Gloria sei dir gesungen

3 Brittany Diliberto, BeeTwoSweet Brittany

Engaging Washington-area audiences since 1977, Folger Consort is the early music ensemble-in-residence at the Folger Shakespeare Library. Founding Artistic Directors Robert Eisenstein and Christopher Kendall create programs that offer opportunities to discover and enjoy music from the medieval, Renaissance, and Baroque periods. Whether presenting concerts in the Folger’s Elizabethan-styled theater, or in other beautiful and historic venues such as St. Mark’s Church and Washington National Cathedral, Folger Consort continues its tradition of bringing renowned guest artists to Washington, DC to join in is “early music chamber society.” Learn more at folger.edu/consort.

Robert Eisenstein Artistic Director Eisenstein is a founding member and program director of the Folger Consort. In addition to his work with the Consort, he is the director of the Five College Early Music Program in Massachusetts, where he teaches music history, performs regularly on viola da gamba, violin, and medieval fiddle, and coordinates and directs student performances of medieval,

OLGER CONSORT OLGER Renaissance, and . He is an active participant in Five College Medieval Studies and served as Music Director for the Five College Opera Project production of Francesca Caccini’s La liberazione di Ruggiero. He has a particular interest in the use of computer technology in the service of music and enjoys teaching a course called Fun

F with Music and Technology at Mount Holyoke College. Eisenstein is the recipient of Early Music America's Thomas Binkley Award for outstanding achievement in performance and scholarship by the director of a college early music ensemble.

Christopher Kendall Artistic Director Kendall is founder of the Folger Consort. He served from 2005-2015 as dean of the University of Michigan School of Music, Theatre & Dance, where he was responsible for establishing the University of Michigan Gershwin Initiative, for re-instituting international touring, for the funding and design of a $30M expansion/ renovation of the music building, and for launching the interdisciplinary enterprise ArtsEngine and its national initiative a2ru (Alliance for the Arts at Research Universities). In Washington, DC, in addition to his work with Folger Consort, since 1975 he has been Artistic Director and conductor of the

4 21st Century Consort, new music ensemble-in-residence at the Smithsonian Institution. Kendall served as Director of the University of Maryland School of Music from 1996 to 2005, and was Director of the Music Division and Tanglewood Institute of the Boston University School for the Arts from 1993 to 1996. Associate Conductor of the Seattle Symphony from 1987 to 1992, he has guest conducted many orchestras and ensembles in repertoire from the 18th to the 21st centuries. His recordings can be heard on the ASV, Arabesque, Bard, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

GUEST ARTISTS Risa Browder Violin, Violin Piccolo Browder studied at Oberlin Conservatory, the Royal College of Music in London, and the Schola Cantorum in Basel, Switzerland. She has performed with the Academy of Ancient Music, the English Concert, London Classical Players, Les Musiciens du Louvre, Smithsonian Chamber Orchestra, Washington Bach Consort, the National Cathedral Baroque Orchestra, and the Bach Sinfonia, and with chamber ensembles London Baroque, the Purcell Quartet, and REBEL. She co-directs Modern Musick, in residency at Georgetown University; is the orchestra director at H-B Woodlawn Secondary Program; and is the co-director of the Baltimore Baroque Band. She plays a violin made by Jacob Stainer in 1641.

Nina Falk Viola A former member of the Baltimore Symphony, Falk plays with the Bach Choir of Bethlehem, Opera Lafayette, and the Cantate Chamber Singers. She is a founding member of the Arcovoce Chamber Ensemble, and founder and director of A Musical Heart which brings live music to the bedside of hospice patients. Falk studied at the Juilliard Preparatory Division, Oberlin Conservatory, and on a Fulbright fellowship in London and Rome.

Crossley Hawn Soprano Back for her sixth engagement with Folger Consort, Hawn has also served as guest soloist with The City Choir of Washington, Cathedral Choral Society, Choralis, Chatham Baroque, Cathedra, The Reston Chorale, Maryland Choral Society, and Maryland Summer Chorus. She was the winner of the 2018 Choralis Young Artist Competition. She is a member of Eya: Ensemble for Medieval Music, an award-winning female trio. Hawn has also appeared with ensembles including Washington Bach Consort, Cathedra, The Thirteen, Chantry, Bridge, and the U.S. Air Force Singing Sergeants. Numerous roles include Dido/Dido and Aeneas, Susanna/Le Nozze di Figaro, Adele/Die Fledermaus, and Serpina/La Serva Padrona for which she was honored in DC Metro Theater Arts: Best of 2016. Other highlights include singing David Lang’s the little match girl passion with the composer in attendance, performing in chamber choirs for two popes, serving as cantor at Justice Scalia’s funeral, and singing Defiant Requiem in Budapest and at the Lincoln Center. She is an Artist Director of Bridge, a professional vocal chamber ensemble specializing in new works for voices and early music. www.crossleyhawn.com 5 Anna Marsh Bassoon A Baroque wind specialist, Marsh is interested principally in the double�reed family, though she also performs on the Renaissance and Baroque recorder. Originally from Tacoma, WA, she appears regularly with Opera Lafayette, Tempesta di Mare, Ensemble Caprice (Montreal), Opera Atelier (Toronto), Tafelmusik (Toronto), Washington Bach Consort, and Pacific Music Works (Seattle), among others. She has been the featured soloist with the Foundling Orchestra with Marion Verbruggen, Arion Orchestre Baroque, The Buxtehude Consort, The Dryden Ensemble, the Boulder Bach Festival, New York State Baroque, the Indiana University Baroque Orchestra, and others. She co�directs Ensemble Lipzodes and has taught at festivals and master classes at the Eastman School of Music, Los Angeles Music and Art School, the Amherst Early Music, and Hawaii Performing Arts Festivals and the Albuquerque, San Francisco Early Music Society, Rocky Ridge Music Center, and Western Double Reed Workshop. Marsh studied music and German studies at Mt. Holyoke College, The Thornton School of Music at the University of Southern California, and holds a Doctor of Music from the Jacobs School of Music at Indiana University.

Paula Maust Organ Maust is a co-director of both Burning River Baroque and Musica Spira and is dedicated to edgy concert programming and lectures connecting Baroque music to current social issues including the #MeToo movement, women’s empowerment, refugees, and climate change. This season’s projects include The Ugly Virtuosa and A Mad, Burning Desire. Other recent collaborations include performances with the Philadelphia Orchestra, Tempesta di Mare, Washington Bach Consort, Modern Musick, the Handel Choir of Baltimore, Third Practice, and the Virginia Symphony. Maust is a faculty member at the University of Maryland, Baltimore County, where she teaches harpsichord, organ, music theory, keyboard skills, and music history courses. She also teaches music theory and aural skills at the Johns Hopkins University. An advocate for conducting dramatic early modern works from the keyboard, she directed a program of Baroque opera scenes in collaboration with UMBC’s Collegium Musicum and Opera Workshop and was the assistant music director for Purcell’s Dido & Aeneas and The Fairy-Queen with the Peabody Institute’s historical performance department. Maust recently completed a DMA in harpsichord at Peabody, where she was the recipient of the Dean’s DMA fellowship.

P. Lucy McVeigh Alto An avid interpreter of early and contemporary music, McVeigh is the newest member of the Soldier’s Chorus of the U. S. Army Field Band and has already enjoyed performing and recording a wide variety of classical and pop music with her colleagues. She is most passionate about bringing new music to life. She works extensively with Boston-based sound artist Jenny Olivia Johnson; she travelled to the Banff Center in Alberta to record Johnson’s opera The After Time, and she is the featured vocalist on Johnson’s GRAMMY-

6 nominated record Sylvia Songs, as well as several other albums. In addition to her work with the Soldier’s Chorus, McVeigh enjoys positions with the choir of the Basilica of the National Shrine of the Immaculate Conception, Washington Bach Consort, Washington National Cathedral Choir, Cathedra, and The Thirteen.

Edmund Milly Bass Milly has recently shared the stage with the likes of BaRock Band, the Charleston Symphony, Bach Akademie Charlotte, the Oregon Bach Festival, the American Classical Orchestra, Cantata Profana, and the Academy of Sacred Drama and has also been heard internationally on BBC and CBC. Equally well adapted to working within an ensemble, he enjoys contributing his voice to the U.S. Army Chorus, the Choir of Trinity Wall Street, Mark Morris Dance Group, Clarion Choir, and Spire Chamber Ensemble. Milly is a graduate of the American Boychoir School, McGill University, and the Yale Institute of Sacred Music.

John Moran Cello Moran plays with REBEL and Washington Bach Consort, and he co- directs Modern Musick, in residence at Georgetown University. He teaches viola da gamba and Baroque cello at the Peabody Conservatory, where, with Risa Browder, he co-directs the Baltimore Baroque Band. In 2018 Early Music America recognized Moran and Browder as joint recipients of the Thomas Binkley Prize Award “for outstanding achievement in performance and scholarship by the director of a university early music ensemble.” Moran studied performance at the Oberlin Conservatory and the Schola Cantorum Basiliensis, and musiciology at King’s College London.

Margaret Owens Oboe, Recorder Owens has appeared with many of North America’s Baroque ensembles, including American Bach Soloists, Apollo’s Fire, Ars Lyrica, Chatham Baroque, Folger Consort, Handel and Haydn Society, Mercury Baroque, Opera Lafayette, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. She is a member of the chamber music groups REBEL and Kleine Kammermusik (founding member), whose 2017 debut album, Fanfare and Filigree, has received critical acclaim. Summers see her onstage at the Charlotte Bach Festival, the Staunton Music Festival, and the Amherst Early Music Festival, where she is on faculty. Owens earned degrees in oboe performance at the University of North Carolina at Greensboro, the Manhattan School of Music, and the City University of New York. She is on faculty in the historical performance institutes of Indiana University’s Jacobs School of Music and the Peabody Conservatory of Johns Hopkins University.

7 Robert Petillo Tenor Well known in the DC area as a Baroque specialist, Petillo is frequently heard with ensembles and choral societies on the East coast, including the Folger Consort. His concertizing has taken him across the country as well as to Germany, Italy, and England. Graduate studies on the music of Georg Telemann led to his collaborating on editions and performances of his unpublished sacred cantatas, many of them modern premieres. He served 32 years as a first tenor in the U.S. Army Chorus and was a part of many historic events and thousands of performances nationwide. With degrees from Rutgers University and the University of Maryland, he retains a lifelong love of learning in multiple disciplines, including art and the intersection of art and music with mathematics. Since retiring from the Army, he enjoys more opportunities to visit art exhibits and museums, and to accompany his mathematician wife to math conferences.

We look forward each year to festive evenings with audiences at our holiday concerts, and we miss being with you now. However, we are pleased—thanks to the efforts of our audio engineer, videographer, St. Mark’s, and especially our Folger staff—to have gathered a small group of musicians together in one space to present you with this program of wonderful and joy-filled seasonal music. —Robert Eisenstein and Christopher Kendall

St. Mark’s Episcopal Church + Capitol Hill St. Mark’s is very pleased to host Folger Consort’s 2020 holiday concert. Music has always been an integral part of the life of the parish. St. Mark’s strives to be a center for worship, education, the arts, and social action, especially in this time of reduced budgets for arts programs and great need for justice and nonviolence.

Learn more about St. Mark’s and its mission to serve God and the people of this neighborhood at stmarks.net.

8 If one has any familiarity at all with late the future. Some of these are lost or only Renaissance and early Baroque Christmas partially completed. He planned a series music, it will be with the works of the of eight books of secular music, of which great theorist and composer Michael we only have one, the wonderful Praetorius (1571-1621). This is not collection of French dances he called surprising; he wrote over 1,000 works, Terpsichore. It is interesting that we are mostly based on Protestant and the indebted to a German church musician for Latin liturgy of the Lutheran church. the only large surviving collection of French dances from the early 17th century, Praetorius was born in but there is no doubt that many of the Creuzburg an der tunes are the ones that were heard at court Werra, near Eisenach, in Paris. In the collection, Praetorius is probably in 1571. careful to give credit to the French court Throughout his busy violinist and composer Pierre-Francisque life spent performing, Caroubel. In 1610 Caroubel spent some teaching, and time at the court of the Duke of Brunswick supervising organ at Wolfenbüttel, where he met Praetorius. construction all over Caroubel gave the encyclopedic German northern Germany, he always composer a sizeable portion of the French remembered his birthplace, invariably court band’s music, and together they signing his name as M.P.C., or Michael arranged over 80 of the dances which later Praetorius of Creuzburg. His father, also appeared in Terpsichore. named Michael, worked with ’s favorite musical The settings are incredibly varied collaborator, , at the and creative, as you will hear. This Lateinschule at Torgau. Our Michael appealing music has always been popular Praetorius studied at the same school as a with modern audiences and for good boy with Michael Voigt, who replaced reason. The two- and three-part settings from the 1610 volume of Musae Sioniae Walther as Kantor after his death. For a are in the style of 16th-century German composer who concentrated on Lutheran biciniae and triciniae and do not specify or ROGRAM NOTES church music for his entire career, this require instruments, although they direct link to the beginnings of the certainly are effective performed in tradition must have been a tremendous combinations of voices and instruments or influence and inspiration. And as we will

P simply as instrumental pieces. On the see, the tradition continues unbroken to other hand, there are grand pieces in eight the music of J.S. Bach. or twelve or even more parts, some with instrumental ritornelli and florid virtuoso Praetorius was one of the most versatile figurations for soloists that are more daring musicians of his day, writing a variety of and more modern than anything else settings ranging from two parts to giant composed in Germany during this period. Venetian-style polychoral pieces in We have limited ourselves for this performance to a few of the most popular staggering numbers. In his Syntagma and engaging settings for smaller forces, Musicum, a publication of 1612 which including Es ist ein Ros entsprungen, still also contains theoretical writings and found in hymnals today. But lovely hymns valuable information on the instruments in are at the root of all of this music, and to use during his time, he took 28 pages to modern ears make all of Praetorius’s give a list of all the works he had sonorous music seem, as indeed it is, an published and was planning to publish in amazingly unified body of work by this

9 almost entirely self-taught musician. straightforward and based for the most Praetorius was a wealthy man when he part on English sources, he regarded his died. The sermon read at his funeral stated own compositions as something different. that he “often regretted that he never took As he himself said in The New-England holy orders,” and this son and grandson of Psalm Singer, “I don’t think myself Lutheran theologians left most of his confin’d to any Rules for Composition... it money to set up a foundation for the poor. is best for every Composer to be his own His initials, for him, also stood for “Mihi Carver.” He later wrote that “when fancy Patria Caelum,” Latin for “My Father in gets upon the wing, she seems to despise Heaven.” all form, and scorns to be confined or limited by any formal prescriptions We frame our group of whatsoever.” At any rate, it is strong, English and American honest, and very appealing music that Christmas music with Billings left us, and very American, too. two works by the Massachusetts Our 17th-century English offerings composer William commence with an old song still in the Billings. A tanner by Anglican hymnal, Sweet was the Song the trade, Billings had little Virgin Sung. We present it in a consort formal education of song setting from around 1600. We any kind, and musically he was primarily follow this with a couple of settings of self-taught. Billings began to teach choral Greensleeves, a tune that appears under singing in 1769 and remained in Boston various names in John Playford’s country for most of his life. His 1770 publication dance books but is likely much older. It The New-England Psalm Singer was the was a popular tune in the 17th century to first published collection of American use for broadside ballads, but we present music, and the first by one composer. The it here in a three-part arrangement with, frontispiece was engraved by Paul Revere. of course, the Christmas words. That is Billings’s most popular song book, The followed by some variations on the Singing Master’s Assistant, was first melody from The Division Violin, published in 1778 and went through four published by Playford in 1684. Thomas editions before 1790. Billings was well- Ravenscroft was a theorist and it must be known throughout the Colonies before admitted a composer of no great the revolution, but possibly due to the originality, but his reworkings of popular patriotic nature of many of his anthems, music in his three publications of 1609- he reached the height of his fame during 11 called Pammelia, Deuteromelia, and the Revolutionary War. A Philadelphia Melismata, subtitled Musicall Phancies critic, with perhaps a little exaggeration, Fitting the Court, Citie, and Countrey called him “the rival of Handel” during Humours, are charming indeed. This the 1780s. Another writer, William collection is a rich source of the less Bentley, although regretting Billings’s sophisticated music of the early “inferior excellence,” nonetheless thought 17thcentury, including rounds, simple that “he may justly be considered as the part-songs, and some country dances. father of our New England music.” Ravenscroft’s books are part of a long Although when listening to his music it English tradition of part-songs going back does not always seem to be the case, at least to the reign of Henry VIII. They are Billings certainly had a solid grasp of the called fremen’s songs, catches, and later rules of composition and theory as in the 17th century, glees. Remember, O understood in Europe. Although his Thou Man is a great example of the rather printed instructions on music were dark, minor mode type of English carol.

10 Johann Sebastian city council, which he regarded as Bach was, of course, “penny-pinching.” He often complained a rare genius whose that he did not have the resources to hire art summed up and all the musicians he would have wanted, surpassed the so perhaps our vastly trimmed down achievements of his cantata would have seemed familiar to age. Famous in his him. own day as a great performer (Telemann Bach’s cantata BWV and Handel were 140, Wachet auf, ruft regarded as far better uns die Stimme, is one and more forward-looking composers), we of his most popular. It see today in his music a perfect balance of was composed, like intellect, beauty, and emotion rare in all of Bach’s church music or in any art. Bach was not an cantatas (which he innovator. He drew upon the techniques called simply “the and styles of his predecessors and music for church on contemporaries to forge his own unique Sunday”), for a and supremely powerful style, although specific Sunday in the late in his career he demonstrated his liturgical calendar. th The hymn in the first familiarity with the simpler, lighter This one is for the 27 publication, 1599 textures of the galant precursors to Sunday after Trinity, a emerging classical style. It is well known day that owing to the moveable days in that Bach was above all a church the church calendar only occurred twice musician and a genuinely religious man. during Bach’s time in Leipzig. Scholars For him, even secular music was have determined therefore that it was first composed for the glory of God. His performed on November 25th, 1731. complete mastery is obvious in the great When it does occur, the 27th Sunday after passions, cantatas, organ works, and late Trinity is the last Sunday before Advent, abstract works like the Musical Offering the beginning of the liturgical year, and and the Art of the Fugue, but it is no less Bach responded with typical brilliance present in his instrumental chamber music and profundity to the occasion. The and the few orchestral works of his we readings for church that Sunday include have: the French Ouvertures (Orchestral the parable of the wise and foolish virgins Suites) and the Brandenburg . from Matthew 25:1-13, and Bach framed this work with the 1599 chorale by Phillip We need to remember, and perhaps Nicolai Wachet auf, ruft uns die Stimme, marvel at, the fact that in spite of the which is based closely on the text in transcendent nature of Bach’s art, he was Matthew. The structure of the cantata is above all a practical craftsman, producing symmetrical, with the first stanza of music at the bequest of his employers, be Nicolai’s hymn presented in the opening they civic or church administrators, or as movement, followed by a recitative and in his earlier days at the court of Cöthen, duet aria. The second stanza of the hymn princes. Bach was appointed Thomas is next, after which there is another kantor in Leipzig in 1723, with recitative (this one accompanied by responsibility for providing the music for strings) and duet pair, followed by the St. Thomas and three other churches in famous chorale setting of the final stanza the city, as well as training and of Nicolai’s hymn. The texts of the supervising the choirboys and instructing recitatives and duets are by an them in Latin. He was essentially a anonymous poet and frequently cite the municipal employee who reported to the Song of Songs, in this case alluding to

11 Jesus as the bridegroom of the Soul We pick up with Bach’s music with the (standing for all Christians). The work is first recitative (for tenor) quoting the scored for soprano, alto, tenor, and bass, Song of Songs and announcing that the and a lot of instruments: horn, two oboes, Bridegroom is coming and telling Zion’s taille (tenor oboe), violin piccolo, two daughters to make ready. The following violins, viola, and continuo (organ, cello, duet is for soprano (the Soul) and bass bassoon). Our initial plan, of course, was (Jesus, who is always a bass in Bach’s to present this cantata in its entirety with music) with an obligato part for the violin the complete scoring. Surprisingly, for the piccolo (tuned a minor third above a drastically reduced forces we are able to regular violin). The violin piccolo in assemble for this pandemic performance, graceful arabesques seems to describe the it is actually possible to present all of the flickering light of the lamps at the bridal cantata except for the opening chorale feast. It is a love duet that wouldn’t be out movement. It will not be as colorful and of place in an opera. Bach never did the last chorale will not be as full as it compose an opera, simply because he should be with all the instruments was never asked to do so. But many have doubling the vocal parts, but all of Bach’s remarked that his cantatas and passions music will be there. We are delighted to are his dramatic music. share this moving and celebratory work with you. The central movement of the cantata, the second verse of Nicholai’s hymn, features Driven by our need and desire to keep our one of Bach’s most famous and beautiful performers and production team as safe as melodies simply scored for the viola and possible during the current COVID-19 violins in unison accompanying the pandemic, we replace Bach’s first chorale melody sung by the tenor. This movement—which is scored for an movement, with its balanced phrases, expansive orchestra, chorus, and solo simple harmony, and soft phrase endings soprano—with a charming and intricate shows Bach to be far from the old fuddy- duo setting of the chorale by Praetorius. duddy some of his contemporaries What you will miss in this performance is thought he was. Actually he was quite an amazing, even for Bach, tour de force. current with the new galant style of the The soprano, doubled by horn, sings the 1720s and 30s that helped lead to the chorale melody as a cantus firmus. In development of classical style a little later. double-dotted rhythms, the winds and strings play what would have been The next recitative, sung by the bass immediately recognized as French (Jesus), is accompanied by the strings. ouverture style (to symbolize the opening This texture is reserved in Baroque opera of the liturgical year). The first oboe and for the most dramatic moments, and this first violin trade excited syncopated figures one is dramatic—the embrace of the bride to represent eager anticipation of Advent and the bridegroom, the Soul and Jesus. and Christmas. To top it off, while all this is While the original Song of Songs text ends going on, the alto, tenor, and bass engage with “my right hand will embrace you,” in fugues under the chorale melody! While the anonymous German changes this to the setting by Praetorius lacks the grandeur “my right hand will kiss you.” Bach, in a of its Bach counterpart, the two acapella wonderful musical gesture, has the voices performing alone in the empty nave accompanying instruments play little of St. Mark’s poignantly set the stage for separate eighth note kisses. The following the joyful performance of the remainder of duet, again for the Soul and Jesus, is Bach’s cantata that follows. appropriately celebratory and features the oboe as the obligato instrument. In form it

12 is a da capo aria, making even clearer the music is fine with a simple continuo connection to opera. accompaniment and in fact would work even without that support. It is a The cantata concludes with the four-part movement often played at weddings chorale setting of the final stanza of today, which nicely harkens back to the Nicolai’s hymn. It is not dissimilar to the Song of Songs in its own way. setting by Praetorius with which we began —Robert Eisenstein this program. While Bach wanted all the

instruments to double the singers, the

Texts are provided for your enjoyment; occasionally verses are omitted in performance.

Wachet auf Sleepers Wake text on page 16

In dulci jubilo In dulci jubilo In sweet rejoicing Nun singet und seid froh; Now sing and be merry; Unsers Herzen Wonne Our heart’s joy Leit in praesepio Lies in a manger Und leuchtet als die Sonne And shines like the sun Matris in gremio. At his mother’s breast. Alpha es et O. You are alpha and omega.

O Jesu parvule, O little Jesus, Nach dir is mir so weh; I so long for you; Tröst mir mein Gemüte, Comfort me, O puer optime; Miraculous boy; Durch alle deine Güte, In your goodness, O princeps gloriae, O Prince of Glory, Trahe me post te. Draw me after you.

O Patris charitas, O love of the Father, O nati lenitas; O mildness of the Son; Wir wären all verloren We were all lost Per nostra crimina, Through our sins, So hat er uns erworben But he won for us Coelorum gaudia. The joys of heaven. Eya wären wir da! Oh that we were there!

EXTS AND TRANSLATIONS EXTS Ubi sunt gaudia? Where is joy to be found?

T Nirgends mehr denn da. Nowhere more than there. Da die Engel singen There the angels sing Nova cantica New songs, Und die Schellen klingen And the bells ring out In Regis curia. At the court of the King. Eya wären wir da! Oh that we were there!

13 Es ist ein Ros entsprungen Es ist ein Ros entsprungen A rose has sprung aus einer Wurzel zart, from a gentle root, wie uns die Alten sungen: as the ancients sang to us: von Jesse kam die Art from Jesse came the lineage und hat ein Blümlein bracht and has a flow’ret brought mitten im kalten Winter, amidst the cold winter, wohl zu der halben Nacht. indeed, at midnight.

Das Roslein, das ich meine, The roselet that I mean, davon Jesaias sagt, of which Isaiah spoke, hat uns gebracht alleine has been brought to us alone Marie, die reine Magd. by Mary, the pure maid. Aus Gottes ewgem Rat Out of God’s eternal counsel hat sie ein Kind geboren, she has borne a child, welches uns selig macht. which makes us blessed.

Das Blümlein so kleine The little flower so small das duftet uns so süss; smells to us so sweet; mit seinem hellen Scheine with its bright light vertreibt’s die Finsternis. it dispels the darkness. Wahr Mensch und wahrer Gott, True man and true God, hilft uns aus allem Leide, it helps us from all pain, rettet von Sünd und Tod. rescues us from sin and death.

En natus est Emmanuel En natus est Emmanuel, To us is born Emmanuel, Dominus Lord Quem praedixit Gabriel, As foretold by Gabriel, Dominus Lord Salvator noster est. Who is our Savior.

Hic jacet in praesepio, Here lies in the manger, Dominus Lord Puer admirabilis, The admirable boy, Dominus Lord Salvator noster est. Who is our Savior.

Haec lux est orta hodie, This light is born today, Dominus Lord Ex Maria virgine, Of the Virgin Mary, Dominus Lord Salvator noster est. Who is our Savior.

14 A Virgin Unspotted A Virgin unspotted, ye prophet foretold, Should bring forth a savior, which now we behold. To be our Redeemer from death, hell, and sin, Which Adam’s transgression involved us in. Then let us be merry, put sorrow away. Our Savior Christ Jesus was born on this day.

Through Bethlehem city in Jewry it was, That Joseph and Mary together did pass. And for to be taxed when thither they came, Since Caesar Augustus commanded the same. Then let us be merry, put sorrow away. Our Savior Christ Jesus was born on this day.

But Mary’s full time being come as we find, She brought forth her firstborn to save all mankind. The inn being full for this heavenly guest, No place there was found to lay him to rest. Then let us be merry, put sorrow away. Our Savior Christ Jesus was born on this day.

Sweet was the Song the Virgin Sung Sweet was the song the Virgin sung, When she to Bethlem Juda came. She was deliver’d of her Son, That blessed Jesus hath to name. Lulla, lulla, lullaby, sweet babe, quoth she. My Son and eke a Savior born Which hath vouchsafes from on high To visit us that were forlorn. Lulla, lulla, lullaby, sweet babe, quoth she And rock’d him featly on her knee.

Greensleeves The old year now away is fled, Come lads and lasses one and all, The new year it is entered. Daw, Gib, and Mak, Mary, and Coll. Then let us all our sins down tread, Let’s cut the meat and drink to all, And joyfully all appear. For welcome you need not fear. Let’s merry be this holiday, Good fortune to my master send, And let us run with sport and play, And to my dame which is our friend, Hang sorrow cast care away: Lord bless us, and now we end: God send us a merry new year! God send us a happy new year!

And now let all the company, In friendly manner all agree. For we are here welcome all may see, Unto this jolly good cheer. I thank my master and my dame, The which are founders of the same, To eat and drink now is no shame: God send us a happy new year! 15 Remember O Thou Man Bethlehem Remember O thou man, While shepherds watch’d their flocks by night, Thy time is spent: All seated on the ground, How thou art dead and gone, The angel of the Lord came down, And I did what I can, And glory shone around. Therefore repent!

Remember God’s goodness, O thou man, And his promise made! How he sent his son, doubtless, Our sins for to redress: Be not afraid!

The angels all did sing, O thou man, Upon the shepherd’s hill; Praises to our heav’nly King, And peace to man living With a good will.

Wachet auf (Sleepers Wake) 1. 1. Wachet auf, ruft uns die Stimme, Awake, calls the voice to us der Wächter sehr hoch auf der Zinne, of the watchmen high up in the tower; wach auf, du Stadt Jerusalem. awake, you city of Jerusalem. Mitternacht heißt diese Stunde, midnight the hour is named; sie rufen uns mit hellem Munde, they call to us with bright voices, wo seid ihr klugen Jungfrauen? where are you, wise virgins? Wohlauf, der Bräut’gam kömmt, Indeed, the Bridegroom comes; steht auf, die Lampen nehmt, rise up and take your lamps, Alleluia! Macht euch bereit Alleluia! Make yourselves ready zu der Hochzeit, for the wedding, ihr müsset ihm entgegen gehn. you must go to meet Him.

2. 2. Er kommt, er kommt, He comes, He comes, der Bräut’gam kommt, the Bridegroom comes, ihr Töchter Zions, kommt heraus, O Zion’s daughters, come out, Sein Ausgang eilet aus der Höhe his course runs from the heights in euer Mutter Haus. into your mother’s house. Der Bräut’gam kommt, der einen Rehe The Bridegroom comes, who like a roe und jungen Hirschen gleich and young stag auf denen Hügeln springt leaps upon the hills; und euch das Mahl der Hochzeit bringt. to you He brings the wedding feast. Wacht auf, ermuntert euch, Rise up, take heart, den Bräut’gam zu empfangen; to embrace the Bridegroom; dort, sehet, kommt er hergegangen. there, look, He comes this way.

3. 3. Wenn kömmst du, mein Heil? When will You come, my Savior? - Ich komme, dein Teil. - I come, as your portion.

16 Ich warte mit brennenden Öle. I wait with burning oil. Eröffne den Saal Now open the hall - Ich öffne den Saal - I open the hall zum himmlischen Mahl. for the heavenly meal. Komm, Jesu. Come, Jesus! - Ich komme, komm, liebliche Seele. - I come, come, lovely soul!

4. 4. Zion hört die Wächter singen, Zion hears the watchmen sing, das Herz tut ihr vor Freuden springen, her heart leaps for joy within her, sie wachet und steht eilend auf. she wakens and hastily arises. Ihr Freund kommt von Himmel prächtig, Her glorious Friend comes from heaven, von Gnaden stark, von Wahrheit mächtig, strong in mercy, powerful in truth, ihr Licht wird hell, ihr Stern geht auf. her light becomes bright, her star rises. Nun komm, du werte Kron’, Now come, precious crown, Herr Jesu, Gottes Sohn, Lord Jesus, the Son of God! Hosianna! Hosannah! Wir folgen all zum Freudensaal We all follow to the hall of joy und halten mit das Abendmahl. and hold the evening meal together.

5. 5. So geh herein zu mir, So come in to Me, du mir erwählte Braut! you My chosen bride! Ich habe mich mit dir I have to you von Ewigkeit vertraut. eternally betrothed Myself. Dich will ich auf mein Herz, I will set you upon My heart, auf meinen Arm gleich wie ein Sigel setzen, upon My arm as a seal, und dein betrübtes Aug’ ergötzen. and delight your troubled eye. Vergiß, o Seele, nun die Angst, den Schmerz, Forget, O soul, now the fear, the pain den du erdulden müssen; which you have had to suffer; auf meiner Linken sollst du ruhn, upon My left hand you shall rest, und meine Rechte soll dich küssen. and My right hand shall kiss you.

6. 6. Mein Freund ist mein, My Friend is mine, - und ich bin dein, - and I am yours, die Liebe soll nichts scheiden. love will never part us. Ich will mit dir I will with You - du sollst mit mir - you will with Me im Himmels Rosen weiden, graze among heaven’s roses, da Freude die Fülle, da Wonne wird sein. where complete joy and delight will be.

7. 7. Gloria sei dir gesungen, Let Gloria be sung to You, mit Menschen- und englischen Zungen, with mortal and angelic tongues, mit Harfen und mit Zimbeln schon. with harps and even with cymbals. Von zwölf Perlen sind die Pforten, Of twelve pearls the portals are made, an deiner Stadt sind wir Konsorten In Your city we are companions der Engel hoch um deine Thron. Of the angels high around Your throne. Kein Aug’ hat je gespürt, No eye has ever perceived, kein Ohr hat je gehört no ear has ever heard solche Freude, des sind wir froh, such joy, as our happiness, io,io, ewig in dulci jubilo. Io, io, eternally in dulci jubilo!

17 18 WITH THANKS $15,000 -$24,999 Twiss & Patrick Butler Folger Shakespeare Library William S. Abell Timothy J. Carlton gratefully acknowledges the Foundation, Inc. Heather & Dick Cass kind support of the following Maygene & Steve Daniels Lisa Fuentes & Thomas Cohen donors. The list below Estate of Diana Denley Ms. Judith Matthews Craig includes gifts and pledges of Margaret & David Gardner Mrs. George A. Didden, III $250 or more received John & Meg Hauge Dimick Foundation between December 1, 2019 Helen & David Kenney Denise Gwyn Ferguson and November 30, 2020. The Honorable Eugene & Melody & Al Fetske Dr. Carol Ludwig Dr. Stephen H. Grant & $50,000+ The Nancy Peery Marriott Ms. Abigail B. Wiebenson D. Jarrett & Nora Arp Foundation Ruth Hansen & Vinton & Sigrid Cerf Pine Tree Foundation of Lawrence Plotkin Florence & Neal Cohen New York Mr. Ken Hitz & D.C. Commission on the Mr. & Mrs. B. Francis Saul, II Ms. Liselott Liungman Arts and Humanities, an The Shubert Foundation Mr. David H. Hofstad agency supported in part by Mark and Carol Hyman Fund the National Endowment f Karl K. & or the Arts $10,000-$14,999 Carrol Benner Kindel Estate of Elizabeth Eisenstein Anonymous (2) Kitchings Family Susan Sachs Goldman Nicky Cymrot Mr. Michael Lebovitz & Mr. & Mrs. Glenn Hutchins Mr. Robert Aubry Davis & Ana Paludi Maxine Isaacs Ms. Patricia Brannan Leander & Stephanie Andrea “Andi” Kasarsky Emily & Michael Eig McCormick-Goodhart J. May Liang & James Lintott The Lee & Juliet Folger Fund Terence R. Murphy O.B.E. & Nancy Klein Maguire, The Helen Clay Frick Patricia Sherman Murphy Folger scholar Foundation Drs. Eldor & Judith Pederson Sara Miller McCune Gilbane Building Company Mr. Ben Reiter & Robin & Roger Millay Deidre Holmes DuBois & Mrs. Alice Goldman Reiter National Capital Arts and Christopher E. DuBois The Nora Roberts Foundation Cultural Affairs Program Mr. & Mrs. Amos B. Rothschild Family Foundation and the U.S. Commission of Hostetter, Jr. Loren & Frances Rothschild Fine Arts Nancy & Steve Howard Gabriela & Douglas Smith National Endowment for the Deneen Howell & Ms. Ruth Taylor Kidd Humanities Donald Vieira Ms. Kathryn M. Truex Gail Kern Paster Frank F. Islam & Kathie & Mike Williams Preston Trust Debbie Driesman Nicole & Steve Winard Mr. & Mrs. H. Axel Schupf Mr. Alan Jones Ellen & Bernard Young Share Fund The Honorable John D. Robin & Mark Swope Macomber $2,500-$4,999 Professor Ramie Targoff & Mars Foundation Anonymous (3) Professor Jacqueline Badger Mars John & Nancy Abeles Stephen Greenblatt Morgan Fund Gary Abrecht William & Louisa Newlin Bill & Sunny Alsup $25,000-$49,999 Gail Orgelfinger & Mr. Wallace Babington Keith & Celia Arnaud Charles Hanna Ms. Gigi Bradford & Arts Midwest Shakespeare in Mr. Jonathan Rich & Mr. Jim Stanford American Communities Ms. Ann Swerdel Mr. & Mrs. Charles P. Brown Rebecca Bushnell & Drs. Kellie Robertson & Anthony & Anna L. Carozza John Toner Michael Witmore Foundation The Morris & Gwendolyn Ingrid Rose Mr. Richard H. Cleva Cafritz Foundation Shakespeare’s Globe, USA The Dallas Morse Coors Louis & Bonnie Cohen Paul Smith & Michael Dennis Foundation Estate of Victor V. Dahl Scott & Liz Vance Barbra Eaton & Ed Salners Neal & Janice Gregory Marjorie & Anthony Elson Lannan Foundation $5,000-$9,999 Abbey S. & Kenneth M. Fagin National Endowment for Anonymous (2) Nancy Ebb & Gary Ford the Arts Judith Areen & The H. John Heinz Family Timothy & Linda O’Neill Richard Cooper Fund of the Pittsburgh Ms. Ednajane Truax Dr. Bill & Evelyn Braithwaite Foundation

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22 Ms. Sara Russell ADDITIONAL SUPPORT OF Andrea “Andi” Kasarsky Mr. Stephen R. Saph Jr. FOLGER CONSORT Paul & Margaret Kaufman Jennifer Sarlin COMES FROM Dr. Elizabeth T. Kennan Professor Moses S. Schanfield Early Music Endowment Fund Karl K. & Drs. Alan N. & Eunice & Mones E. Hawley Carrol Benner Kindel Geraldine P. Schechter Early Music Endowment Fund Professor John N. King* Mr. Jan Schoonmaker The Estate of Pamela L. Kopp Pauline G. King Professor & Mrs. Mortimer Merwin Kliman* Sellers Dana and Ray Koch Dr. Anita Gilman Sherman THE FIRST FOLIO Professor Barbara Kreps Dr. Sherry Wood Shuman & SOCIETY Mrs. & Mr. Edward R. Leahy Mr. Philip B. Shuman The list below includes all Dr. Carole Levin Dr. Bruce R. Smith friends who have included Lilly S. Lievsay Mr. Byron Smith the Folger Shakespeare Ken Ludwig & Mr. & Mrs. Jerry Sollinger Library in their estate plans Adrienne George Ms. Lynn Soukup through a will commitment, a Dr. Nancy Klein Maguire Mr. Steve Spaulding & life income gift, or a Mark McConnell & Dr. Alicen B Spaulding beneficiary designation in a Leslie Delagran Ms. Cathleen Ann Steg & life insurance policy or Pam McFarland & Mr. Schuyler E. Schell retirement plan. Brian Hagenbuch Mr. & Mrs. Wayne Stocks Robin & Roger Millay Mr. & Mrs. Donald Street Anonymous (6) Robert Moynihan Ms. Theresa A. Sullivan Professor Judith H. Anderson Ms. Sheila A. Murphy Mr. Jonathan Taylor & Ms. Doris E. Austin Louisa Foulke Newlin Ms. Dianne Shaughnessy Dr. Carol Barton Jennifer Newton Mr. & Mrs. John V. Thomas Professor Jackson C. Boswell Dr. Jessie Ann Owens Mr. & Mrs. Grant P. Gigi Bradford Gail Kern Paster Thompson Dr. Norma Broude & Linda Levy Peck Ms. Monica Thrash Dr. Mary D. Garrard Dr. Sylvia Holton Peterson Ms. Helen G. Urquhart Mr. William J. Camarinos Professor Kristen Poole Dr. Arina van Breda Professor Carmen A. Casís Professor Anne Lake Prescott Tessa van der Willigen & Florence & Neal Cohen Dr. Mark Rankin Jonathan Walters Ms. Mary Cole Dr. Markley Roberts Mr. David J. Vespa The Honorable Esther Ingrid Rose Ernst & Marianne Coopersmith Susan & Frank Salinger von Meerwall Drs. John W. Cox & Dr. Richard Schoch Drs. Betsy & Alkinoos Lo-An T. Nguyen-Cox Mrs. S. Schoenbaum Vourlekis Dr. James R. & Lisa Schroeter Ms. Janet Walden Mrs. Rachel B. Dankert Dr. Lois Green Schwoerer Mr. Bryan Watabe Mr. Douglas Evans The Honorable Theodore Mr. Peter Q. Weeks Susan Fawcett & Sedgwick Dr. Gail C. Weigl Richard Donovan Albert H. Small Mr. Nils J. Bruzelius & Ms. Christine M. Feinthel Richard Spear & Ms. Lynne A. Weil Wendy Frieman & Athena Tacha Spear Mr. & Mrs. Mark Weinheimer David Johnson Robin Swope Ms. Judith Weintraub Susan Sachs Goldman Ednajane Truax Dr. & Mrs. John R. Mrs. Karen Gundersheimer Neal T. Turtell Wennersten Dr. Werner L. Gundersheimer Scott & Liz Vance Dorothy B. Wexler Dr. Elizabeth H. Hageman Drs. Alden & Ms. Teresa S. Whiting Dr. Jay L. Halio Virginia Vaughan Sandy & Jon Willen Catherine Held Dr. Barbara A. Wanchisen Mr. & Mrs. Roy L. Williams Eric H. Hertting Richard M. Waugaman, MD Ms. Christy Nan Wise Mr. Michael J. Hirrel & Elisabeth P. Ms. Julianne T. Wojay Dr. Dee Ann Holisky Waugaman, Ph.D Ms. Betsy L. Wolf Ms. Deidre Holmes DuBois & Professor R L Widmann Ms. Jamie Wolfe Mr. Christopher E. DuBois George W. Williams Ms. Helena E. Wright William L. Hopkins* The Honorable Ms. Elizabeth J. Hunt Karen Hastie Williams Lizabeth Staursky Hurst Louisa Woodville Bruce Janacek Dr. Georgianna Ziegler Mrs. Robert J.T. Joy* * Deceased

23 STAFF

DIVISION OF PUBLIC PROGRAMS Katelyn Manfre, Janet Alexander Griffin, Humanities Program Coordinator Director of Programming Emma Poltrack, Public Programs Beth Emelson, Associate Artistic Producer/ Administrative Assistant Associate Director of Public Programs Teri Cross Davis, Poetry Coordinator David Mozur, Folger Consort Manager Cidney Forkpah, Wardrobe Manager David Polk, General Manager Brandon Roe, Mix Engineer Charles Flye, Production Manager Rebekah Sheffer, Assistant Technical Director SPECIAL TO FOLGER CONSORT Peter Eramo, Jr., Events Publicity and ECHO Films, Mark Fastoso and Marketing Manager George Griffin, Video Recording Heather Newhouse, Patron Services Manager Jane Pisano, Publications Consultant Marianne Wald, Box Office Manager Krohn Design, Graphic Design Danica Zielinski, Lead House Manager Barbara Shaw, Typesetting

SPECIAL ACKNOWLEDGEMENTS: James Rostron and St. Mark’s Episcopal Church on Capitol Hill, Ernesto Molina and St. Mark’s Players, Joshua Ford, Jeff Kempskie, Jason Loewith, Mount Holyoke College, Beatrix Weber, and Joe Leffson at Train Printing. With Additional Thanks to the Security, Facilities, and Operations Staff of the Folger Shakespeare Library. Brittany Diliberto, BeeTwoSweet Brittany

24