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Home , Agostino Agazzari, Boston Baroque, John Blow, Polyhymnia

CHRISTMAS IN FRIDAY, DECEMBER 20, 2019 7:30 PM SATURDAY, DECEMBER 21, 2019 2:30 PM & 7:30 PM First Church in Cambridge, Congregational CHRISTMAS IN BAROQUE GERMANY CHRISTMAS MUSIC FROM BAROQUE GERMANY

ADVENT Megan Chartrand Today’s program of early Baroque German theran church (such as the Advent hymn Con- Sonja Tengblad Christmas music features works by Michael ditor alme siderum and the canticle Magnificat), Teresa Wakim Giovanni Battista Grillo (d. 1622) soprano Sonata prima a 7 (Sacri concentus ac symphoniae, 1618) Praetorius, a central figure in the transmission psalmody (such as the motet Attollite portae on Jennifer Ashe (1571-1621) of the new Italian styles to German lands in the verses from Psalm 24), and Latin and German Pamala Dellal early years of the seventeenth century. Born on songs (Puer natus, In dulci jubilo and Singet und Martin Near Three settings of Nun komm, der Heiden Heiland, a 4, a 6 & a 8 alto (Musae Sioniae II & V) February 15, 1571, in Creutzberg (not far from klinget); many of these appear in a nine-volume Michael Barrett Eisenach, where would series entitled Musae Sioniae or “The of Jason McStoots Pierre-Francisque Caroubel be born a century later), Praetorius entered the Sion” for the nine choirs of angels or heavenly Mark Sprinkle Passameze pour les cornetz (ed. Praetorius, , 1612) tenor Praetorius service of the Duke of Brunswick-Wolfenbüttel muses. He published three volumes of an ency- Paul Guttry in 1595 as an organist, becoming court chap- clopedia entitled Syntagma musicum (“A Musi- David McFerrin Conditor alme siderum (Hymnodia Sionia, 1611) bass Praetorius el-master in 1604. In the mid-1610s he spent cal Treatise”). A large number of Praetorius’s Scott Metcalfe Attollite portae capita vestra several years at the court of the Elector of Sax- works are lost or were never finished, including Julie Andrijeski violin ony, mostly in Dresden, where he encountered a fourth book of Syntagma and all but one book, (1586-1630) and absorbed the latest music from , in- Terpsichore (named for the muse of dance), of Anna Griffis Padouana, Gagliarda & Courente (Suite no. 13, Banchetto musicale, 1617) Laura Jeppesen cluding works by , Andrea a projected nine-volume set of secular music. viola Praetorius Magnificat super ad pastores (Megalynodia Sionia, 1611) and , Giulio Caccini, Luca Ever fond of learned and allusive titles, Praeto- Emily Walhout bass violin Marenzio, and many others, and he studied rius dubbed a later series Polyhymnia after the Eric Milnes organ — intermission — treatises on the practice of basso continuo by muse of sacred poetry and hymns; a catalogue Charles Weaver Agostino Agazzari and others. Although Prae- at the end of Syntagma musicum lists volumes theorbo & bass torius never traveled outside Germany, during (most unknown today) called Polyhymnia he- CHRISTMAS the course of his career he visited numerous roica (Heroic Polyhymnia), Polyhymnia exer- DARK HORSE CONSORT Giovanni Gabrieli (c. 1555-1612) cities and courts in German lands, meeting and citatrix (practicing), Polyhymnia jubilaea (ju- sometimes working alongside the most famous bilant), Polyhymnia miscellenea, Polyhymnia Kiri Tollaksen Canzon XIV a 10 (Canzoni et sonate, 1615) Alexandra Opsahl German of his time, including Hi- eulogodoiaca (eucharistic), and more. cornetto Samuel Scheidt (1587-1654) eronymous Praetorius (no relation), Hans Leo Greg Ingles Duo seraphim Hassler, Heinrich Schütz, and Samuel Scheidt. Like his near-contemporary Monteverdi, Prae- Erik Schmalz Puer natus in Bethlehem Mack Ramsey He died on his fiftieth birthday in 1621. torius was trained in the polyphonic style of trombone Gelobet seystu, Jesu Christ (Cantiones sacrae, 1620) the sixteenth century—Monteverdi called it Praetorius was a largely self-taught musician the prima pratica—and remained a master of Giovanni Gabrieli Blue Heron is funded in part whose enormous surviving output includes traditional counterpoint even as he enthusi- by the Cultural Canzon primi toni a 10 (Sacrae symphoniae, 1597) over one thousand works based on Protestant astically embraced the new, text-driven style Council, a state agency. chorales, hymns adapted from Catholic tradi- that was developing south of the Alps—Mon- Blue Heron Praetorius 950 Watertown St., Suite 8 Es ist ein Roeß entsprungen (Musae Sioniae VI, 1609) tion (such as Nun komm der Heiden Heiland, teverdi’s seconda practica—and adopted, with West Newton, 02465 Puer natus in Bethlehem (Polyhymnia caduceatrix et panegyrica, 1619) Martin Luther’s verse adaptation of Veni re- considerable zest and imagination, the Italians’ (617) 960-7956 [email protected] In dulci jubilo (Musae Sioniae II, 1607) demptor gentium), the Latin liturgy of the Lu- proclivity for mixing instrumental forces with www.blueheron.org Singet und klinget (Puericinium, 1621) 2 3 vocal. He is very fond of alternating styles as a was performed in early 17th-century Germa- be heard and observed more effective- “In place of the sinfonia … one can quite suit- way of keeping his listeners (primarily Luther- ny. Praetorius concerns himself with the con- ly from a distance. In this way the en- ably use a fine and delicate pavan, mascarada, an congregants) engaged. In the Magnificat su- trast between soloists and the full ensemble, tire composition appears as if it had ballet, or a short that is pretty ardent, per Angelus ad pastores, for example, he sets the with instrumental and vocal color, and, always, been written for four separate choirs.… and attractive…. Instead of the ritornello one even-numbered verses of the Latin Magnificat with balance and the proper expression of the may use a galliard, saltarello, courante, volta, or in five-voice counterpoint, basing his music on words—insisting that the text should always In all of these styles and methods the similarly happy canzonette …” a motet by the 16th-century master Orlando di be clearly audible and never obscured by the whole essence of the intended work lies Lasso (from his Sacrae cantiones quinque vocum instruments, which must play more softly than in the solo voices, whose parts must be Our remaining set is drawn from the Cantiones of 1582) whose text paraphrases Luke 2:10-11 the voices and should usually be positioned sung and enunciated clearly.… For this sacrae by the great organist Samuel Scheidt. Al- (“And the angel said unto them, Fear not; for, away from them. reason one must select the best singers though all three works are in eight parts, each behold, I bring you good tidings of great joy, for these parts, ones who are not only employs its forces differently. The cheerfulGe - which shall be to all people. For unto you is In this style four boys must be posi- secure, dependable, and unconstrained, lobet seystu is scored the most conventionally, born this day in the city of David a savior, which tioned in four separate locations in the but who are also able to sing in the cur- pitting two identical SATB four-part choirs is Christ the Lord.”). The odd-numbered vers- church—opposite each other or wherev- rent new manner, with elegance and against each other in antiphonal exchange, es are replaced by stanzas of popular Christmas er it is convenient.… Each boy must sing good skill… whereas Puer natus in Bethlehem divides the songs in German and Latin. Another type of his part in a pure and lively manner with eight parts as unequally as possible, setting alternation may be observed in his Puer natus clear, distinct pronunciation and evenly We have followed his principles and prescrip- one soprano against seven voices in an exhila- in Bethlehem, which sets the song verse by verse articulated notes.… tions insofar as possible. rating, if brief, call-and-response. In Duo sera- in alternation with a choral ritornello, “Singet, phim Scheidt distributes his voices into higher jubiliret!” Each boy should also have an instrumen- No sonatas or canzonas by Praetorius survive, (SSAT) and lower (ATBB) choirs, but much of talist assigned to him. For instance, the although one of the projected volumes of sec- the work plays with combinations of two voic- A tireless pedagogue as well as , Prae- first boy might have a violin, the second a ular music was to contain some. In fact, the es (for “Duo seraphim”) and three (at “Tres torius provided detailed instructions as to the cornett, the third a violin as well, and the sonata remained almost exclusively an Italian sunt”), both between and within the choirs, myriad ways his music might be scored and fourth a recorder or transverse flute or phenomenon until the second half of the sev- reserving two-choir antiphonal writing for cli- how one ought to arrange the performers, es- even a sopranino recorder, which would enteenth century. Germans enjoyed dance mu- maxes. pecially in the later collections of large-scale not sound at all bad in the full ensemble sic by French composers, such as the Passameze concerted works for multiple vocal and instru- when played by a good player.… pour les cornetz by Pierre-Francisque Caroubel —Scott Metcalfe mental choirs, like Polyhymnia caduceatrix et published in Praetorius’s Terpsichore; and they panegyrica (“Festive and peace-bringing Poly- For variety, the placement of the en- also wrote their own, such as the suites in Jo- hymnia”) and Puericinium (“compositions for sembles in this and similar methods can hann Hermann Schein’s Banchetto musicale boys,” which feature a group of three or four be arranged in a crosswise manner so (Musical Banquet), but for the sonatas and soprano soloists). His exhaustive (and, frankly, that the two vocal choirs are opposite canzonas on this program we turn, as Praeto- somewhat exhausting) prefaces and treatises each other, while the first instrumen- rius did, to and music by the celebrat- were aimed primarily at German chapel-mas- tal group is positioned near the second ed Giovanni Gabrieli and by Giovanni Battista ters whom he supposed needed a comprehen- vocal choir and the second intrumen- Grillo, who became the first organist of San sive introduction to the practices and possibili- tal group is not far from the first choir. Marco in 1619. Using these secular dances and ties of the new Italian styles. Today they provide The voices may thus be heard more sonatas to introduce sacred vocal works, we are us with essential information about how music distinctly, while the instruments may following another of Praetorius’s suggestions:

4 5 TEXTS & TRANSLATIONS Attollite portae capita vestra et elevamini por- Lift up your heads, O ye gates, and be ye lift up, ye tae mundi, et introeat rex gloriae. worldly doors, and the King of glory shall come in. Quis est iste rex gloriæ? Dominus fortis et potens, Who is the King of glory? The Lord strong and Dominus potens in proelio. mighty, the Lord mighty in battle. Nun komm der Heiden Heiland, Come now, savior of the gentiles, Attollite portae capita vestra et elevamini portae Lift up your heads, O ye gates, and be ye lift up, ye der Jungfrauen Kind erkannt, recognized as the Virgin’s child, mundi, et introeat rex gloriae. worldly doors, and the King of glory shall come in. des sich wundert alle Welt, at which all the world marvels: Quis est iste rex gloriae? Dominus exercituum Who is the King of glory? Even the Lord of hosts: Gott solch Geburt ihm bestellt. God ordained such a birth for him. ipse est rex gloriae. Selah. he is the King of glory. Selah. Martin Luther’s German verse version of Psalm 23(24):7-10 St Ambrose’s Advent hymn Veni redemptor gentium

Magnificat anima mea dominum, My soul doth magnify the Lord, Conditor alme siderum, O bountiful creator of the stars, et exultavit spiritus meus in deo salutari meo. and my spirit hath rejoiced in God my savior. eterna lux credentium, everlasting light of believers, Puer natus in Bethlehem, A child is born is born in Bethlehem, Christe, redemptor omnium, O Christ, redeemer of us all, unde gaudet Hierusalem: therefore Jerusalem rejoices: exaudi supplicum. hear our humble prayers. laetamini in Domino rejoice in the Lord in hoc novo anno. in this new year. Qui condolens interitu Suffering death with us, Ein Kind geborn zu Bethlehem A child is born in Bethlehem mortis perire seculum, enduring earthly destruction, in hoc anno, in this year, salvasti mundum languidum, you saved the infirm world, unde gaudet Hierusalem, therefore Jerusalem rejoices: donans reis remedium. bringing healing for our sins. hoc in anno gratulemur, let us give thanks this new year, Vergente mundi vespere, As the world turned to evening, genitorem veneremur let us worship the son uti sponsus de thalamo like a bridegroom from his chamber cordis jubilo, with jubilant heart, egressus honestissima you came forth from the most pure Christum natum adoremus let us adore the newborn Christ virginis matris clausula. cloister of a virgin mother. novo cantico. with a new song. Quia fecit michi magna qui potens est, For he that is mighty hath made me great, Cujus forti potentie Before your mighty power et sanctum nomen ejus. and holy is his name. genu curvantur omnia all creatures kneel down: Als Christus geboren war, When Christ was born, celestia terrestria in heaven and on earth freuten sich der Engel Schar, the angel hosts rejoiced nutu fatentur subdita. all accept your command. und sungen mit Haufen schon, and sang with the multitudes: Ehr sei Gott im höchsten Thron, Glory to God on the highest throne, Occasum sol custodiens, The sun preserving its setting, Gottes Sohn ist Mensch geborn, God’s son is born a man luna pallorem retinens, the moon maintaining its whiteness, hat versöhnt des Vaters Zorn, and hath propitiated the father’s wrath: candor in astris relucens, the brightness shining in the stars: freu sich dem sein Sünd ist leid. let him rejoice whose sin is borne. certos observat limites. each observes its certain limits. Fecit potentiam in brachio suo: He hath shown strength with his arm: he hath scat- dispersit superbos mente cordis sui. tered the proud in the imagination of their hearts. Te deprecamur agie, Thus we pray you, Herz, Sinn und unser Gmüte Heart, mind and spirit venture judex seculi, O judge of the world to come, freut sich zu dieser Stund, rejoice at this time, conserva nos in tempore preserve us when we face und all unser Geblüte and all our blood hostis a telo perfidi. the enemy with his treacherous arms. regt sich daß unser Mund is so stirred that our mouths mit nichte kann verschweigen, can in no ways keep secret, Laus, honor, virtus, gloria Praise, honor, might, and glory O Christ, dein Wohltat groß: O Christ, thy mighty deed: Deo patri et filio, to God the Father and the Son, du bist herabgestiegen thou hast descended sancto simul paraclito, and to the Holy Spirit, aus deines Vaters Schoß, from thy father’s bosom, in seculorum secula. Amen. for ever and ever. Amen. mein Herzen Kindlein, my heart’s little child, Advent hymn, seventh century mein liebstes Mündlein, my beloved little babe, Jesu, O Jesu. Jesus, O Jesus.

6 7 Esurientes implevit bonis, The hungry he hath filled with good things, Es ist ein Roeß entsprungen There is a rose arisen et divites dimisit inanes. and the rich he hath sent empty away. aus einer Wurzel zart, from a tender root: Heut lobt die werte Christenheit Today worthy Christendom als uns die Alten sungen, as the old ones sang to us, mit allen Engelein with all the angels aus Jesse kam die Art, from Jesse it descends Gotts grundlose Barmherzigkeit praises God’s boundless mercy und hat ein Blümlein bracht and hath brought forth a blossom uns armen Würmelein, to us, poor worms, mitten im kalten Winter amid the cold of winter erzeigt in seinem Sohne, revealed in his son, wol zu der halben Nacht. at deepest midnight. dem Herren Jesu Christ, the Lord Jesus Christ, von dem wir Freud und Wonne, from whom we have joy and pleasure Das Roeßlein das ich meine, The little rose I mean, als von der rechtem Sonne, as from the sun itself, darvon Esaias sagt, of which Isaiah spoke, haben zu aller Frist. for all time. hat uns gebracht alleine is given to us Sicut locutus est ad patres nostros, As it was promised to our forefathers, Mary die reine Magd: by Mary alone, the pure maiden: Abraham et semini ejus in secula. Abraham and his seed forever. aus Gottes ewgen Raht through God’s eternal Word Vom Himmel kömmt ein neuer Engel geflogen, From heaven comes flying a new angel, hat sie ein Kind Gebohren she hath born a child ein neues Kindlein ist auf Erden geborn, a new child is born on earth: wol zu der halben Nacht. at deepest midnight. mit Freuden laßt uns danken with joy let us thank dem Herren aller Dinge. the Lord of all things. Sicut erat in principio et nunc et semper: As it was in the beginning, is now, and forever Puer natus in Bethlehem, A child is born in Bethlehem, et in secula seculorum. Amen. shall be, world without end. Amen. unde gaudet Jerusalem, alleluja! therefore Jerusalem rejoices, alleluia! Parvulus nobis nascitur A babe is born to us, Singet, jubiliret, triumphiret unserm Herren, Sing, exult, our Lord triumphs, de virgine progreditur, proceeding from a virgin, dem König der Ehren. glory be to the King! ob quem laetantur angeli, whom the angels praise Reges de Saba veniunt, Kings came from Saba gratulemur nos servuli, and we servants give thanks, aures, thus, myrrham offerunt, alleluja! bearing gold, frankincense, and myrrh, alleluia! Trinitate gloria glory be to the Trinity Singet, jubiliret … Sing, exult … in sempiterna saecula. for evermore. Hic jacet in praesepio Here in a manger lies he qui regnat sine termino, alleluja! who reigns without end, alleluia! Singet, jubiliret … Sing, exult … Duo seraphim clamabant alter ad alterum: Two seraphim were calling one to the other: Mein Herzenskindlein, My heart’s dearest babe, Sanctus, sanctus, sanctus Dominus Deus Sa- Holy, holy, holy Lord God of Hosts: mein liebstes Freundlein, o Jesu. my most beloved friend, O Jesus. baoth: plena est omnis terra gloria eius. the whole earth is full of his glory. Tres sunt qui testimonium dant in coelo: Three there are who give testimony in heaven: In hoc natali gaudio At this joyful birth pater, verbum, et spiritus sanctus: the Father, the Word, and the Holy Spirit: benedicamus domino, alleluja! let us bless the Lord, alleluia! et hi tres unum sunt. and these three are one. Singet, jubiliret … Sing, exult … Laus et perennis gloria Deo patri cum filio, Praise and eternal glory be to God the Father, and to Laudetur sancta Trinitas, Praise be to the holy Trinity, sancto simul paracleto in sempiterna secula. the Son, and to the Holy Spirit, for ever and ever. deo dicamus gratias, alleluja! let us give thanks to God, alleluia! Sanctus, sanctus, sanctus Dominus Deus Sa- Holy, holy, holy Lord God of Hosts: Singet, jubiliret … Sing, exult … baoth: plena est omnis terra gloria eius. the whole earth is full of his glory. Lobt ihn mit Schalle, Praise him with resounding voice, ihr Christen alle, ye Christians all, Isaiah 6:3 & John 5:7 lobt ihn mit Schalle! praise him with resounding voice!

Puer natus in Bethlehem, alleluja! A child is born in Bethlehem, alleluia! In dulci jubilo, With sweet jubilation unde gaudet Jerusalem, alleluja! Therefore Jerusalem rejoices, alleluia! nun singet und seid froh, let us sing and be glad! unsers Herzens Wonne Our hearts’ delight leit in praesepio, lies in a manger Gelobet seystu, Jesu Christ, Praised be you, Jesus Christ, und leuchtet als die Sonne, and shines like the sun daß du Mensch geboren bist, that you were born a man, matris in gremio: in his mother’s lap: von einer Jungfrau, daß ist wahr, from a virgin, this is true, Alpha es et O. Alpha art thou and Omega. des freuet sich der Engel Schar. Kyrieleis. therefore the angel host rejoices. Lord, have mercy.

8 9 Singet und klinget ihr Kindelein, Sing and let your voices ring, children, laßt euch hören mit Gesängelein let your songs be heard, sagt mit euren Züngelein say with your tongues erschienen ist that the Holy Christ der Heilige Christ, hath appeared, der Jungfraun Kind Maria. child of the Virgin Mary. Singet ihr lieben Christen all, Sing, all you beloved Christians, laßt euch hörn mit großem Schall, let yourself be heard with resounding voice, habet Fried und Wohlgefalln, peace is yours, and delight: erschienen ist the Holy Christ der Heilige Christ, hath appeared, der Jungfraun Kind Maria. child of the Virgin Mary. Eia! eia! O! O! Gott ist Mensch geboren heut, God is born a man today, hat erlöst die Christenheit and has redeemed Christendom Winner of the 2018 Gramophone Classical Music Blue Heron’s first CD, featuring music by von allem Leid. from all suffering. Award for , Blue Heron has been Guillaume Du Fay, was released in 2007. Between Heute er erschienen ist Today has appeared acclaimed by The Globe as “one of the Boston 2010 and 2017 the ensemble issued a 5-CD series der Heilge Christ in Israel, the Holy Christ in Israel, music community’s indispensables” and hailed by of Music from the Peterhouse Partbooks, including von Maria säuberlich, properly and mercifully Alex Ross in The New Yorker for its “expressive many world premiere recordings of works copied elendiglich. from Mary. intensity.” The ensemble ranges over a wide reper- c. 1540 for Canterbury Cathedral and restored by Groß ist sein herrlicher Nam Emanuel, Great is his glorious name, Emmanuel, toire from plainchant to new music, with partic- Nick Sandon; the fifth CD was awarded the 2018 wie das hat verkündt der Engel Gabriel. as was proclaimed by the angel Gabriel. ular specialities in 15th-century Franco-Flemish Gramophone Classical Music Award for Early polyphony and early 16th-century English sacred Music and the five discs are now available as a music, and is committed to vivid live performance set entitled The Lost Music of Canterbury. In 2015 informed by the study of original source materials Professor Jessie Ann Owens and Blue Heron won and historical performance practices. the Noah Greenberg Award from the American Musicological Society, providing initial stimulus Founded in 1999, Blue Heron presents a concert for the world premiere recording of Cipriano de series in Cambridge, Massachusetts, and has Rore’s I madrigali a cinque voci, which was released appeared at the Boston Early Music Festival; in October. In 2015 Blue Heron also embarked on in New York City at Music Before 1800, The Ockeghem@600, a multi-season project to perform Cloisters (Metropolitan Museum of Art), and the complete works of Johannes Ockeghem (c. the 92nd Street Y; at the Library of Congress, the 1420-1497), which will wind up around 2021 National Gallery of Art, and Dumbarton Oaks in in time to commemorate the composer’s circa- Washington, D.C.; at the Berkeley Early Music 600th birthday. A parallel project to record all of Festival; at Yale University; in , Cleveland, Ockeghem’s songs and motets bore its first fruits Kansas City, Milwaukee, Montreal, Pittsburgh, this fall with the November release of Johannes Philadelphia, Providence, St. Louis, San Luis Ockeghem: Complete Songs, Volume I. Blue Obispo, Seattle, and Vancouver; and in Cambridge Heron’s recordings also include a CD of plain- and London, England. Blue Heron has been in chant and polyphony that accompanies Thomas residence at the Center for Early Music Studies Forrest Kelly’s book Capturing Music: The Story at Boston University and at Boston College, and of Notation and the live recording Christmas in has enjoyed collaborations with A Far Cry, Dark Medieval England. Horse Consort, Les Délices, Parthenia, Piffaro, and Ensemble Plus Ultra.

10 11 Orchestra, Co-Director of the New York-based Boulez’s Le marteau sans and Mozart’s early music ensemble Quicksilver, and Principal maitre with Boston Musica with True Concord, both Player with ’s Fire, and she performs with a Viva and Schoenberg’s in Alice Tully Hall at plethora of other ensembles across the nation and Pierrot lunaire with Lincoln Center. Exciting abroad. As a full-time Senior Instructor in the Music Ensemble Parallax. Ashe upcoming perfor- Department at Case Western Reserve University, holds a DMA and an MM mances include Handel’s she teaches early music performance practices and from The New England with the Calgary directs the and Dance Ensembles; Conservatory and a BM Philharmonic Orchestra she is also Teacher of Baroque Violin at the Cleveland from the Hartt School and Clerambault’s Médée Institute of Music. Special teaching engagements of Music. Formerly on with the American include a bi-annual residency at the Juilliard School the faculties of the College of the Holy Cross and Classical Orchestra. Megan sings frequently with and invitations to lead workshops at learning insti- Eastern Connecticut State University, she currently many of the most prestigious ensembles in North The early music ensemble Dark Horse Consort tutions, most recently the Oberlin Conservatory, teaches voice, piano, and ukulele at the Dana Hall America including The Choir of Trinity Wall is dedicated to unearthing the majestic late the Peabody Conservatory, Indiana University, and School of Music in Wellesley and preschool music Street, The Clarion Music Society, The American and early Baroque repertoire for brass the University of Michigan. A native of Boise, Idaho, at Music Together Arlington. Classical Orchestra, True Concord, The Santa Fe instruments. Inspired by the bronze horse statues Andrijeski holds a doctoral degree in Early Music Desert Chorale, Yale Choral , Seraphic Fire, in Venice’s famed St. Mark’s Basilica, the ensemble from CWRU and Violin Performance degrees from Michael Barrett is a and Ensemble Origo. Born and raised in Sherwood brings to new life the glorious sounds of composers Northwestern University (M.M.) and the University Boston-based conductor, Park, Alberta, she now pursues an active perfor- such as Giovanni Gabrieli, Claudio Monteverdi, of Denver (B.M.). Her recordings can be found on singer, multi-instrumen- mance career based in Montreal. She received her and Heinrich Schütz. Dark Horse often expands Acis Productions, Dorian Recordings, Avie, Koch, talist, and teacher. He MMus from Yale University and her BMus from to include vocalists and strings to recreate the Centaur, Musica Omnia, and various indepen- has performed with many the University of Alberta. rapturous kaleidoscope that was the sound of the dent labels. In 2016 she was awarded a Creative professional early music early 17th-century ensemble. Dark Horse Consort Workforce Fellowship ensembles, including Pamela Dellal, mezzo-so- has been featured by the San Francisco Early from Cuyahoga County Blue Heron, the Boston prano, has enjoyed a Music Series, the Boston Early Music Festival, the (Ohio) Arts and Culture Camerata, the Huelgas distinguished career Renaissance and Baroque Society of Pittsburgh, and the Thomas Binkley Ensemble, Vox Luminis, as an acclaimed soloist and The Academy of Early Music in Ann Arbor, Award from Early Music the Handel & Haydn Society, Boston Baroque, and recitalist. She has and at numerous venues throughout North America in recognition for Nederlandse Bachvereniging (Netherlands Bach performed in Symphony America, including collaborations with vocal and her outstanding achieve- Society), L’Académie, Seven Times Salt, Schola Hall, the Kennedy Center, instrumental groups such as The Toronto Consort, ment in performance and Cantorum of Boston, and Exsultemus. He can be Avery Fisher Hall, and Blue Heron, The Rose Ensemble (Minneapolis), scholarship as CWRU heard on the mundi, Blue Heron, and the Royal Albert Hall, Piffaro (Philadelphia), TENET (New York), Spire ensemble director. Coro record labels. Michael has served as music and premiered a chamber (Kansas City), Catacoustic Consort (Cincinnati), director of Convivium Musicum since 2007. He work by John Harbison in New York, San Francisco, Bach Society Houston, Bach Collegium San Mustering up “rock solid technique” and “the kind also directs the Meridian Singers, a vocal ensemble Boston, and London. With , Dellal has Diego, Bach Vespers at Holy Trinity Lutheran of vocal velvet you don’t often hear in contempo- based at MIT. Michael is currently an Assistant recorded the music of Hildegard von Bingen and (New York), Seicento Baroque (Boulder), and the rary music” (Boston Phoenix), soprano Jennifer Professor at the Berklee College of Music, where toured the US, , and Australia. Passionate Clarion Music Society (New York). Upcoming Ashe has been praised for performances that are he teaches courses for undergraduates. about chamber music, early music, and contem- performances include Monteverdi’s 1610 Vespers “pure bravura, riveting the audience with a radiant porary music, she has appeared frequently with with TENET and the Green Mountain Project in and opulent voice” (The Boston Globe). A strong Praised for her “light, fleet soprano” and “soaring, Dinosaur Annex, Boston Musica Viva, Ensemble Venice, Italy, and a concert on the Chamber Music advocate of new works, she has sung with Boston diamantine high notes” ( News), Grammy- Chaconne, Blue Heron, and the Musicians of the Northwest series in Portland, Oregon. Musica Viva, Sound Icon, Fromm Festival, Boston and Juno-nominated soprano Megan Chartrand Old Post Road. She has been a regular soloist in Microtonal Society, Harvard Group for New Music, feels equally at home singing early music, art song, the Emmanuel Music Bach Cantata series for thir- Julie Andrijeski is a performer, scholar, and New Music Brandeis, New Gallery Concert Series, chamber music, and concert repertoire. Notable ty-five years and has performed almost all 200 of teacher of early music and dance. She is Artistic Guerilla Opera, Ludovico Ensemble, and the solo performances include Dalila in Handel’s Bach’s extant sacred cantatas. She has forty commer- Director and Concertmaster of the Atlanta Baroque Callithumpian Consort. Recent projects include Samson with the American Classical Orchestra cial recordings, including for Artona, BMG, CRI,

12 13 Dorian, Meridian, and KOCH. Dellal serves on the Festival, the Music Center, Cantata conductors Christopher highlights include productions of Handel’s Giulio faculty at the Boston Conservatory at Berklee and at Singers, Boston Cecilia, Prism Opera, Boston Hogwood, Edo de Waart, Cesare and Gregory Spears’s Fellow Travelers with the Longy School of Music of Bard College. Revels, Collage, the Boston Modern Orchestra Seiji Ozawa, Craig Smith, Boston Lyric Opera, and various programs with Project, and Intermezzo. Paul can be heard on Martin Pearlman, Harry Blue Heron, with whom he has performed regu- Equally at home on all Blue Heron’s recordings, on discs of medieval Christophers, Grant larly since 2011. modern and period music by Sequentia, Kurt Weill’s Johnny Johnson and Llewellyn, and Bernard instruments, violist and French airs de cour with the , and Haitink. She has an exten- Reviewers have praised Jason McStoots as having violinist Anna Griffis on Emmanuel Music’s Bach CDs. sive discography of solo an “alluring tenor voice” (ArtsFuse) and as “the has given recitals in and chamber works, consummate , wielding not just a sweet Mexico, Turkey, Austria, Greg Ingles attended high including the viola da tone but also incredible technique and impec- Taiwan, and throughout school at the Interlochen gamba sonatas of J. S. Bach and music of Marin cable pronunciation” (Cleveland Plain Dealer). In North America. She is Arts Academy and went Marais, Buxtehude, Rameau, Telemann, and 2015 he won a Grammy a member of the New on to graduate from the Clerambault. She teaches at Boston University, award in Opera with Bedford Symphony (prin- Oberlin Conservatory Wellesley College, and Harvard University, where the Boston Early Music cipal), Albany Symphony, Hartford Symphony, and and SUNY Stony Brook. in 2016 she received an award of distinction in Festival (BEMF) for their Grand Harmonie (principal), and performs with Before his career in early teaching from the Derek Bok Center for Teaching recording of works by the Rhode Island Philharmonic, Emmanuel Music, music, Greg was the and Learning. She is a 2017 recipient of an Andrew Charpentier. His recent Marsh Chapel Collegium, Boston Baroque, Les Solo Trombone in the W. Mellon Blended Learning Initiative Grant for stage appearances in peri- Bostonades, and Arcadia Players. She co-founded Hofer Symphoniker. He innovative teaching at Wellesley College. od-style baroque opera Trio Speranza, prize winners at the 2014 Early enjoys unearthing rarely-heard gems as the music with BEMF include Le Jeu Music America baroque competition, and performs director of the early brass ensemble Dark Horse Hailed for his “voice of in Les plaisirs de Versailles with and is executive director of the Ludovico Consort. Greg is a member of Piffaro and made seductive beauty” (Miami by Charpentier, Apollo in Monteverdi’s Orfeo, Ensemble, a group focused on music of the his Carnegie Hall debut with Quicksilver in the Herald), baritone David and Eumete and Giove in Monteverdi’s Il ritorno European avant-garde. Anna studied at Lawrence 2018-19 season. He has played with such ensem- McFerrin has won crit- d’Ulisse in patria. Other recent solo performances University, The Hartt School of Music, Tanglewood bles as the , Chatham ical acclaim in a variety include Pedrillo in Mozart’s Abduction from the Music Center, and Boston University. In addition Baroque, Concerto Palatino, The Handel & Haydn of repertoire. His opera Seraglio, Bach’s Christmas Oratorio and St. Mark to her performing career, she is on faculty at the Society, and Tafelmusik. He played with the Globe credits include Santa Fe Passion with Emmanuel Music, and Monteverdi’s Dana Hall School of Music, maintains a private Theater in their Broadway debuts ofTwelfth Night Opera, Seattle Opera, Vespers of 1610 with the Green Mountain Project. studio, and oversees public relations for the Tufts and Richard III. Greg is currently the Lecturer in Florida Grand Opera, He has appeared with Boston Lyric Opera, University Music Department. She lives in the great at Boston University and teaches at the the Rossini Festival in Pacific MusicWorks, Boston Camerata, TENET, neighborhood of Lower Allston with her bassoonist Madison Early Music Festival each summer. Germany, and numerous appearances with Boston San Juan Symphony, The Bach Ensemble, Pablo husband and their cat, Pig. Lyric Opera and other local companies. As concert Casals Festival, Early Music Guild of Seattle, Laura Jeppesen received a master’s degree from soloist he has sung with the Cleveland Orchestra, Tragicomedia, and the Tanglewood Music Center. Bass-baritone Paul Guttry has performed Yale University and subsequently studied the viola Israel Philharmonic, , He is a core member of Blue Heron and can be throughout the USA and internationally with da gamba at the Hamburg Hochschule and the Apollo’s Fire, and Boston Pops. He was runner-up heard on all their recordings. With BEMF, he Sequentia, Chanticleer, Brussels Conservatory. She has been a Woodrow in the Oratorio Society of New York’s 2016 appears on recordings of Lully’s Psyché (nomi- the Boston Camerata, and Wilson Designate, a Fulbright Scholar, and a Lyndon Woodside Solo Competition, the premier nated for a Grammy), Handel’s (as New York’s Ensemble for fellow of the Bunting Institute at Harvard. A prom- US contest for this repertoire. He has performed Damon), John Blow’s (soloist), Early Music. A founding inent member of Boston’s early music commu- chamber music and in recital at the Caramoor, and Charpentier’s Actéon (as Orphée). member of Blue Heron, he nity, she has long associations with The Boston Ravinia, and Marlboro Festivals. Last season he has also appeared in and Museum Trio, Boston Baroque, the Handel & sang the roles of Aeneas in Purcell’s Dido and Scott Metcalfe is widely recognized as one of North around Boston as soloist Haydn Society, the Boston Early Music Festival, Aeneas with the Handel & Haydn Society and America’s leading specialists in music from the 15th with Emmanuel Music, the and Aston Magna. In 2015 she was part of the Junius in Britten’s Rape of Lucretia with Boston through the 17th centuries and beyond. From 2010 Handel & Haydn Society, BEMF team that won a Grammy for best opera Lyric Opera, and made his debuts with Odyssey to 2019 he was also music director of New York City’s the Boston Early Music recording. She has performed as soloist with Opera and Boston Early Music Festival. Upcoming Green Mountain Project (Jolle Greenleaf, artistic

14 15 director) and he has been concertmaster) of The St. John’s Chorale and in 2019, and Richard Mack Ramsey is a guest director of TENET Chamber Orchestra (Long Island), New York Rodney Bennett’sOphelia specialist in performance (New York), the Handel & Baroque, The Trinity Consort (Portland, Oregon), (1987) with Boston’s of Renaissance and Haydn Society (Boston), The Montreal , and Ensemble Odyssey Opera under baroque music on instru- the Tudor Choir and Seattle L’harmonie des saisons (Quebec), and a frequent the artistic direction of ments of the periods, Baroque, Pacific Baroque guest director with ensembles such as The Gil Rose. Mr. Near main- playing sackbut, recorder, Orchestra (Vancouver, Portland Baroque Orchestra, The Seattle Baroque tains a parallel career in Renaissance flute, lute BC), Les Délices and Orchestra, The New York Collegium, Trinity the pipe organ industry, and classical era trom- Quire Cleveland, and other Wall Street Baroque Orchestra, Les Boréades des providing services in bones. He enjoys a rich ensembles; this season he Montreal, Les Voix Baroques, and Les Délices. organ pipe reconditioning variety of performance has been invited to direct both the Toronto Consort As conductor, harpsichordist, organist, guitarist, and repair, voicing, tonal finishing, and tuning for experiences, ranging from fifteenth century wind in a 15th-century program and the Dryden Ensemble and bassist, he has over 60 CD releases to his Spencer Organ Company of Waltham, and he has band ensembles to Brahms symphonies. Besides in Bach’s St. John Passion. Metcalfe also enjoys a credit, garnering awards such as The Juno Award also been known to compose, arrange, and engrave his Dark Horse Consort schedule, he is frequently career as a baroque violinist, playing with Les Délices (Canada) for Best Vocal/Choral CD of 2016, using Finale. called to appear with baroque orchestras across (dir. Debra Nagy) and L’Harmonie des Saisons (dir. The Opus Prize (Quebec) for best Early Music the nation, such as San Franmcisco’s Philharmonia Eric Milnes). His scholarly activities include research CD of 2017, Toccata Magazine (Germany) Early Alexandra Opsahl Baroque Orchestra, Boston’s Handel and Haydn on the performance practice of English vocal music Music CD of the month, and WQXR New York studied recorder with Society, Trinity Wall Street Baroque Orchestra, in the 16th and 17th centuries, including two essays CD of the Month. He has appeared as conductor Peter Holtslag and Daniel Clarion Society, Apollo’s Fire, Portland Baroque that will be published in a forthcoming book, and he and keyboard artist at many international festi- Bruggen at the Royal Orchestra, and Mercury Houston. has edited music by Francisco de Peñalosa for Antico vals, including those in Utrecht, Bruges, London, Academy of Music, and Edition (UK) and songs from the recently rediscov- Regensburg, Dresden, Potsdam, Passau, Boston, cornetto with Bruce Erik Schmalz, an early ered Leuven chansonnier for the Alamire Foundation and Berkeley, and the Mostly Mozart Festival Dickey at the Schola brass specialist, can be (Belgium); a longterm project is a new edition of the in New York, and recent tours have taken him Cantorum Basiliensis. heard on numerous songs of Gilles Binchois (c. 1400-1460). Metcalfe throughout Europe and to Japan, China, Bolivia, While still a student, recordings, including a has taught at Harvard University, Boston University, and Chile. Distinguished artists with whom he she received First Prize 2013 Grammy-nominated Boston Conservatory, and Oberlin Conservatory, has recorded and performed include Gustav in the 2003 Moeck Solo Recorder competition. album by The Choir of this year he is a visiting member of the faculty of Leonhardt, Andrew Parrott, Wieland Kuikjen, Alex has performed with the Amsterdam Baroque Trinity Wall Street and Music History at The New England Conservatory. Barthold Kuikjen, Sigiswald Kuikjen, Reinhard Orchestra under Ton Koopman, the Orchestra The Trinity Baroque He received a bachelor’s degree from Brown Goebel, Fabio Biondi, Christophe Rousset, and of the Age of Enlightenment under Emmanuele Orchestra. Erik works University (1985), where he majored in biology, and Debra Nagy. He holds degrees from Columbia Haim, the Boston Early Music Festival, I Fagiolini, internationally with pres- a master’s degree in historical performance practice University and The Juilliard School, and has been La Capella Barocca di Mexico, the Carmel tigious ensembles, including Piffaro, Philharmonia from Harvard (2005). director of music at Episcopal Churches in New Bach Festival, Piffaro, and the Green Mountain Baroque Orchestra, Tafelmusik, Handel and York for over 40 years. Project. She performed in Il Ritorno d’Ulisse at Haydn Society, Apollo’s Fire, Green Mountain Eric Milnes has been happily collaborating with the Innsbrucker Festwochen der Altenmusik in Project, Washington National Cathedral Baroque Scott Metcalfe for 33 years (from the time they met Martin Near has been acclaimed for the “sweet 2017, and filmedL’Incoronazione di Poppea with Orchestra, and Dark Horse Consort, performing on at the Ringve Early Music limpidity” of his singing (The New York Times), with both Oslo Opera and Glyndebourne Opera. Renaissance through romantic period trombones, Festival in Trondheim, a “cool, beaming countertenor” commended for She has recorded Vivaldi’s Concerto in C Minor, Renaissance slide trumpet, and recorder. In addi- Norway, in 1986), most its “crystal clear…beautiful, blooming top notes” RV 441, with the Norwegian period orchestra tion, he was cast as one of the seven instrumental- recently as recording (New York Classical Review). He enjoys a varied Barokkanerne, and the J. D. Berlin cornetto ists in the Globe Theater’s productions ofRichard producer for each of career exploring twin passions for early music and concerto with the Norwegian Baroque Orchestra. III and Twelfth Night, the first time Broadway has Blue Heron’s critically new music. Highlights of recent solo performances Alex is a founding member of both Tesserae and used period instruments exclusively. Erik received acclaimed CD releases. include a concert version of Machaut’s Remede de Dark Horse Consort. degrees in trombone performance from Oberlin Milnes has been the Fortune, created as a collaboration between Blue Conservatory of Music and the University of Director (very frequently Heron and Cleveland’s Les Délices (Debra Nagy, Cincinnati College-Conservatory of Music. He with Scott Metcalfe as director) and returning to Blue Heron’s season resides in Collinsville, Connecticut.

16 17 Tenor Mark Sprinkle’s the Boston Modern Orchestra Project, and her violin band. She Louisiana Philharmonic, Mozart’s Exsultate, jubi- singing has been Carnegie Hall and Lincoln Center debuts with the has played viola da gamba, late with New World Symphony and the Handel described as “expres- New York City Chamber Orchestra. In 2014 she lirone, or principal cello & Haydn Society, and Handel’s Messiah with the sive,” “very rewarding,” was awarded second place in the American Prize for the Boston Early Music Charlotte, San Antonio, Alabama, and Houston “outstanding,” “vivid,” Competition’s art song and oratorio division. A Festival, Emmanuel Music, Symphonies. In addition, she performs with many and “supremely stylish.” champion of modern music, Ms. Tengblad curated the Handel & Haydn of North America’s top early music ensembles, He has collaborated with the award-winning touring program Modern Society, Seattle Baroque, including Mercury Baroque Orchestra, Apollo’s the Boston Early Music Dickinson (www.moderndickinson.com), launched Portland Baroque, Fire, Vancouver Early Music, Pacific Musicworks, Festival, the Boston the recital project BeatSong for soprano and percus- New York Collegium, and Atlanta Baroque. Camerata, the Mark sion, and premiered Shirish Korde’s Questions for the Trinity Consort Morris Dance Group, Emmanuel Music, Boston Moon with members of the Silk Road Project. She (Portland, Oregon), Les Violons du Roy, Les Charles Weaver is on Baroque, the Handel & Haydn Society, and many sings with the Grammy-winning ensemble Boréades (Montreal), Montreal Baroque Festival, the faculty of the Juilliard others, performed at festivals in Bergen (Norway), Conspirare and the Lorelei Ensemble. Les Bostonades, TENET, and the Green Mountain School, where he teaches Vancouver, Edinburgh, and Aldeburgh (UK), and Project. Current chamber ensembles include Les historical plucked instru- worked as a soloist and ensemble singer under Seiji Kiri Tollaksen enjoys Délices (Cleveland) and Nota Bene Consort of ments and Baroque music Ozawa, Christopher Hogwood, William Christie, a varied career as a . Her playing has been described as “soulful and theory. He was music Roger Norrington, John Nelson, Andrew Parrott, performer and teacher. expressive” by The New York Times. director for Cavalli’s Grant Llewellyn, and Craig Smith. He has appeared Praised for her “stunning La Calisto with New as a soloist with Concerto Palatino and has sung technique, and extreme Praised for her “bejew- York’s Dell’Arte Opera the Evangelist in Bach Passions with the Handel musicality” (Journal of eled lyric soprano” in summer 2017, when & Haydn Society, the Boulder Bach Festival, the the International Trumpet (The Boston Globe), as “a The Observer remarked on “the superb baroque Oriana Singers of Vermont, Seraphim Singers, Guild), and called an marvel of perfect into- band led by Charles Weaver … it was amazing Boston’s Chorus Pro Musica, and the Andover “excellent cornetto player” nation and pure tone” to hear what warm and varied sounds he coaxed Choral Society, among others. Mr. Sprinkle was a (The New York Times), (New York Arts), and from the ensemble.” He has served as assistant member of the Cambridge Bach Ensemble and a Kiri is a member of the highly regarded early brass with a voice of “extraor- conductor for Juilliard Opera and has accompa- fellow of the Britten-Pears School and has recorded ensemble Dark Horse Consort and has performed dinary suppleness and nied with the Yale Baroque Opera Project for Dorian, Koch, Harmonia Mundi, Decca, extensively throughout North America and beauty” (The New York and the Boston Early Music Festival. As an orches- Arabesque, and Telarc. Europe with such groups as Concerto Palatino, La Times), soprano Teresa tral musician, he has performed with the New York Fenice, Toronto Consort, TENET, Piffaro, Pacific Wakim was First Prize Winner of the International Philharmonic, the Philadelphia Orchestra, and Recent solo highlights for soprano Sonja DuToit MusicWorks, Tesserae, and Apollo’s Fire. With Soloist Competition for Early Music in the Virginia Symphony. His chamber appearances Tengblad include Mahler’s 2nd Symphony with degrees from Eastman, Yale, and the University Brunnenthal, Austria. Much sought-after in have included Quicksilver, Piffaro, Chamber Music the Boston Philharmonic, Barber’s Knoxville: of Michigan, Kiri has served on the faculty of Europe and North America, she has performed Society of Lincoln Center, the Folger Consort, Summer of 1915 with the Boston Landmarks Indiana University (Bloomington), Brass Antiqua under the batons of Ton Koopman, Roger Apollo’s Fire, Blue Heron, Musica Pacifica, and Orchestra, Vivaldi’s Juditha triumphans (Abra and (Virginia), and the Amherst and Madison Early Norrington, Harry Christophers, , others. He also works with the New York Continuo Ozias), Monteverdi’s Il ritorno d’Ulisse in patria (La Music Festivals. She lives happily in Ann Arbor, Martin Haselböck, and Nicholas McGegan. Collective, an ensemble that mounts workshop Fortuna and Giunone; Michigan, with her husband and two cats. Noted solo engagements include Bach’s Mass in B productions of seventeenth-century vocal music. Grammy-nominated Minor, St. John Passion, and Magnificat with the He has taught at the Lute Society of America recording with Linn Emily Walhout grew up playing the cello and piano, Amsterdam Baroque Orchestra, Bach’s Wedding Summer Workshop, the International Baroque Records) and Mozart’s but it was not until college that she discovered her Cantata and Mendelssohn’s Hear My Prayer with Institute at Longy, and the Madison Early Music Die Zauberflöte (First love for baroque bass lines. At Oberlin Conservatory the Cleveland Orchestra, the Kyrie and Gloria Festival, and is the schola director at St. Mary’s Lady) with Boston she took up baroque cello and viola da gamba, thus from the with the San Francisco Church in Norwalk, Connecticut. He is currently Baroque; Bach’s St. John launching an active career in early music. She was a Symphony, Monteverdi’s Vespers of 1610 with pursuing a doctoral degree in at the Passion with the Handel & founding member of La Luna, an ensemble of two Boston Baroque, Bach’s Magnificat with Wiener City University of New York. Haydn Society, Knussen’s violins and continuo devoted to music of the 17th Akademie Orchester, Brahms’s Requiem with the Symphony No. 2 with century, and of the King’s Noyse, a Renaissance Omaha Symphony, Bach’s Mass in B Minor with

18 19 ACKNOWLEDGEMENTS Katie and Paul Buttenwieser Barry Kernfeld and Sally McMurry Mary Eliot Jackson, in honor of Paul Guttry Martha Maguire and Oleg Simanovsky Blue Heron’s existence as a performing ensemble is made possible by the devotion, hard work, and fi- Richard O'Connor and Julianne Lindsay Kenneth and Karen Near nancial support of a community of board members, staff, volunteers, donors, and concertgoers. Many Michael P. McDonald Cindy and Peter Nebolsine thanks to all those who join us in creating, nurturing, and sustaining an organization dedicated to Scott Metcalfe Virginia Newes making the music of the 15th and 16th centuries come alive in the 21st. Catherine and J. Daniel Powell Tracy Powers Richard L. Schmeidler Harold I. and Frances G. Pratt A thousand thanks to Holly Druckman for her quick and amazingly accurate work preparing scores Ann Besser Scott Tom Regan and parts for the program. Christoph and Barbara Wolff Jonathan Sutton,in honor of Lois Wasoff Judith Ogden Thomson Blue Heron is extraordinarily fortunate to work with a slate of talented, skilled, and devoted designers, PATRON ($600 – $1,249) engineers, videographers, and photographers. Our programs, printed publicity materials, and CDs are Gail and Darryl Abbey SUPPORTER ($125 – $299) designed by Melanie Germond and Pete Goldlust. FlashPrint in Harvard Square prints our programs. Thom and Rebecca Barrett Anonymous (4) Erik Bertrand built and maintains our website. Our concerts are recorded by Philip Davis (Cape Ann John Paul Britton and Diane Britton Julie Rohwein and Jonathan Aibel Recordings) or Joel Gordon. Joel is also the engineer for our CDs, working with our producer Eric James Burr Wes Bockley Milnes. Kathy Wittman (Ball Square Films) is our videographer and Liz Linder is our photographer. Megan Y. Chartrand Barbara Boles Our debt to these wonderful people who have shaped our look and sound is impossible to overstate. Elizabeth Davidson Jill Brand and Thomas Nehrkorn Damon and Julia Dimmick Anne Chalmers and Holly Gunner We are very grateful to the gracious hosts who offer their hospitality to musicians from out of town. Helen Donovan and Holly Nixholm Keith Ohmart and Helen Chen This week we extend our gratitude to Laura Jeppesen and Daniel Stepner and to Jaylyn Olivo and Dale John F. Dooley Robert Cochran Flecker. Alan Durfee Nathaniel S. and Catherine E. Coolidge Eastern Bank Charitable Foundation Catherine Davin, in memory of Joe Davin Many thanks to our board and to all our dedicated volunteers for their help this evening and through- Hope Hare Philip E. Devine out the year. We are honored and grateful to have so many generous donors. Robert J. Henry Diana Digges Tom and Kathy Kates Aaron Ellison John Lemly and Catharine Melhorn Kathleen Fay and Glenn KnicKrehm Mastwood Charitable Foundation Christian and Michele Fisher

DONATIONS RECEIVED Anne H. Matthews and Edward F. Fay, Jr. Laurie J. Francis between December 16, 2018 and December 16, 2019 Susan Miron Carole Friedman Jerome and Janet Regier Nancy L. Graham ARCHANGEL ($10,000 +) BENEFACTOR ($2,500 – $4,999) Robert B. Strassler David Harrison Anonymous Diane L. Droste Bettina Siewert and Douglas Teich Peter and Jane Howard John A. Carey, in honor of Scott Metcalfe, Jessie Anonymous Nicholas H. Wright Mark M. Howland Ann Owens, and Alessandro Quarta Fred Franklin and Kaaren Grimstad John Yannis Richard F. Hoyt, Jr. Philip H. Davis Paul Guttry Jane Wegscheider Hyman Dorrie Parini and Paul LaFerriere Mary Briggs and John Krzywicki SPONSOR ($300 – $599) IBM International Foundation Harry J. Silverman Andrew Sigel Joseph Aieta, III Louis Kampf and Jean Jackson Joan Margot Smith Mark Sprinkle Thomas N. Bisson Joann Keesey Erin E. M. Thomas Marie Brown David Kiaunis ANGEL ($5,000 – $9,999) Lynda Ceremsak and F. George Davitt Jo-Ann and Edgar Kuklowsky Anonymous (2) GUARANTOR ($1,250 – $2,499) Martha S. Dassarma Tom and Kathy Kurz William and Elizabeth Metcalfe Anonymous (2) Carl and May Daw Rob and Mary Joan Leith James Catterton & Lois Wasoff Charitable Gift Fund Peggy Badenhausen and Tom Kelly Pamela Dellal, in honor of John Yannis Karin Levy Michal Truelsen and Jody Wormhoudt Carrie Bradley David R. Elliott Deborah Malamud and Neal Plotkin Peter Belknap and Jennifer Snodgrass Peggy and Jim Bradley Jean and Alex Humez Catherine R. Matthews,in honor of Laura Zoll

20 21 Erin Doherty and David McFerrin Martha W. Davidson David Snead Board of Directors Volunteers William McLaughlin Charles and Sheila Donahue Janet Stone Peter Belknap, president Gail Abbey Lisa Ambrose Meyer Robert Dulgarian Jan Sutcliffe & Kent Devereaux Harry Silverman, treasurer Darryl Abbey Seanan Murphy Todd Estabrook Ann Van Dyke Richard Schmeidler, clerk Daryl Bichel Debra Nagy, in honor of Scott Metcalfe Judy and Henry Feldman Dr. Marsha Vannicelli Mary Briggs Pam Borys Jaylyn Olivo and Dale Flecker Jill Feuerstein,in honor of Laura Zoll Sonia Wallenberg Philip H. Davis Jill Brand Monika Otter Andrea Golden Carol Wetmore, in memory of Damon Dimmick Sue Delaney Stephen H. Owades Audrey Goldstein,in honor of Laura Zoll Joan Yannis Scott Metcalfe Mary Jane Doherty Beth Parkhurst,in memory of Cheryl M. Susan Griffin,in honor of Laura Zoll Heather Wiley and Peter Renz Jennifer Farley Smith David Fillingham Parkhurst William Miniscalco and Sarah Guilford T. Walley Williams III Laura Zoll Shirley Fountain John Puffer and Lila Terry Theodore Marriner Hammett Martin and Wilner Matthew Gin Lee Ridgway Arnie Harris Lloyd Van Lunen and Margaret Operations Manager Pepper Greene Katy Roth Miriam Hartstein Wilson Janet Stone Alexandra Hawley Nancy and Ronald Rucker William L Harwood, in honor of Bill Metcalfe Shari Wilson, in honor of Scott Anne Kazlauskas Cheryl K. Ryder Aurliee Hawley Metcalfe Development Projects Mary Kingsley Michael Scanlon Eiji Miki and Jane Hever Linda M. Wolk Carole Friedman Diana Larsen Ronald V. Lacro and Jon P. Schum Joseph Hunter and Esther Schlorholtz Elizabeth Wylde Tina Lavoie Dr. David L. Sills Evan Kaiser Stage Manager Bob Loomis Jennifer Farley Smith and Sam Rubin Adrienne Korman, in honor of Laura Zoll Amanda Otten Hannah Loomis Dr. E. K. Thomas Benjamin Krepp Elena Loomis Anne Umphrey Mary Ellen Geer and Philip LaFollette Pyrotechnic Engineer Ian McGullam Binney and Bob Wells Barbara Lambert Anne Kazlauskas Thomas Nerkhorn Alex Yannis Penelope Lane John Nesby Jane Levin, in honor of Laura Zoll Anna Nowogrodzki FRIEND ($50 – $124) Margaret Lias Beth Parkhurst Anonymous (5) Theodore Macdonald Christopher Petre Dorothy Africa James Martin Karen Prussing Alan Amos Jameson and Polly Marvin Brian Riggs Andy and Margaret Ashe Honor McClellan Samuel Rubin Jeffrey Del Papa and Susan Assmann Terry McEnany and Margie Bride Cheryl Ryder Lois Banta Karen Miller and Laurence Starn Dan Schenk James Beck Stephen Moody Kristin Sexton Elaine V. Beilin and Robert H. Brown Jr. Perry and Susan Neubauer Susan Singer Sylvia Berry and Dale Munschy Nickerson, Sarah Jennifer Farley Smith Katharine C. Black Glenn Orlic Brooks Sullivan Emily Blatt, in honor of Laura Zoll Susan Cornwall and Nick Pappas Charlotte Swartz Julia Blatt & Ken Siskind,in honor of Laura Zoll Cheryl Poole Erin E.M. Thomas Jesse Blumberg Linda Ramsey David Traugot Chantal Boiardi Prof. G.R. Rastall,in honor of Nick Sandon Sonia Wallenberg Spyros Braoudakis Bill Riley Ava Ziporyn Edward and Matilda Bruckner Robert and Kathy Rood David and Angela Corbet Vanessa Rood, in honor of Margot Rood Dennis Costa Susan Sargent Jane and Leah Costlow Anne and John Shreffler Wallace and Barbara Dailey Elyse Shuster,in honor of Laura Zoll

22 23 COLOPHON GRAPHIC DESIGN: Blue Heron graphic by Meg Joyce of InKind Design / Program design by Melanie Germond COVER: Altar Painting at Kerk Sint-Jacob, Antwerp by Otto Van Veen (c.1591 - 1610) ALL PHOTOS OF BLUE HERON & SCOTT METCALFE: Liz Linder PROGRAM CONTENT: © 2019 Blue Heron