45Th Season Bruce Hangen, Artistic Director & Conductor You Us We Believe That Navigating Your Financial Path Is Easier with Someone to Help Guide You

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Making Music ... Creating Community

Now in its 34th year, Indian Hill Music is a thriving regional non-profit center for music education and performance, and community outreach. We are motivated by the belief that music inspires our hearts and minds, encourages the growth and development of the whole person, and is integral to the lives of everyone we serve.

• Our Community Music School offers lessons in 30+ instruments and voice for all ages in all musical styles – from classical and jazz to rock, roots, and pop. Whether you want to perform on stage, ace an audition, or play for your own personal development and enjoyment, we are here to help you grow as a musician.

• Indian Hill Music’s professional performance season is anchored by concerts of the critically-acclaimed, 70-member Orchestra of Indian Hill, led by Artistic Director and Conductor, Bruce Hangen. We also present live concerts by celebrated contemporary performers in jazz, world music, and bluegrass as well as outstanding professional chamber ensembles and soloists. • We believe that everyone should have the chance to participate in music! That’s why we invested over $125,000 last year in need-based student scholarships, free community events, free and low-cost educational programs for high-need public schools, free monthly concerts for seniors, and services like our unique Threshold Singers bedside choir for those in hospice care. These programs serve some 6,500+ people in 79 communities in our region.

The programs of Indian Hill Music are supported in part by a grant from the Massachusetts Cultural Council, a state agency, and INDIAN HILL MUSIC 2019 – 2020 SEASON with funds from the council administered by the Local Cultural Councils. 9 Looking to the Future:

Construction is well underway on our future world-class music education and performance center. Set on a stunning landscape in Groton, Massachusetts, the concert experience in our acoustically superb 1000-seat concert hall and 300-seat performance hall will be second to none. We are excitedly anticipating our opening in 2022, when we will bring you even more vibrant music experiences, designed to educate, energize, and enrich our communities.

Concept Rendering © Epstein Joslin Architects

10 Welcome to Indian Hill Music

Greetings, friends! Recently, we at Indian Hill Music engaged in deep discussions about who we are and what makes us a truly unique organization. Through this process, we were delighted (though not surprised) to discover that the values each of us associates with Indian Hill Music are remarkably consistent. We thought we would share with you what was reaffirmed as a result of this valuable exercise: A Community of Excellence Open to All We maintain the highest standards in music education and performance in a stimulating and inspiring environment. A Feeling of Home We are a warm, welcoming community where everyone is accepted, respected, and valued. Vibrant Experiences We energize and enrich lives through extraordinary musical experiences. Personal Growth We elevate people’s lives by offering opportunities to explore, create, flourish, and achieve their goals. Meaningful Connections We provide multiple pathways to music that encourage social interaction and create a sense of belonging. Giving Music Generously We make music accessible to all through philanthropic community engagement. Responsible Stewardship We are committed to caring for the resources entrusted to us and making prudent decisions regarding our organization to ensure a strong future. What is the key take-away from all this? As we look ahead to a future when Indian Hill Music will be a much larger and more diverse regional music destination, who we are will not change. This is the constant that has brought us this far, 34 years since our founding. These values will continue to guide our decisions, our relationships, and our commitment to you and everyone in the Indian Hill Music family, now and when we open our doors in Groton in three short years. We are grateful for the part each of you plays in embracing and perpetuating Indian Hill Music’s core values. And we look forward to an outstanding season ahead—of learning, listening, and sharing music with each other! Warm regards,

Lisa Fiorentino Peter Ashton Chief Executive Officer Chair, Board of Directors INDIAN HILL MUSIC 2019 – 2020 SEASON PHOTOS BY KAREN RIGGERT 11 Orchestra of Indian Hill Musicians, 45th Season

Bruce Hangen, Cello Bassoon Artistic Director Young Sook Lee Hazel Malcolmson, Stone Family Endowed Sponsored by Bob and Principal Music Director’s Chair Sue Lotz Wren Saunders Violin I Joseph Gotoff, Sponsored by Pam and Alice Hallstrom, Assistant Principal Griff Resor Concertmaster Priscilla Chew Contrabassoon The Reynolds Chair, George Hughen Susannah Telsey endowed in perpetuity Nathan Kimball Susan Randazzo Horn Li-Mei Liang, Associate Sponsored by Phil and Michael Bellofatto, Principal Concertmaster Dorothy Robbins Sponsored by John and Jane Dimitry Shay Rudolph Judy Robinson Allan Espinosa Sponsored by Bruce and Nancy Hudgins Sponsored by Randy Steere Sue Bonner Kimberly Harriman and Paul Landry Ashima Scripp Laura Crook Brisson Egle Jarkova-Roberts Bass Trumpet Anthony Morales Kevin Ann Green, Principal Mary-Lynne Bohn, Mona Rashad Sponsored by Principal Kay Rooney-Matthews Sheila LaFarge Sponsored by John and Jesus Saenz Robb Aistrup Barbara Chickosky Stuart Schulman Joseph Higgins Mark Emery, Sponsored by Carole Justin McCarty Assistant Principal and Art Prest Michael Simon Sponsored by Bobbie and Anabelle Tirado Hangen John Wall David Spiegelman Violin II Flute Trombone Stanley Silverman, Principal Melissa Mielens, Principal Peter Cirelli, Principal Lynn Basila, Sponsored by Ted Lapres Sponsored by Mary Assistant Principal and Connie Keeran Jennings and Jim Simko Sponsored by Jessica Lizak Alexei Doohovskoy Priscilla Endicott Piccolo Bass Trombone John Guarino Donald Robinson Todd Hamelin Ona Jonaityte Angel Hernandez Sponsored by Dave and Tuba Sponsored by an Karen Riggert Michael Stephan, Principal Anonymous Donor Oboe Timpani Susan Jensen Nancy Dimock, Principal Karl Seyferth, Principal Laura Papandrea Sponsored by David Nicki Payne Gaynor and Bernice Percussion Susan Turcotte-Gavriel Goldman in memory of Michael Ambroszewski, Caterina Yetto Toby Goldman Principal Viola English Horn Harp Amelia Hollander Ames, Jennifer Slowik Deborah Feld-Fabisiewicz, Principal Co-Principal Clarinet Peter Sulski, Co-Principal Hunter Bennett, Piano Sponsored by Simon S. Co-Principal Bonnie Anderson, Principal Jones and Richard Gioiosa Kelli O’Connor, Librarian Robert Kennedy Co-Principal Kate Weiss Dorcas McCall Sandra Halberstadt Darcy Montaldi Endowed Chairs Oleg Soloviev Bass Clarinet Red Chair Society Jennifer Tanzer William Kirkley INDIAN HILL MUSIC 2019 – 2020 SEASON Jing-Huey Wei String section musicians are listed 12 alphabetically after the principals. Artistic Director & Conductor & Hangen,Bruce Director Artistic Thank you forbeing here! rewarded many over. times four centuries. Listen to tonight’s program actively, and engagingly, and you be will sampling of world’s the greatest symphonic music, carefully chosen from last the That’swhy the Orchestra of Indian continuesHill to provide acompelling commands our sensibilities to approach life more meaningfully. It that is Art attracts us to helps them, world the us see as abetter place, and that Their creations are, all, after great(givenArt the capital “A” trueout respect). of ancestors,stylistic have much so to offerperformersboth as us, and listeners. Saint-Saëns, Brahms, Elgar, and Dvo sayingbe same the thing about more recent composers as well. Take Sibelius, I know future audiences and performers will 196, 185and 130years ago, respectively. picturesque today were asthey when conceived as exuberant, and Rimsky-Korsakov’s as blazingly ago. Rossini’s music is just as joyful, Berlioz’ just important!) today than to it society was 300 years Bach’s music is evenmore relevant (and world commit still to attending live concerts. schedules, and audiences like you around the orchestras maintain like us still active concert live music That’s experience. why symphony agree we that all I think nothing can replace a Welcome to our 45th Season! ák, forřák, instance. They,along withtheir From theArtisticDirector Above photo and cover photo by Karen Riggert. 13 INDIAN HILL MUSIC 2019 – 2020 SEASON Add Color to Your Orchestra!

Join our Red Chair Society by sponsoring an Orchestra of Indian Hill musician.

• Sponsor a Principal or Section chair • Memorialize or honor a loved one • Receive recognition in Indian Hill Music publications • Connect personally with your musician

For further information, please contact Catherine Coleman, Director of Development, at [email protected] or (978) 261-3800 x102

Making Music ... Creating Community

14 Orchestra of Indian Hill The Classics – How Romantic September 21, 2019 at 7:30pm Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg (1813-1883)

JEAN SIBELIUS Violin Concerto in D Minor, Op. 47 (1865-1957) Rachel Barton Pine, violin Allegro moderato Adagio di molto Allegro, ma non tanto

— INTERMISSION —

ANTONIN DVOŘÁK Symphony No. 9 (“From the New World”) (1841-1904) Adagio - Allegro molto Largo Molto vivace Allegro con fuoco

SPONSOR

GUEST ARTIST SUPPORTER Attorney Ray Lyons INDIAN HILL MUSIC 2019 – 2020 SEASON

15 About Our Guest Artist

Rachel Barton Pine Billboard-chart topping violinist Rachel Barton Pine is a leading interpreter of the great classical masterworks, thrilling audiences with her dazzling technique, lustrous tone, and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, she transforms experiences of classical music. Ms. Pine performs with the world’s leading orchestras, including the Chicago and Vienna Symphonies, the Philadelphia Orchestra, the Royal Philharmonic, and Camerata Salzburg. She has worked with such renowned conductors as Zubin Mehta, Erich Leinsdorf, Neeme Järvi, and Marin Alsop. Her collaborators include leading artists such as Daniel Barenboim, Christoph Eschenbach, William Warfield, and Christopher O’Riley. The many contemporary composers with whom she has collaborated include David Chesky, Billy Childs, John Corigliano, Joe Deninzon, Mohammed Fairouz, Luis Jorge González, Earl Maneein, Daniel Bernard Roumain, José Serebrier, and Augusta Read Thomas. She has recorded 39 acclaimed albums. Her Avie discography includes Mozart: Complete Violin Concerto, Sinfonia Concertante with the Academy of St. Martin in the Fields, Sir Neville Marriner conducting; Bel Canto Paganini, and Elgar & Bruch Violin Concertos with the BBC Symphony, Andrew Litton conducting. Ms. Pine is an avid performer of Baroque, Renaissance, and Medieval music on Baroque violin, viola d’amore, Renaissance violin, and rebec. Unlike many contemporary performers, she writes her own cadenzas to many of the works she performs. Her work as an editor and author highlights how the quality of her scholarship and the depth of her experience continue to distinguish her interpretations. With Carl Fischer’s publication of The Rachel Barton Pine Collection, she became the only living artist and first woman to join musicians like Fritz Kreisler and Jascha Heifetz in Carl Fischer’s Masters Collection series. A gold medalist in the J.S. Bach International Competition, Ms. Pine’s performances are heard on NPR and stations around the globe. She has appeared on NBC’s Today Show, CBS Sunday Morning, CNN, PBS NewsHour, NPR’s “Tiny Desk,” “Performance Today” and “A Prairie Home Companion” and has been featured in the Los Angeles Times, The Wall Street Journal, and The New York Times. Her Rachel Barton Pine Foundation assists young artists and runs the groundbreaking Music by Black Composers project. She performs on the 1742 “ex-Bazzini, ex-Soldat” Guarneri del Gesu, on lifetime loan from her anonymous patron. Rachel Barton Pine appears by arrangement with MKI Artists. INDIAN HILL MUSIC 2019 – 2020 SEASON 16 Program Notes

Prelude to Die Meistersinger von Nürnberg became the leitmotifs for the music drama RICHARD WAGNER itself. On a greatly reduced scale, the themes in the Prelude follow the order of Die Meistersinger is Wagner’s penulti- the basic plot elements. It opens with the mate music drama – he did not call them ceremonial Meistersinger motive (based on operas – and the only comic one of his an authentic sixteenth-century melody), mature years. Instead of his usual roster of followed by a motive representing the love gods, supermen and royalty, he recreated between Walther and Eva. The middle a medieval German town with its guilds of of the Prelude is a grand contrapuntal cobblers, bakers, goldsmiths and merchants. melee representing all the conflicting Wagner’s idyllic setting for the regular personal and artistic forces in the drama. German Volk is not, however, as ingenuous After a brief foretaste of Walther’s Prize as it seems. A polemic in disguise, Die Song, it concludes with the March of the Meistersinger was Wagner’s vehicle for Meistersinger. declaring the superiority of spontaneous creativity over the pedantry of artistic rules Violin Concerto in D Minor, Op. 47 and conventions. In his previous music dramas he had conceived and developed JEAN SIBELIUS what he called the Gesamtkunstwerk Sibelius was by no means a child prodigy. (synthesis of the arts) that had radicalized He began playing piano at nine, didn’t like nineteenth-century opera and won it and took up the violin at 14. Although him devoted followers and denigrating he also started composing at ten, Sibelius’s detractors. In Die Meistersinger the ambition was to become a concert violinist composer went after the severest of the and throughout his adult life regretted not latter group, the Viennese music critic following his dream. Lifelong addiction to Eduard Hanslick, characterizing him as the alcohol produced a persistent tremor in his pedantic – and, as it turns out, dishonest hands that precluded a concert career. – scoundrel Sixtus Beckmesser (in early Sibelius’s first success as a composer came sketches of the opera his name was not in 1892 with a nationalistic symphonic Beckmesser but Hans Lick.) Wagner poem/cantata titled Kullervo, Op. 7. The incorporated his own aesthetic into the work met with great praise but was never poet-hero Walther von Stolzing who again performed in his lifetime. During wins the town’s annual song competition the next six years he composed music over the older and more experienced for numerous nationalistic pageants, mastersingers, and the hand of his beloved symphonic poems and vocal works, mostly Eva. The text, as in all Wagner’s operas, based on the Finnish national epic, the is his own, although based on historical Kalevala. In appreciation and in order to persons and facts, particularly the life of enable him to compose undisturbed, the the medieval minnesinger Walther von der Finnish governing council gave Sibelius Vogelweide. The premiere took place in a pension for life in 1897. For the next Munich in June 1868. 28 years he composed the symphonies Surprisingly, Wagner composed the and other orchestral works that made

Prelude first, laying out the themes that him famous. In 1926, at the age of 60, he INDIAN HILL MUSIC 2019 – 2020 SEASON suddenly ceased composing for reasons 17 Program Notes

never disclosed – although probably from amount of music given to the violin in its the combined ravages of alcoholism and lowest register and – as much as Sibelius bipolar disorder. His pen remained silent himself would have cringed to hear it – until his death, 31 years later. resembles closely the expansive emotive Sibelius wrote the Violin Concerto utterings of Tchaikovsky. as a testimony to his failed ambition to Predictably, the final movement is become a violinist, pouring into it every technically thrilling and exceptionally known technical difficulty and then some. challenging. It focuses on two themes, the Composed on a commission in 1903, its first introduced by the soloist accompanied Helsinki premiere received mixed reviews only by an insistent pounding ostinato and Sibelius withdrew it for revision. in the timpani and the basses. Its second Violinist Karl Halir, under the baton of theme has a lumbering rhythm, once Richard Strauss, premiered the thoroughly described as “A Polonaise for polar bears.” revised version in 1905 in Berlin. Sibelius Towards the end the violin repeats the first forbade the performance of the first theme in eerie harmonics.

version, which was eventually released by the composer’s family in 1989, when it was Symphony No. 9 in E Minor, Op. 95 finally recorded. “From the New World” The First movement is by far the ANTONÍN DVOŘÁK weightiest. It explores Sibelius’s particular take on sonata form with the themes Antonín Dvořák’s sojourn in the evolving from one another without a true United States from 1892 to 1895 came development section. The soloist opens about through the efforts of Mrs. Jeanette the Concerto with a stunning theme, B. Thurber. A dedicated and idealistic which is continually broken up into proponent of an American national its motivic elements – particularly the musical style, she underwrote and opening three notes – and transformed administered the first American music throughout the movement. The orchestra conservatory, the National Conservatory introduces a second theme, which Sibelius of Music in New York. Because of Dvořák’s subsequently uses as a refrain. Rather than popularity throughout Europe, he was constructing the movement as a continual Thurber’s first choice for a director. The dialogue between soloist and orchestra fact that he spoke no English was of in the standard concerto style, Sibelius little consequence since the language of intersperses the movement with several musical discourse was German. He, in cadenza-like passages, beginning with the turn, was probably lured to the big city so opening. The principal cadenza at the end far from home by both a large salary and of the movement is based mainly on the convictions regarding musical nationalism opening theme and requires spectacular that paralleled Mrs. Thurber’s own. technical virtuosity. Thirty years before his arrival in New The second movement has always been York, Dvořák had read Henry Wadsworth considered the weakest and has been Longfellow’s Song of Hiawatha in a Czech occasionally called sentimental, self- translation and was eager to learn more

INDIAN HILL MUSIC 2019 – 2020 SEASON indulgent salon music. It is unusual in the about the Native American and African- 18 Program Notes

American music, which he believed by incidents from Henry Wadsworth should be the basis of the American style Longfellow’s The Song of Hiawatha. of composition. He also shared with Mrs. Which incidents, however, have never Thurber the conviction that the National been definitively determined. Krehbiel Conservatory should admit African- posited the scene in which Hiawatha woos American students. One of them, Henry Minnehaha, while others have suggested Burleigh, who became an important Minnehaha’s funeral. Incidentally, Dvořák African-American composer in his own had also intended to compose an opera on right, is credited with exposing his teacher Hiawatha, which never left the drawing to African-American spirituals. board. While his knowledge of authentic The third movement as well, in its Native American music is questionable rhythmic thumping, the pentatonic scale – his exposure came through samples and the orchestration dominated by winds transcribed for him by American friends and percussion, is meant to portray an and through Buffalo Bill’s Wild West Indian ceremonial dance described in Show – he became familiar with African- Longfellow’s poem. Dvorák’s symphonic American spirituals through Burleigh, as use of what he believed to be an authentic well as indirectly via the songs of Stephen Native American musical idiom may have Foster. He incorporated both of these styles reflected his initial ideas for the opera. into the Symphony No. 9, composed while One of the most important features of he was in New York. the Symphony is its thematic coherence. Just as Dvořák never quoted Bohemian Whatever the origin of the melodies, they folk music directly in his own nationalistic all have a modular characteristic in that music, he did not use American themes in they can be mixed and matched in many their entirety. Rather, with his unsurpassed different ways. In the last movement, gift for melody, he incorporated Dvořák brings nearly all of the Symphony’s characteristic motives into his own themes. themes together, sometimes as one Nevertheless, any listener with half an ear long continuous melody, sometimes in can discern “Massa Dear” (also known contrapuntal relationship to each other. as “Goin’ Home”) in the famous English horn solo in the second movement. We Program notes by: can deduce the importance of these Joseph & Elizabeth Kahn musical motives from the fact that they [email protected] appear as reminiscences in more than one www.wordprosmusic.com movement, especially in the Finale. The Symphony, however, is hardly an American pastiche; the second motive in the Largo movement is a phrase of wrenching musical longing that many listeners interpret as the composer’s nostalgia for his native Bohemia. The New York music critic and Dvořák’s friend, Henry Krehbiel, claimed that the movement was inspired INDIAN HILL MUSIC 2019 – 2020 SEASON 19 JOIN US FOR...

Indian Hill Music Discovery Lectures Experience a new level of musical insight as our distinguished guest speakers share their knowledge of music history and culture. All lectures are at noon. Bring a lunch!

Tuesday, October 15 Music Interventions in Cognitive Ability James Gutierrez, Ph.D. Music Theorist and Educator

Tuesday, November 5 Haydn and Mozart: Apollo and Dionysus Eric Kamen Composer and Piano Faculty, Indian Hill Music School

Tuesday, January 14 All That Jazz Eric Kamen Composer and Piano Faculty, Indian Hill Music School

Tuesday, March 3 Art of the Fugue Eric Kamen Composer and Piano Faculty, Indian Hill Music School

Tuesday, April 7 Medical Maladies of Musical Masters Phillip L. Pearl, MD Director, Epilepsy and Clinical Neurophysiology William G. Lennox Chair and Professor of Neurology, Harvard Medical School

Tuesday, May 19 Chopin and Liszt: Rivals and Friends Eric Kamen Composer and Piano Faculty, Indian Hill Music School

TICKETS $10 • www.indianhillmusic.org • (978) 486-9524 20 Orchestra of Indian Hill Far Off Français! October 26, 2019 at 7:30pm Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

JACQUES OFFENBACH Overture to La Belle Hélène (1819-1880)

CAMILLE SAINT-SAËNS Piano Concerto No. 5 in F Major, Op. 103 (1835-1921) (“The Egyptian”) Aristo Sham, piano Allegro animato Andante Molto allegro

— INTERMISSION —

HECTOR BERLIOZ Symphonie fantastique, Op. 14 (1803-1869) Rêveries – Passions (Reveries - Passions) Un bal (A Ball) Scène aux champs (Scene in the Fields) Marche au supplice (March to the Scaffold) Songe d’une nuit du sabbat (Dream of a Night of the Sabbath)

LEAD SPONSOR

GUEST ARTIST SUPPORTER Scheier Katin & Epstein, P.C. INDIAN HILL MUSIC 2019 – 2020 SEASON 21 About Our Guest Artist

Aristo Sham, piano Pianist Aristo Sham has dazzled audiences on five continents, in countries ranging from Singapore and Argentina, to Slovenia and Morocco, to China and Iceland. His upcoming appearances include the Rachmaninoff Concerto No. 3 with the London Symphony Orchestra conducted by Sir Simon Rattle in Hong Kong and the Mozart Concerto No. 23 with the Utah Symphony. He has previously performed as soloist with the Hong Kong Philharmonic Orchestra conducted by Edo de Waart, the English Chamber Orchestra under Raymond Leppard, Orchestre de Chambre de Lausanne, and the Minnesota Orchestra. In addition, he has given recitals for the Dame Myra Hess Memorial Concerts in Chicago and the Salle Cortot in Paris, and has performed for royalty and dignitaries such as Prince Charles, the Queen of Belgium, and ex-President Hu of China. Mr. Sham won First Prize at the 2018 Young Concert Artists International Auditions at the age of twenty-two, and numerous special prizes: the Hayden’s Ferry Chamber Music Prize, Vancouver Recital Society Prize, John Browning Memorial Prize, Paul A. Fish Memorial Prize, the Rhoda Walker Teagle New York Debut Prize, and Korean Concert Society Kennedy Center Debut Prize. Mr. Sham also won the Silver Medal at the Gina Bachauer International Artists Piano Competition, First Prize at the Charles Wadsworth International Piano Competition in 2018, First Prize and the Barenreiter Urtext Special Prize at Germany’s Ettlingen International Piano Competition, First Prize at the 2016 New York International Piano Competition, and top prizes at the Viseu (Portugal), Wideman, PianoArts, Clara Haskil, Saint-Priest and Viotti Piano Competitions as well as the Verbier Festival in Switzerland. A native of Hong Kong, Mr. Sham began playing the piano at three, and entered the Hong Kong Academy for Performing Arts at six. He attended the Harrow School in London, and at the age of twelve was featured in the BBC documentary “The World’s Greatest Musical Prodigies.” Currently, Mr. Sham is in a joint program of Harvard University and the New England Conservatory, pursuing a B.A. in Economics and French and an M.A. in Piano Performance. He also travels to Sweden for studies at the Ingesund School of Music. In his free time, Mr. Sham enjoys traveling, languages, gastronomy, and oenology. INDIAN HILL MUSIC 2019 – 2020 SEASON

22 War of 1870-71). Offenbachlampooned resultingthe finallyin Franco-Prussian and Prussia approached boiling the point, at tensions when atime France between familyimperial loved to go on vacations do about Helen and Paris (The French his vacation shillyshallying over what to on where beach Menelaus the spends The continue spoofs scenewith afinal Empress had apassion for games.) party potentates. (The French Emperor and game of charades with abunch of Aegean woman world, inthe and now who wins a had promised Helen, most the beautiful of King Priam of Troy, to whom Venus Mycenae is on rocks. the Enter Paris, son marriage of Helen and King Menelaus of events leading up to Trojan the War. The musical comedies of twentieth the century. andGilbert Sullivan, Franz Lehár and the Offenbach’s operettaspaved the way for less intellectually empress gifted Eugénie. none-too-bright-Emperor and his even was an evenmore scathing swipeat the belleIII. La Hélène, composed in1864, Empire Second the under Napoleon that vogue neoclassical of the satirized aux enfers (Orpheus Underworld) inthe wrote his firstthree-act operetta, Orphée vapidthe of scene Paris. social In 1858,he composing one-act operettas, satirizing the of years until he was appointed conductor was acellist and salon musician for many Trained at Paris the Conservatoire, he Jews were better treated than inGermany. moved to Paris where his father thought e son of Jewish aGerman cantor, Jacques (originally Jacob) Offenbach (Helen theBeautiful) Overture to Hélène belle La JACQUES OFFENBACH L Th a bellea Hélène Théatrefrançais is aparody of the where he began

among his principal victims. himself. Wagner, Rossini and Auber are composers –including of period the not only royal the couple but popular also produces apples.” Although he was a produce music way the an apple tree craftsman and acompulsive worker. “I financialsecurity, he was aconsummate to supplement his income. Despite his composergifted should not have to work of French the Post Office, who felt that a bequest from estate the of director the “...knows but lacks inexperience.” everything of emotion. noted Berlioz that Saint-Saëns compositions nor his playing were pinnacles was elegant and effortless, but neither his his five piano concertos –his technique press. As aperformer –he premiered made continuous tabloid inthe headlines Wagnerism. His dislike of visceral Debussy trends inmusic, including “malaise” the of and expressing open disdain for “new” the maintain classical the tradition in France pillar of establishment, the to trying maturity he had become aconservative an innovator, but by he time the reached concertos. In his youth he was considered Paris, playing Mozart and piano Beethoven made his formal debut at Pleyel in Salle the piano compositions at age three and at ten literature. As achild, he wrote his first mathematics, ancient philosophy, and was precocious and in astronomy, gifted and arts the scientific developments. He Saint-Saënsamille was aman of culture,wide well-versed inliterature, Egyptian” “The Piano Concerto No. 5inFMajor, Op. 103 number of attempts to update libretto. the CAMILLESAINT-SAËNS C N I n 1872,Saint-Saëns received alarge ot surprisingly, there have a been Program Notes 23 INDIAN HILL MUSIC 2019 – 2020 SEASON Program Notes

proponent of “art for art’s sake,” his views North African modes evoking an Algerian on expression and passion in art conflicted market. There follows a Spanish folksong with the prevailing Romanticism. While his that concludes with a haunting oboe solo. music was often perceived as passé, he was Saint-Saëns then “travels” to Bali with a open to original ideas that conformed to his pentatonic tune accented with a gong in aesthetic. He was the first composer to write imitation of the Balinese gamelan. an original film score in 1908 for L’assassinat The energetic Finale returns ”home” du Duc de Guise (The assassination of in a classic sonata form. Although Saint- the Duke of Guise), and the Fifth Piano Saëns omits the customary formal cadenza, Concerto freely incorporates non-Western the pianist has ample opportunity for musical idioms. virtuosic display in the development of this The combined income from his movement.

bequest, together with his publications and performance fees allowed Saint-Saëns Symphonie fantastique, Op. 14 to indulge a passion for travel. Tours for HECTOR BERLIOZ both work and pleasure took him to Brazil, the United States, Russia, and Ceylon (Sri Being a rebel without independent Lanka) but most of his trips were to North means makes life difficult for an artist. Africa, primarily in the French colonies of Hector Berlioz, the son of a physician, Algeria and Morocco. He composed his was sent by his family to Paris to study Piano Concerto No. 5 in 1896 in Luxor, medicine, but at 21 gave it up to become Egypt and premiered it to celebrate the a musician. To make ends meet as a 50-year anniversary of his debut at the composer, he became a prolific writer Salle Pleyel. While the title “Egyptian” is on music, musicians, conducting, and traditionally appended to the concerto orchestration, as well as a sharp-tongued because of the country of its birth, it is not music critic for Paris newspapers. Saint-Saëns’ own. Rather, the composer Berlioz was a master of orchestration. referred to the Concerto as a sea voyage, He freed the brass, making it the equal and one hears in it the echoes of the ethnic of the other orchestral sections. He music of Spain, the Far East, and North experimented with new instruments, Africa. including the bass clarinet and valve From a pianistic point of view, Saint- trumpet, and pioneered the use of the Saëns pulled out all the stops and was English horn as one of the orchestra’s clearly more interested in virtuosic display most expressive solo instruments. He than in thematic development. After only a paid only lip service to conventional few introductory notes from the orchestra, musical form and was the foremost the piano jumps in with the Concerto’s first advocate of program music. Every one of theme followed a couple of short motives, his compositions is narrative, related in one resembling a Baroque fanfare, the other some way to a story or literary text. This a rising sequence, designed to herald the approach to art was the natural outcome pianist’s technical wizardry. of his belief in the inseparability of Saint-Saëns’ world cruise begins in music and ideas. For Berlioz, music and

INDIAN HILL MUSIC 2019 – 2020 SEASON the exotic Andante second movement, a literature were inextricably connected as the quintessential expression of human 24 cadenza-like introduction using authentic Program Notes imagination and emotion. his beloved and is condemned to the guil- As if Romantic literature didn’t present lotine. Before the blade falls, the idée fixe is enough Sturm und Drang, Berlioz’s person- imprinted on his memory. al life added a subsequent entanglement. TheFinale describes an after-death Around 1827, he attended productions experience, the Witches’ Sabbath. The in Paris of Romeo and Juliet and Hamlet, idée fixe now reappears in a grotesquely performed by the great British actor, David screeching clarinet solo, the ideal beloved Garrick, and the apparently somewhat less now the object of ridicule. At this point talented actress, Harriet Smithson. Despite Berlioz quotes the Dies irae, the Catholic the fact that the young composer didn’t chant for the dead describing the terrors know English, he fell madly in love with of the Day of Judgment. He contrapuntally Smithson, developed an obsessive fixa- combines the witches’ dance with the tion on her that inspired the Symphonie plainchant melody in one of his signature fantastique, and married her six years later, musical devices, which he called “the ultimately making both of them miserable. reunion of two themes;” the two melodies The Symphonie fantastique is the first are presented separately, then combined, example of a narrative symphony. Berlioz no matter how musically incompatible they composed it in 1830 as a musical testament may be, to create a kind of musical irony, to his infatuation. The symphony is united and the work ends in a wild orchestral by what the composer himself termed an climax. “idée fixe,” a theme introduced in the first movement symbolizing the obsession with Program notes by: the beloved. The movement describes a Joseph & Elizabeth Kahn young musician encountering his ideal [email protected] woman for the first time. His fervor is so www.wordprosmusic.com great that by the end of the movement the theme turns religious. In the second movement, a lilting waltz, the artist attends a ball where among the dancing couples, he becomes conscious of his beloved’s presence, with the sudden reappearance of the idée fixe. In the third movement the artist goes for an outing in the pastoral countryside, in the midst of which he suddenly remembers his beloved. The movement opens with a haunting echo duet for English horn and oboe. There follows a violent storm, in which the thunder symbolizes and foreshadows the disastrous denouement of the affair. By the fourth movement the artist’s desperation grows, as does his irrationality. INDIAN HILL MUSIC 2019 – 2020 SEASON In an opium-induced fantasy, he murders 25 26 Orchestra of Indian Hill

Life, Love, Legacy January 18, 2020 at 7:30pm Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

ANTONIN DVOŘÁK Carnival Overture Op. 92, B. 169 (1841-1904)

PETER LIEBERSON Neruda Songs (1946-2011) Britt Brown, mezzo-soprano I. Si no fuera porque tus ojos tienen color de luna (“If your eyes were not the color of the moon” II. Amor, amor, las nubes a la torre del cielo (“Love, love, the clouds went up the tower of the sky”) III. No estés lejos de mí un solo día, porque cómo (“Don’t go far off, not even for a day”) IV. Ya eres mía. Reposa con tu sueño en mi sueño (“And now you’re mine. Rest with your dream in my dream”) V. Amor mío, si muero y tú no mueres (“My love, if I die and you don’t”)

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JOHANNES BRAHMS Symphony No. 1 in C Minor, Op. 68 (1833-1897) Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio —Allegro non troppo, ma con brio

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GUEST ARTIST SUPPORTER INDIAN HILL MUSIC 2019 – 2020 SEASON Bamboo Fine Asian Cuisine & Sushi Bar 27 About Our Guest Artist

Britt Brown, mezzo soprano Boston-based mezzo-soprano Britt Brown has toured with the Boston Pops and Keith Lockhart for their holiday concerts and the Boston premiere of Stefan Weisman’s The Scarlet Ibis. She recently premiered the role of Tatlanthe in composer Andy Vores’s new opera Chrononhotonthologos with Guerilla Opera and sang in Odyssey Opera’s New England premiere of Verdi’s Giovanna d’Arco. She also debuted as The Leading Player in Pippin with Music on Norway Pond and as Gretchen in Rumpelstiltskin in Bos- ton and New York City with Guerilla Opera. Last season she sang the solo in Bernstein’s Jeremiah Symphony with Orchestra of Indian Hill. Ms. Brown’s past season performances include appearances with Boston Midsummer Opera, Boston Opera Collaborative, MetroWest Opera, the Boston Lyric Opera, and Odyssey Opera. She premiered several pieces with Juventas New Music Ensemble, including Dream Songs with internationally acclaimed violinist Olga Patramanska-Bell. Ms. Brown also had the pleasure of performing in recital with members of the Boston Symphony Orchestra in the Curtisville Con- sortium in the Berkshires. She is a staff singer with St. Andrew’s Episcopal in Wellesley, and a cantorial soloist at Temple Sinai in Sharon. A graduate of Stetson University and the Boston Conservatory, Ms. Brown teaches and performs locally as a sought-after new and sacred music singer. INDIAN HILL MUSIC 2019 – 2020 SEASON 28 Program Notes

Carnival Overture, Op. 92 Neruda Songs ANTONÍN DVOŘÁK PETER LIEBERSON It took Antonín Dvořák a long time to American composer Peter Lieberson establish his name outside his native Bo- came to his musical talents naturally: his hemia but, by 1891, he had achieved fame mother was the ballerina and choreog- throughout Europe. He had premiered his rapher Vera Zorina, his father, Goddard Seventh and Eighth Symphonies to great Lieberson, president of Columbia Records. success and his chamber music was in Lieberson studied composition at Colum- great demand. His reputation had spread bia University, later moving to Colorado to across the ocean, eliciting an invitation study Tibetan Buddhism. After he became from Mrs. Jeanette B. Thurber, a dedicated a master and Buddhist trainer, he received and idealistic proponent of an American a PhD in composition from Brandeis national musical style, to head the first University and subsequently taught at American music conservatory, the Na- Harvard. In 1997, during rehearsals for his tional Conservatory of Music in New York. opera Ashoka’s Dream at the Santa Fe Op- Just before he embarked on his “New era, he met his future wife, versatile mezzo- World” adventure, Dvořák composed three soprano Lorraine Hunt, who became the overtures, originally titled Nature, Life inspiration for a string of vocal works until and Love, later renaming them In Nature’s her untimely death in 2006. Realm, Carnival, and Othello. The three One of Lieberson’s final works for his are united by a recurring musical theme, wife in 2005 was Neruda Songs. Chil- although in Carnival it appears only fleet- ean poet and Nobel Prize winner, Pablo ingly in the slow middle section. These Neruda (1904-1973) is considered one of works were not composed as overtures the greatest poets of the twentieth century. to plays or operas, but were more in the Lieberson chose five of Neruda’s passionate nature of mood-setting concert openers. love sonnets. According to one scholar, Dvořák want- “…although these poems were written ed to illustrate with the three overtures to another, when I set them I was speak- different aspects of nature and her power ing directly to my own beloved Lorraine. for good and evil. Aged 50 at the time, he “Each of the five poems that I set to was somewhat disillusioned with love but music seemed to me to reflect a dif- retained an unflagging zest for life, seeking ferent face in love’s mirror. The first tranquility in nature. poem, ‘If your eyes were not the color The composer’s optimistic side comes of the moon,’ is pure appreciation of the through in the Carnival Overture with the beloved. The second, ‘Love, love, the explosive energy of the opening bars. The clouds went up the tower of the sky like overture follows the traditional symphonic triumphant washerwomen,’ is joyful sonata-allegro form, but as is often the case and also mysterious in its evocation of in Dvořák’s most upbeat music, it bears a nature’s elements: fire, water, wind, and tinge of melancholy in its second theme luminous space. The third poem, ‘Don’t and in the addition of a separate Andante go far off, not even for a day,’ reflects section – a poetic English horn solo – be- the anguish of love, the fear and pain of INDIAN HILL MUSIC 2019 – 2020 SEASON fore the development. 29 Program Notes

separation. The fourth poem, ‘And now something more romantic and innovative. you’re mine. Rest with your dream in my Wagner, Liszt, and programmatic music dream,’ is complex in its emotional tone. were all the rage and most critics consid- First there is the exultance of passion. ered the classical form backward looking Then, gentle, soothing words lead the and reactionary. But it was not long before beloved into the world of rest, sleep, and the Symphony’s riveting power was recog- dream. Finally, the fifth poem, ‘My love, nized, along with its own contribution to if I die and you don’t,’ is very sad and symphonic innovation. peaceful at the same time. There is the If, indeed, the First Symphony cannot recognition that no matter how blessed strictly be considered program music, it one is with love, there will still be a time nevertheless unfolds with great drama – when we must part from those whom even, one might say, a musical plot. While we cherish so much.” the typical classical symphony gives the These songs are through-composed, greatest weight to the first movement, each line of poetry set to new music ending with a faster rousing finale, often reflecting the meaning of the words. The a dance, Mozart, in his last three sympho- songs are atonal but still lyrical. Lieberson nies, and Beethoven in the Third, Fifth and uses the orchestra to highlight particular especially the Ninth Symphonies, recast the lines. pattern. In these works, the finale provides the culmination to the entire symphony. When listening to Brahms’s First, one can Symphony No. 1 in C Minor, Op. 68 easily imagine the composer’s reticence JOHANNES BRAHMS at treading in the great man’s shadow. “You don’t know what it is like always Nevertheless, his combined sense for musi- to hear that giant marching along behind cal drama and structure prevailed as he me,” Brahms wrote to the conductor launched what conductor Hans von Bülow Hermann Levi, in reference to Beethoven. called “The Tenth.” Only Mendelssohn in As a classically oriented composer who his Symphony No. 3, “The Scottish,” had revered Beethoven, Brahms found writing trod that path. a symphony a daunting proposition. It The ominous pounding of the timpani took fame, respectability, middle age, and under slow ascending and descending numerous false starts before he finally fin- chromatic scales, fragmentary motives and ished his First Symphony at age 43, after at the ambiguous tonality of the Introduction least 14 years’ gestation. An earlier attempt poses a musical question – actually more at a symphony, in 1854, ended up, after of a demand – that remains unresolved numerous transformations, as part of the until the final movement. It is one of the D Minor Piano Concerto and the German most spine-chilling introductions in all Requiem. of classical music. The following Allegro Despite Brahms’s reputation and the fleshes out motives from the Introduction positive anticipation of the public, the into full-fledged themes, first by combin- Symphony, premiered in 1876, was at first ing them contrapuntally, then developing coolly received. The rigorous classical form them with an almost savage energy. INDIAN HILL MUSIC 2019 – 2020 SEASON baffled the public and critics, who expected The middle two movements are a respite 30 Program Notes from the drive of the first. The second cret love, Clara Schumann, about whether movement, a classic ABA form although she should cut back on her concertizing to with a highly modified repeat, is remi- spend more time at home with her eight niscent of Beethoven’s variations in the children. That September, he sent her a slow movement of the Ninth Symphony. mollifying postcard with the alpenhorn The movement also contains allusions to theme scrawled on it to the words ”High thematic material from the first and hints on the mountain, deep in the valley, I greet at the main theme of the third movement you a thousand fold.” to come. Unlike Beethoven, whose choral Finale The third movement, a modified was a set of variations, Brahms’s chorale scherzo, is more of an intermezzo that tune does battle with the music from the opens with a lilting clarinet theme, already stormy introduction to emerge triumphant foreshadowed in the preceding movement. in an exultant coda. The contrapuntal accompaniment to the repeat of the clarinet theme, after the Trio Program notes by: section, foreshadows the principal theme Joseph & Elizabeth Kahn from the Finale. [email protected] Rumbling timpani now reassert to the www.wordprosmusic.com serious mood of the first movement, re- minding the listener of unresolved issues. Suddenly, as if from behind a cloud, an alpenhorn calls out, answered by the flute, turning the turgid C Minor into a resound- ing C Major chorale melody. Brahms clearly modeled the effect on Beethoven’s Ninth. The alpenhorn solo has its own little history. In 1868, eight years before the Symphony was premiered, Brahms had quarreled with his friend, and probably se-

Hear recent Orchestra of Indian Hill performances on Instant Encore the world’s leading resource for enjoying live classical music. Visit www.instantencore.com and enter Orchestra of Indian Hill in the search box. INDIAN HILL MUSIC 2019 – 2020 SEASON

31 Karen Riggert Karen

Bringing Life to Music! The critically-acclaimed Orchestra of Indian Hill, under the direction of Maestro Bruce Hangen, is comprised of 70 experienced professional musicians who also perform and teach in high-caliber organizations and ensembles throughout New England. The Orchestra performs symphonic classics as well as works by living composers, such as Lera Auerbach, Tan Dun, Oliver Knussen, and Rodion Shchedrin. Guest soloists have included principal musicians from the Boston, Philadelphia, and St. Louis Symphonies, plus international soloists Eliot Fisk, Ryu Goto, Irina Muresanu, R. Carlos Nakai, Anoushka Shankar, James Walker, and the Quartetto Gelato. Our concerts offer an interesting and diverse range of repertoire, from well-known works by your favorite composers to lesser-known gems and new works that we think you will enjoy. Our distinctive concert experience represents a partnership between our artists and our audience as we embark on a musical journey together. Our pre- and post-concert events, and Maestro Hangen’s engaging commentary, are all aimed at helping you understand the music, the intentions of the composers, the rationale for our programming, and the personalities of our musicians. We don’t want you just to be a passive recipient of the music; we want you to engage with the creative process and find the joy that comes from a deeper understanding of the artistic product. The achievements of the Orchestra of Indian Hill have been recognized through numerous grants from the Massachusetts Cultural Council, major corporations and foundations, and the National Endowment for the Arts. The Orchestra is a member of the League of American Orchestras.

32 Karen Riggert

ENJAMIN BRITTEN J

OHANNSEBASTIAN BACH Performance by the Indian Hill Music School Competition Concerto Winner R GI ANSOM WILSON, B H OACHINOROSSINI OWARDHANSON Littleton HighSchoolPerformingArtsCenter, Littleton,MA SPONSOR (1913-1976) (1896-1981) (1792-1868) (1685-1750) (b. 1951) arr. —INTERMISSION —

S S A Marco Granados, Melissa Mielens, flutes Brandenburg No. Concerto 4inGMajor, BWV 1049 Marco Granados, flute ‘ for Flute and Orchestra on Fantaisie (based sur (onfrom Themes Fantasy Bizet’sCarmen Opera) O February 29,2020at7:30pm Carmen’ by Francis Borne) ymphony No. 6 oirées Musicales, Op. 9(‘Rossini Suite No.1’) lice Hallstrom, violin verture to Semiramide A A Andante –Allegroscherzando –Adagio – Tarantella Ma llegro –Andante –Presto llegro assai –Adagio –Allegro rch Orchestra ofIndianHill –Canzonetta –Tirolese –Bolero Leap YearLeap Soirée GUEST ARTIST SPONSOR GUEST ARTIST Bruce Hangen,Conductor

33 INDIAN HILL MUSIC 2019 – 2020 SEASON About Our Guest Artists

Marco Granados, flute Marco Granados is one of the world’s leading flutists on Lat- in American music with a diverse repertoire spanning from folk to classical music. Since his debut recital at Carnegie Hall in 1991, he has performed with many of the prominent orchestras in Venezuela, his native country. His solo appearances have taken him all over the world, including South Africa, Slovenia, Scotland, Japan, and China. Mr. Grana- dos has served as principal flute with The New York City Symphony Orchestra, Opera Northeast, and L’Orchestra in the Berkshires, and as associate principal flute with the Venezuelan Symphony Orches- tra. In New York City, he performed with the Mostly Mozart Festival, and on Broadway for the musicals Miss Saigon, Annie, Showboat, and The Sound of Music. An avid chamber musician, Mr. Granados has performed at The Chamber Music Society of Lincoln Center and with such distinguished artists as clarinetist Paquito D’Rivera, flutist William Bennett, flutist Ransom Wilson, harpist Nancy Allen, and oboist Heinz Holliger. He is a founding member of the chamber ensemble Classical Jam and has been a member of other acclaimed ensembles, such as Triangulo and Quintet of the Americas. His recordings include Music of Venezuela; Luna, a romantic serenade of songs from Venezuela and South America for flute and guitar; Tango Dreams, works by Astor Piazzolla; and Amanecer, a collection of Venezuelan flute favorites. A devoted educator, Mr. Granados has presented and developed programs for Lincoln Center Education, Chamber Music Society of Lincoln Center, The New York Philharmonic, and Carnegie Hall. He has been on faculty at the Longy School of Music and is the founder of The Granados Music Institute, a training program to educate young professional flutists in 21st century skills.

Alice Hallstrom, violin A third-generation musician, violinist Alice Hallstrom serves as concertmaster of the Orchestra of Indian Hill. She is also principal second violinist with Camerata New England and performs with the Camerata New England Piano Trio. Ms. Hallstrom has appeared with the Northeastern Pennsylvania Philharmonic, Atlanta Symphony, Utah Symphony, Orchestra at Temple Square, and Nashville Chamber Orchestra. Her featured solo performances include concerti with the Juilliard Baroque Ensemble, and Chamber Orchestra of Tennessee. She has also recorded with the Mormon Tabernacle Choir and Orchestra at Temple Square, Josh Groban, Natalie Cole, Chamber Music Atlanta, Train, Ephraim’s Harp, and The Cartoon Network. Ms. Hallstrom received her master’s from The Juilliard School in 2004 where she was a student of Robert Mann, founding first violinist of the Juilliard String Quartet. She graduated summa cum laude with a B.M. from SUNY Purchase, where she studied INDIAN HILL MUSIC 2019 – 2020 SEASON with Laurie Smukler. 34 Oedipal tale about tale Oedipal Babylonian the queen on Voltaire’sBased play Semiramis Italian stage before moving to France. Fenice,La it was his last opera for the commission for Venice’s famed Teatro ventures into Written opera seria. on (Sins ofvieillesse old age). that Péchésin acollection he called de published over 150 musical miniatures for entertainment the of He his friends. music, mostly works small he off tossed only sporadically and, except for church For rest the of his long life he composed comic, by he time the was quit. 37–then wrote nearly 40operas, seriousand both e of most the prolific opera composers of time, Gioachino all Rossini Overture to Semiramide

Phillips Exeter Academy and maintains an active private studio. a Fulbright Grant, she studied inParis with Alain Marion. Ms.Mielens is on of faculty the Conservatory, with distinction both inperformance. As one of youngest the recipients of Young Competition, Artist Ms.Mielens received her B.M. and M.M.from New England including James the Pappoutsakis Flute Competition and National the Flute Association formances on WGBH and innational Aprizewinner WVPR. and regional competitions, GIOACHINOROSSINI On S emiramide was one of Rossini’s

World Orchestra. She appeared has also inlive radioper- Europe and South with Jeunesses America the Musicales Unitedthe Kingdom with New the World Symphony, and including Japan with Pacific the Music Festival Orchestra, Symphony. She has toured abroad with various orchestras, Island Philharmonic, Springfield Symphony, and Portland Vermont Symphony, Pro Chamber Arte Orchestra, Rhode Indian Hill and played has also principal flutewiththe lines,” Melissa Mielens is principal flutist of Orchestra of Hailed for inreviews her “eloquence” and “ethereal flute Melissa Mielens, flute , it is an to opera’s the scene. final with atheme frombegins introduction the main of the Overture body the I, while intone ahymn-like passage from Act slow introduction, four French horns borrowed from another one. In long, the “belongs” to opera the it precedes, not few overtures Rossini wrote that actually spontaneous and fresh. It is one of the a few hours –perhaps why it sounds so him only 33.The overture him took just 40 days to write opera, the but it took death and ascending throne. the guiltythe queen, condemning her lover to Prince Nina. It ends with Arsace killing orSemiramide himself, is her actually son young general, Arsace, who, unknown to husband but inlove inturn falls with a conniveswho with her lover her to kill

A About OurGuestArtists ccording to his contract, Rossini had Program Notes Program Notes 35 INDIAN HILL MUSIC 2019 – 2020 SEASON 36 INDIAN HILL MUSIC 2019 – 2020 SEASON Program Notes of Brandenburg, employed who amodest dedicated to Ludwig, Christian Margrave instruments) named as Bach were them, plusieurs instruments for (Concerti various went separate their ways. Concerts à These chamber music and orchestral music crossroadsthe inmusical history, where BWV 1049 Brandenburg Concerto No. 4inGMajor, model. sonata standard structurethe and repeated elements of the is completely through-composed, without conforms norms, to Classical Symphony the Although tempi the of sixmovements the a three-note motive that opens work. the ing of sixconnected movements unified by harmony but not inits structure, consist- tra’s anniversary. 125th It is traditional inits York Philharmonic to celebrate orches the - 1967-68 on acommission from New the recording many works of his contemporaries. cause of American music, premiering, and and conductor of its orchestra the to further first directorEastmanSchool the of of Music his long-timeused position (1924-1964)as andhow ambitious skillful he was. Hanson Hanson’s music but reactionary commented musiccal twentieth inthe century, called deanthe of avant-garde American Classi- prestigiousthe de Rome. Prix ElliotCarter, a three-year stay inRome as recipient the of from studies with Ottorino Respighi during his style. His colorful orchestration resulted Sibelius as most the influences powerful on neo-romantic always who cited Grieg and teacher, Howard Hanson was an unabashed Symphony No. 6

HOWARD HANSON JOHANN SEBASTIAN BACH Th H American composer, conductor and anson wrote his SixthSymphony in e sixBrandenburg stand at Concerti

leaving flutes the the in dust. Vivaldi, puts violin the through its paces, couldwhich have come right offpen the of third movement.fugal Abravura episode, no of solos own their movement. inthis that two the flutesalways playpair as a with “disguised” violin concerto. Noteworthy is has some led to refer to concerto the as a for violin, the adistinctly Vivaldi-like touch, upon repeat. the But rapid the passagework volves three the soloists, exchange who roles in style. The first movement ritornello in- on highest the level. as courtly entertainmentdescribed music composed over years; the may they be orchestral works had Bach already group, but rather assembled from various were not composed as an independent have written been as early as 1708.They 1718 and 1721,although may parts orchestra seldom them. ifeverperformed indicates that probability inall Margrave’s the The mintBerlin. condition the of manuscript is now Deutsche inthe Staatsbibliothek in cover letter and by preserved has Bach, been Dedication Score, including an obsequious toand play The inexpert Concertos. the all orchestra that probability was inall small too 1057), retaining two the flutes. solo for Harpsichord and Strings inFMajor (BWV earlier version of into Concerto this aConcerto lines to soloist. the tion, leaving elaboration the of upper the often period only included a skeleton nota- slow case; the movements of Baroque the written out, apracticethat was not always movement. Here, soloists’ the are parts individualthe flutessecond,the in Andante B Th Th S A b ome twenty years later, converted Bach an ach an permits occasional breakout for e fourth is Concerto aconcerto grosso e Concerti weree Concerti composed between rief solo flute solo rief intocadenza leads the

Program Notes

Soirées musicales, Op. 9 French composers – Daniel François Auber (‘Rossini Suite No.1’) and Ambroise Thomas – routinely presented BENJAMIN BRITTEN such characters on stage, they were handled In the 1930s, the British General Post discreetly and in accordance with prevailing Office (GPO) had a small film production morality in which the guy with the black hat unit, which produced documentaries ad- mended his ways, the hero resisted tempta- vertising various aspects of the postal ser- tion and the poor but virtuous girl remained vice. During the years 1935-39, Benjamin virtuous. By contrast, Bizet retained Meri- Britten worked for the unit, writing the mée’s realism, giving the characters darker soundtracks for over 20 films. This work emotions and poor self-control. was good training for a budding composer, Audiences and critics alike considered rendering his approach to composition Carmen as scandalous and immoral (al- eclectic, the music adapted to the situation though that didn’t stop it from enjoying the and forces at hand. longest run of any of Bizet’s stage works). Some of Britten’s early film music was But when the critics panned it for its “filth” transcriptions and adaptations of the music and suggested that the police courts inter- by other composers. In the fall of 1935, vene, Bizet was crushed, sank into depres- Britten was asked to adapt some vocal sion and succumbed to a chronic throat pieces by Rossini for a film on the GPO’s ailment followed by a heart attack. Within savings bank. The result pleased everyone, three months of the premiere, he was dead. and a year later Britten re-orchestrated After a short run following the some the pieces into the five-movement composer’s death in 1875, Carmen did not suite. He called it Soirées musicales after a make it again to the Paris stage until 1883; collection of solo arias and duets Rossini a production in Vienna in October of 1875 had published in 1835 and had become an led to its worldwide triumph, relegating it instant triumph as popular salon music. to the standard repertory for nearly every But despite adopting the title, only the three opera company. Recently, it weighed in as middle movements are based on songs from the most performed opera in the repertory. this collection. The first movement, March, François Borne was a French flutist is the “Soldiers March” from the 1829 opera remembered today for his contributions Guglielmo Tell, and the last, Tarantella, is to the technical improvement of the flute based on a sacred song from 1844. and for his composition of the Fantasie. Originally for flute and piano, it has been Carmen Fantasy (on Themes from Bizet’s orchestrated numerous times. Bourne, Opera) for Flute and Orchestra (based on as expected, makes it a showpiece for the Fantaisie sur ‘Carmen’ by Francis Borne) flute, joining the most memorable themes RANSOM WILSON, ARR. from the opera seamlessly. Based on a contemporary novella by Prosper Merimée, Carmen is the story of a Program notes by: promiscuous seductress who ensnares an Joseph & Elizabeth Kahn innocent young soldier into a passion leading [email protected] inexorably to his desertion, degradation and www.wordprosmusic.com INDIAN HILL MUSIC 2019 – 2020 SEASON finally a jealous murder on stage. While other 37 Did You Know? Nearly 60% of Orchestra of Indian Hill musicians have been playing with us for over 10 years!

30+ years—Susan Randazzo, cello; Stuart 20+ years—Priscilla Chew, cello; Nancy Schulman, violin; Susan Turcotte-Gavriel, Dimock, oboe; Nancy Hudgins, French horn; violin; Jane Dimitry, violin; Nathan Kimball, Darcy Montaldi, viola cello; Robert Kennedy, viola; Stanley 15+ years—Jennifer Tanzer, viola; Silverman, violin; Kevin Green, bass; Don Kimberly Harriman, French horn; Todd Robinson, trombone; Laura Papandrea, Hamelin, violin; Shay Rudolph, cello; Oleg violin Soloviev, viola; Jin-Huey Wei, viola; Jessica 25+ years—Dorcas McCall, viola; George Lizak, flute; Lynn Basila, violin; Mark Emery, Hughen, cello; Melissa Mielens, flute; trumpet Mary-Lynne Bohn, trumpet; Joe Higgins, 10+ years—Mona Rashad, violin; William bass; Jennifer Slowik, oboe & English horn; Kirkley, clarinet; John Wall, bass; Allan Karl Seyferth, timpani; Bonnie Anderson, Espinosa, violin; Wren Saunders, bassoon; piano & celeste; Deb Feld-Fabisiewicz, harp; Alexei Doohovskoy, trombone Sandra Halberstadt, clarinet; Peter Cirelli, trombone Musicians are listed alphabetically by number of years.

38 Orchestra of Indian Hill Happy Birthday, J.S. Bach March 21, 2020 at 7:30pm Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

JOHANN SEBASTIAN BACH Magnificat in D Major, BWV 243 (1685-1750) The Spectrum Singers John W. Ehrlich, Music Director Jessica Cooper, soprano I Hannah Murray, soprano II Elizabeth Eschen, mezzo-soprano Neal Ferreira, tenor Mark Andrew Cleveland, bass

— INTERMISSION —

JOHANN SEBASTIAN BACH Ricercar a 6 (Six-voice Fugue) arr. Webern (1685-1750) From Musikalisches Opfer (Musical Offering, BWV 1079)

WILLIAM WALTON The iseW Virgins Suite (1902-1983) based on music of J. S. Bach

JOHANN SEBASTIAN BACH Passacaglia and Fugue in C Minor, BWV 582 (1685-1750) arr. Stokowski

SPONSOR

GUEST ARTIST SUPPORTER Randy Steere & Paul Landry INDIAN HILL MUSIC 2019 – 2020 SEASON

39 About Our Guest Artists

The Spectrum Singers: John W. Ehrlich, Music Director The Spectrum Singers is an acclaimed Boston-area chorus that performs worthy music—both famous and unknown—from the Renaissance to the present day. Music Director John W. Ehrlich formed the ensemble in 1980 and continues to lead his gifted singers in concerts at the First Church Congregational in Harvard Square. The chorus is frequently joined by leading guest soloists and has shared the stage with Emmanuel Music, Cantata Singers, and Boston Landmarks Orchestra. In recent seasons, The Spectrum Singers has performed music by Lukas Foss and Charles Ives, given a New England premiere of a new work by Mo- hammed Fairouz, and offered a rich program of Handel masterpieces with acclaimed soloists and a full Baroque orchestra. Now in their 40th season, they are in the midst of a three-season series of Joseph Haydn Masses. Mr. Ehrlich has been active as a singer and conductor in the Boston and Cambridge areas for more than thirty-five years. He studied music and conducting while attending the Hartt School of Music, Trinity College, and both Harvard and Boston Universities.

About Tonight’s Soloists:

Jessica Cooper, soprano Praised for a voice that is “agile, attractive and full of character,” Jessica Cooper has made solo appearances with numerous ensembles, including the Boston Cecilia, Handel and Haydn Society, Bach Collegium San Diego, Tucson Chamber Artists, Emmanuel Music, and the Portland Symphony Orchestra. A finalist in the New England Regional Metropolitan Opera National Council for Auditions, she was also a first place winner of the New England National Association of the Teachers of Singing National Competition. Ms. Cooper is a lecturer at the University of Massachu- setts-Boston, where she has taught applied voice and musical theater history.

Hannah Murray, soprano Hannah Murray received her M.M. from Westminster Choir Col- lege with additional studies at Connecticut College (B.A.), Royal Academy of Music in London, and Middlebury College. She is a frequent soloist throughout the Northeastern U.S., including singing with Symphony New Hampshire, Trinity United Methodist Church in Springfield, and the Paul Madore Chorale. Ms. Murray teaches voice at Concord Community Music School and St. Paul’s School in Concord, NH. She is an active member of the National

INDIAN HILL MUSIC 2019 – 2020 SEASON Association of Teachers of Singing and a Trustee (faculty representative) at Concord Community Music School. 40 Continued on page 44 Orchestra Concert Patron Information To order tickets or season subscriptions: By Phone: 978.486.9524 x116 In Person: Indian Hill Music, 36 King Street, Littleton, MA Monday–Friday, 9am – 8pm | Saturday, 9am – 3pm Online: www.indianhillmusic.org (additional fees apply on online orders)

Recycle Your Concert Tickets While subscribers may exchange their tickets for another Orchestra concert within the season, tickets are non-refundable for single ticket buyers. If you find you cannot attend a concert as planned, please notify us in advance (978.486.9524 x116) to make your seats available to other patrons (or please share them with friends!).

For the Enjoyment of All Late Seating or Re-Entry: In consideration of both artists and audiences, latecomers and patrons seeking re-entry into the hall will be seated only after the completion of a work. Quiet Please: Be sure mobile phones and other devices are silenced during the performance. Other Notes: Smoking is prohibited in all areas of our concert venues. Our concerts are appropriate for children ages six and up. Cameras, video and recording equipment may not be brought into the concert venue.

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Before and After the Concert Preferred Restaurants: The Orchestra of Indian Hill has partnered with select area restaurants to offer a 15% discount on meals the day of the concert when you present your Orchestra ticket or ticket confirmation. See page 6 for details. Know the Score features Artistic Director Bruce Hangen in an informal talk about the concert program at 6:30 pm in the cafeteria. Open to all concert-goers. Encore Café serves complimentary coffee and desserts in the cafeteria after the concert. Enjoy a casual Q&A with Bruce, Orchestra musicians, and guest artists. 41 More of a

Good Headliners Series at Indian Hill

Celebrated contemporary Thing! performers from jazz, world music, bluegrass, and beyond. You asked for it! This season we’re bringing you more of what you love, from our sensational professional symphony to intimate concerts with world-class talent in jazz, roots, chamber music, and more. Join us! Orchestra of Indian Hill 45th Season

Sensational Symphony! Enjoy enduring classics, stunning modern works, remarkable rising stars, and acclaimed guest artists in symphonic performances led by Maestro Bruce Hangen. 42 Kalliroscope Gallery Jazz at Indian Hill

Chamber Series Kick off your weekends with Hear renowned chamber exciting jazz performances! ensembles and soloists perform at the beautiful studio of artist Paul Matisse, which features perfect acoustics and intimate seating.

Chamber Music at Traditional Music at Indian Hill Indian Hill

Explore a diverse assortment Toe-tapping traditional music, from of composers and themes bluegrass, to Celtic, to American with outstanding professional roots. Listen, play, or dance! chamber ensembles.

Learn more and buy tickets: www.indianhillmusic.org or (978) 486-9524 43 Our Guest Artists

Elizabeth Eschen, mezzo-soprano Elizabeth (Liz) Eschen sings regularly with Boston Baroque, Music at Marsh Chapel, Cantata Singers, Bach Akademie Char- lotte, and Vox Futura recordings. She has also appeared with Boston Lyric Opera, Lorelei Ensemble (as a founding member), Ampersand, Manhattan Chorale, and Convergence Ensemble. Ms. Eschen loves the depth and humanity in the music of J.S. Bach and sings with the Oregon Bach Festival, Charlotte Bach Festival, Rilling Bach Choir, and the Weimar Bach Acad- emies. She has earned degrees from Boston University (M.M. in Choral Conducting) and Providence College (B.A), and holds faculty positions at Harvard University and Gordon College.

Neal Ferreira, tenor Praised for his “rich, powerful voice,” Neal Ferreira most recently appeared with Boston Lyric Opera in Bernstein’s Trouble in Tahiti. In 2018, he performed at Tanglewood with the Boston Symphony Orchestra in a concert performance of La Bohème under Maestro Andris Nelsons. As an oratorio soloist, Mr. Fer- reira has appeared in Haydn’s The Creation with soprano Jayne West, as well as noted performances in Orff’s Carmina Burana, Bach’s Mass in B Minor, Mozart’s Requiem, and Dvořak’s Stabat Mater. A student of world-renowned tenor, Frank Lopardo, Mr. Ferreira holds an M.M. in Vocal Performance from New England Conservatory and a B.A. from Providence College.

Mark Andrew Cleveland, bass With extensive credits as a soloist with many of the premiere choral ensembles in the Northeast, Mark Cleveland has also performed with the Boston Symphony Orchestra in Bach’s St. Matthew Passion under Bernard Haitink. He has recorded for Telarc with Boston Baroque and participated in a GRAMMY- winning recording of Barber’s opera Antony and Cleopatra with the Spoleto Festival Chorus and Orchestra. In addition, he has appeared with the Vermont Symphony, Bach Choir of Bethle- hem (PA), Southwest Florida Symphony, and with the Westminster Choir in Charleston (SC) and Spoleto, Italy. A graduate of Westminster Choir College, Mr. Cleveland is a senior adjunct faculty member at University of Massachusetts-Lowell, and also teaches at St. Paul’s School and Phillips Exeter Academy. INDIAN HILL MUSIC 2019 – 2020 SEASON

44 Program Notes

Magnificat in D Major, BWV 243 adopted the Magnificat, usually in German, JOHANN SEBASTIAN BACH but the Thomaskirche performed it in Latin during the Christmas season, while using During his five years as Kapellmeister at the German version for regular services. the court of Anhalt-Cöthen, Johann Sebas- TheMagnificat is divided into twelve tian Bach was required by his royal patron musical sections, one for each of the ten to supply primarily instrumental music for verses plus the doxology, the formula that the court musicians. But in 1723, with his concludes the prayers sung in monastic move to Leipzig to serve as Kantor of the orders and convents. Bach provides a dif- Thomaskirche, he was expected, among his ferent vocal and instrumental combination myriad duties, to continually supply new for each of the verses, a practice common music for the church service, including in the cantatas as well. Most of the arias cantatas for Sunday services and liturgical and small ensembles open with substantial feasts. ritornelli that feature a solo instrument or For his first Christmas season in his instrument combination plus continuo. new post, Bach supplied a number of new Always the musical rhetorician, Bach in- cantatas and a setting of the Latin evening cludes tone painting throughout the work, Canticle of the Virgin, Magnificat anima for example, a long melisma on the word mea Dominum (Luke 1:46-55). Following “magna” (great) in the bass aria Quia fecit a local Christmas tradition, he expanded mihi magnam. He also creates a musical the setting by interpolating four German pun, using the same music for the end of and Latin Laudes (songs of praise). He took the doxology as in the opening to accom- advantage of the large forces at his disposal pany the words sicut erat in principio (as it and scored the work for a five-part chorus was in the beginning). and an orchestra that included three trum- pets, timpani, two recorders, two oboes, Magnificat anima (Chorus) strings, and basso continuo. Et exultavit spiritus meus Sometime between 1732 and 1735, Bach (Soprano II) revised the Magnificat into a liturgical work Quia respexit humilitatem suitable for any festive occasion, the form (Soprano I) we are familiar with today. He modified the Omnes generationes (Chorus) instrumentation by replacing the record- Quia fecit mihi magna (Bass) ers with transverse flutes, changed the Et misericordia (Mezzo-soprano, Tenor) key from E-flat to D and deleted the four Fecit potentiam (Chorus) special Christmas movements. Deposuit potentes (Tenor) The text of the Magnificat, the response Esurientes implevit bonis of the Virgin to the Annunciation, is one of (Mezzo-soprano) the most important in the Catholic liturgy Suscepit Israel (Soprano I, Soprano II, and concludes the daily Vespers service. Mezzo-soprano) During the Middle Ages and Renaissance, Sicut locutus est (Chorus) polyphonic settings of the Magnificat were Gloria Patri. Amen. second in number only to those of the ordi- nary of the Mass. Protestant churches also INDIAN HILL MUSIC 2019 – 2020 SEASON 45 Program Notes

Ricercar a 6 (Six-voice Fugue) arr. Webern Viennese School (described by one writer From Musikalisches Opfer (Musical as “The aficionado of musical intellectual- Offering, BWV 1079) ity”), arranged it for orchestra. In a letter JOHANN SEBASTIAN BACH to conductor Hermann Scherchen he commented: “My orchestration is intended ... to In May 1747, Johann Sebastian Bach reveal the inter-relation of motifs. This was traveled to Potsdam to visit his son, Carl not always easy. Beyond that, of course, it Philipp Emanuel, harpsichordist and cham- also seeks to show how I see the character ber musician to Frederick II (the Great), of the work.” Prussia’s flute-playing monarch. Frederick Webern reveals the complexity of the displayed his wealth of keyboard instru- counterpoint by giving each line to dif- ments, which Bach tested out, improvising ferent instruments, but it is not a sextet, on a theme the king gave him. Four months as Webern continually switches out the after returning home to Leipzig, Bach sent instrumentation. It should also be noted the king the Musikalisches Opfer, a large that the arrangement is more “romantic” in compendium which exhaustively explores nature than Webern’s sparse, terse original the contrapuntal possibilities of Frederick’s compositions. theme. In only one of the 13 parts, the Trio Sonata, is the instrumentation specified. The Wise Virgins Suite based on music of Frederick never acknowledged this monu- J. S. Bach mental gift, and there is no evidence that he ever looked at the manuscript, much less WILLIAM WALTON had the work performed. In June 1923, the young William Walton Ricercar (or ricercare), meaning “to burst on the English musical scene with search by following,” is an earlier term for his tongue-in-cheek Façade, a witty, highly a fugue or canon that was invented during eccentric setting for reciter and chamber the Renaissance. The more modern term, ensemble of poems by Edith Sitwell. While fugue, encompasses the larger musi- Façade gave him notoriety as an enfant ter- cal scope of the Baroque form, with its rible, Walton went on to compose a steady episodic passages of new musical ideas. The stream of works in all genres, but generally Ricercar a 6 is a six-voice fugue and is con- far more conservative, earning him many sidered, in its complexity, the heart of the honors, including various medals and a Musikalisches Opfer. In performance today, knighthood. it is usually played by solo harpsichord, Walton’s most enduring works are the but Baroque composers in general, and oratorio Belshazzar’s Feast and the concertos Bach in particular, arranged their music for Violin, Cello and Viola. He also composed for whatever forces were at hand. Bach’s two symphonies, an opera and fourteen film other trio sonatas, for example, are also scores, four of them to Shakespeare’s plays scored for organ. Like all the sections of the starring Laurence Olivier. original, it opens with a simple statement of The Wise Virgins is a cooperative effort. the thema regium (the royal theme). In 1940, Frederick Ashton, choreographer In 1934-35 Anton Webern (1883-1945) of what was to become the Royal Ballet, INDIAN HILL MUSIC 2019 – 2020 SEASON one of the three pillars of the Second decided to read the bible cover-to-cover. 46 Program Notes

While reading the parable of the wise and Bach scholar Christoph Wolff writes, Bach foolish virgins (Matthew XXV 1-13), he surpassed his teacher in his: “… in absolute visualized a dance set to the music of J. S. control over compositional principles, Bach. Composer and conductor Constant musical form, figurative material, fugal Lambert was given the job of finding ap- devices and harmonic strategies.” This propriate music from Bach’s cantatas and work by a young genius who felt he still chorale preludes, then they turned the job had something to learn from an old master of orchestration over to Walton. illustrates why Bach is a household name One of Ashton’s stipulations was that and Buxtehude is not. the pious-sounding Sheep may safely graze ThePassacaglia consists of 20 variations be included, thinking it was a religious over an eight-measure ground, followed by subject. In fact, it is an aria from a secular a fugue derived from the same ground. The cantata, BWV 208, lauding a local duke for ground supplies both melody and harmon- his benevolence. ic structure for the work. Bach insists that The parable recounts how ten virgins, the ground always be audible no matter five wise and five foolish, prepare lamps as what goes on around it in the other voices. they await the Bridegroom. The wise vir- And although most of the repetitions keep gins have brought oil for their lamps while the ground in the bass, Bach sometimes the foolish ones have not and try to borrow inverts the scheme, placing the ground in it from their wise companions. the highest voice or in the middle. The ballet consists of six movements While the fugue subject is based on the most of whose titles have little to do with passacaglia ground, fugues are by nature the texts of the original sources: modulating pieces, and restricting it to the 1. What God hath done is rightly done identical harmonic pattern throughout (Cantata 99) would have been monotonous and work 2. Lord, hear my longing from Chorale against the nature of the beast. Prelude Herzlich tut mich, also the Because the organ can achieve a virtually Passion Chorale from St. Matthew infinite variety of tone colors, organ works Passion lend themselves to orchestral transcription. 3. See what His love can do (tenor aria Conductor Leopold Stokowski (1882- from Cantata 85) 1977) was also an accomplished organist, 4. Ah, how ephemeral (Cantata 26) and arranged or transcribed for orchestra 5. Sheep may safely graze some 37 of Bach’s works. The best known 6. Praise be to God (Cantata 129) of these is the Toccata and Fugue BWV 565, which made its way in 1940 into Walt Passacaglia and Fugue in C Minor, BWV 582 Disney’s Fantasia. His orchestration of the arr. Stokowski Passacaglia and Fugue was one of his first, JOHANN SEBASTIAN BACH premiered in 1922. Composed in 1707, the Passacaglia and Fugue is Bach’s only work of this type and Program notes by: was modeled on a passacaglia and fugue Joseph & Elizabeth Kahn in D minor by the master organist and [email protected] INDIAN HILL MUSIC 2019 – 2020 SEASON Bach’s mentor, Dietrich Buxtehude. As www.wordprosmusic.com 47 You can support Indian Hill Music in SO MANY ways!

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To make a donation, or for additional information, contact Catherine Coleman, Director of Development, at [email protected] or (978) 261-3800, x102. 48 Orchestra of Indian Hill Showcasing Our Own, VI April 25, 2020 at 7:30pm Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

CHRISTOPHER ROUSE Ku-Ka-Ilimoku (b. 1949)

JOHN BERNERS What Birds See (b. 1961)

RICHARD STRAUSS Wind Serenade in E-flat Major, Op. 7 (1864-1949)

EDWARD ELGAR Introduction and Allegro, Op. 47 (1857-1934)

— INTERMISSION —

NIKOLAI RIMSKY-KORSAKOV Scheherazade, Op. 35 (1844-1908) The Sea and Sinbad’s Ship The Legend of the Kalandar Prince The Young Prince and The Young Princess Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman

PREMIER SPONSOR INDIAN HILL MUSIC 2019 – 2020 SEASON

49 Program Notes

Ku-Ka-Ilimoku What Birds See CHRISTOPHER ROUSE JOHN BERNERS Like most of his generation, Baltimore- After earning degrees in music and born Christopher Rouse grew up infatuated mathematics at Northwestern University, with rock, integrating it into several early John Berners went on to the University compositions. He also organized an of Michigan to earn an M.M. and Ph.D. accredited course on the history of rock at studying under Evan Chambers, William the University of Michigan and then at the Albright, Bright Sheng, Michael Daugherty Eastman School of Music, where he served and William Bolcom. He is currently as Professor of Composition until 2002. He professor of music at the University of is now on the faculty of the Juilliard School Indianapolis. of Music. In 2012-15 he was composer-in- From his first orchestral work, The residence with the New York Philharmonic Last Days of Calvin and Hobbes, to his Ku-Ka-Ilimoku is an early work, chamber piece, Twinkle Toes, Berners composed in 1978 on commission from shows a fondness for the irreverent and the Syracuse Symphony Percussion a fascination with American music from Ensemble. It is one of three short works by bebop to marching bands, along with Rouse for percussion ensemble. influences from the Baroque era and the “In Hawaiian mythology, Ku is perhaps theater. the most fundamental and important of Honors include the Gold Medal in gods, occupying a place similar to that Song in the 2014 Boston Metro Opera of Zeus in Greek mythology or Odin in International Composers Competition and Norse legend. Ku is manifested in several first place in the Concerto Competition forms: as Ku-Ka-Ilimoku he represents of the Symposium Franco-Européen de la the god of war. Thus, this work for Trompette, a Meet the Composer grant percussion ensemble is best viewed as a with the Ronen Ensemble, and nomination savage, propulsive war dance.” by the American Academy of Arts and Letters for a Charles Ives Fellowship. Hawaiian chants are often based on as few In 2010, Berners’ work was featured as two pitches, and Hawaiian percussion on a concert named No. 1 on the list of emphasizes short, repetitive patterns. “Top 5 Classical Performances” by the Although indigenous instruments are not Indianapolis Star. employed, the timbre of their voices is Berners composed What Birds See for evoked. The dynamic power of the Western symphonic band in 1995. The work is instruments adds an intense level of dissonant but still tonal, based on two ferocity to the proceedings. themes: a trumpet solo combined with a Rouse employs a variety of contrasting contrasting horn solo. instruments, particularly various sizes of wood blocks and drums (timpani and tom- tom). As tension builds, the pianissimo suspended cymbal that opens the work becomes overpowering towards the climax. INDIAN HILL MUSIC 2019 – 2020 SEASON 50 Program Notes

Wind Serenade in E-flat Major, Op. 7 Introduction and Allegro, Op. 47 For String RICHARD STRAUSS Quartet and String Orchestra Richard Strauss came from an extremely EDWARD ELGAR conservative family. His father, Franz The son of a music store owner, Edward Joseph, was the principal horn player Elgar was born to a lower middle-class family in the Munich Court Orchestra, a post of limited means. Because his family was in he held for 49 years. He played Wagner “trade”– as the British so condescendingly superbly, but detested the man and his put it – he always had a chip on his shoulder music. The young Strauss was forbidden to for not being a gentleman and for not having listen to Wagner’s music and when, to the served in the army. He was nervous, insecure, disgust of his father, he finally discovered hypochondriacal and prone to depression; it, he was a convert. and he was a Catholic, which also did not Strauss composed the Serenade Op. 7 in help. 1882, while still a student. A performance His early career was a constant later that year brought him to the attention economic struggle to make ends meet. of famed conductor Hans von Bülow, who He played and taught the violin and the encouraged him to continue in composition. bassoon, taking on such odd jobs as Scored for double woodwinds, four coach and conductor for the staff of the horns and contrabassoon, the Serenade County Lunatic Asylum at Powick. He also demonstrates that even at that early age composed choral and orchestral works Strauss knew well the particular character of that had garnered a modicum of success in the individual wind instruments. the provinces. Another source of modest In his early works, Strauss assimilated income was the composition of a number the music of the late nineteenth century; his of salon pieces. This all changed in 1899, early works, especially the chamber music, when at age 42, his Enigma Variations reveal the strong influence of Brahms. It was propelled him from parochial obscurity to with his tone poem Don Juan in 1888 that worldwide recognition. Strauss finally found his own voice and his Elgar composed Introduction and Allegro career as composer took off. in 1905, basing it on earlier sketches. The unusual scoring of the Serenade His inspiration had come during a 1901 most likely reflects the Strauss family’s vacation in South Wales where he had predilection for wind instruments. Serenade heard a Welsh melody in the distance. was also the traditional designation “Later on, a song heard in the Valley of the for wind bands (Harmonie) during the Wye reinforced the Welsh impressions and eighteenth century. Strauss’s composition is led to the completion of the work.” The a passionate work in which the emotional impetus for this concerto-grosso-like piece intensity builds gradually, employing came from his friend, critic and editor different small instrumental groupings August Jaeger, with whom he had attended almost in conversation with each other. The a performance of Bach’s Brandenburg intensity of mood is reminiscent of Mozart’s Concerto No. 3, and who had suggested he wind serenades that were certainly more compose something for the newly-formed ambitious than the background music for London Symphony Orchestra.

which they were written. The Introduction and Allegro is a INDIAN HILL MUSIC 2019 – 2020 SEASON 51 Program Notes

modified sonata-allegro movement with Respighi who came from Italy. After an introduction entailing frequent pauses the deaths of Borodin and Mussorgsky, and changes in tempo. Elgar opens with a Rimsky-Korsakov edited and completed decisive statement, which he continually their manuscripts – especially their operas transforms, functioning also as a refrain. – and had them published. The Welsh folksong functions as the The symphonic poem Scheherazade, second theme in the Introduction, but most based on A Thousand Nights and One Night of the work involves a variety of takes on (commonly called the Arabian Nights) was the opening statement. composed in 1888. It is among the most The “Allegro” of the title is a chromatic colorful works in the orchestral repertoire, fugue that, at first, appears to have glowing with brilliant orchestration and an unrelated subject but which bears lush solos. The frame story of A Thousand signatures of both the “Welsh” theme and Nights and One Night tells of a Khalif who the opening theme of the Introduction. was in the habit of killing his wives after a The work concludes with a triumphant single night of lovemaking. His latest bride, restatement of the “Welsh” theme. Scheherazade, avoids that fate by telling him suspenseful stories, concluding each Scheherazade, Op. 35 evening with a cliffhanger. After years of NIKOLAY RIMSKY-KORSAKOV such nightly entertainment, the Khalif In the tradition of Russian national finally decides to keep her. music, Nikolay Rimsky-Korsakov holds The Suite comprises four tableaux in a place of honor. Musically self-taught, which the yarn-spinning Scheherazade he originally trained as a naval officer, “speaks” through virtuoso passages for serving in that capacity from 1862 to 1873. solo violin. Her theme ties the tableaux Throughout his naval career he studied together and is occasionally incorporated music on the side until 1871 when he won into a story. None of the four tableaux, a faculty position at the St. Petersburg however, is a musical setting for any of Conservatory in spite of the fact that he Scheherazade’s tales; rather, they allude to had little formal training. Until his death the character types and incidents that make he taught and encouraged nearly every up the vast body of stories. The tone poem young Russian composer from Alexander begins with the low brasses blasting out the Glazunov and Anton Arensky, to Igor theme representing the Khalif, followed by Stravinsky and Sergey Prokofiev. a passage that Rimsky snitched – although Rimsky-Korsakov’s inspiration derived he modified it harmonically – from from the operas of Mikhail Glinka, whose Mendelssohn’s Overture to A Midsummer music combined Russian melodies with Night’s Dream, denoting the world of the Oriental modes of Russia’s vast Eastern fairytales. provinces. His use of instrumental color The first tableau, “The Sea and Sinbad’s and masterly orchestration was so famous Ship,” includes a combination of rhythms that any Russian composer with serious and changing dynamics that imitate the aspirations made the pilgrimage to his motion of the waves by means of two orchestration and composition classes, principal themes: the second one is a INDIAN HILL MUSIC 2019 – 2020 SEASON even occasional foreigners like Ottorino transformation of the Khalif’s theme while 52 Program Notes

Scheherazade’s theme is transformed to fit actually recalls a number of episodes from the rocking of the waves. her repertory of stories; marked in the “The Legend of the Kalendar Prince” score are: “The Festival at Baghdad;” “The changes the pace to reflect a number of Sea” (reprise of the theme from the first loosely bound battle episodes, including a tableau); “The ship founders on a rock main theme introduced in an English horn topped by the bronze statue of a warrior;” solo, and virtuosic fanfare passages for solo and “Conclusion.” The music is fiery and trumpet. exciting until the end, when Scheherazade’s The third tableau, “The Young Prince stories come to a quiet and plaintive end and the Young Princess,” is the most as she awaits the fatal verdict of the Khalif, romantic. The violins introduce the first whose theme finally moderates to a gentle intimate theme, followed by an Oriental section solo for the cellos. dance. The final tableau is a passionate Program notes by: conversation between the Khalif and Joseph & Elizabeth Kahn Scheherazade, as she readies herself for [email protected] her last chance at survival. The tableau www.wordprosmusic.com INDIAN HILL MUSIC 2019 – 2020 SEASON

53 Musical Terms – A Quick Glossary

Cadenza: A point near the end of a move- Principal: The leader or first chair of a section ment in a work, such as a concerto, where the of the orchestra, responsible for leading the orchestra will stop playing and the soloist will section and performing any solos that are written perform an elaborate passage showing his or her for their instrument within the program being virtuosity on the instrument. Often, the composer performed. (The principal of the violins, however, has not written out this part of the work and it is is the Concertmaster.) left to the soloist to improvise -- though some cadenzas were written down and have become Score: Musical notation of all of the musical famous in their own right. parts of a piece in a single document, aligned vertically on the page so that the conductor can Classical: Often used to describe “serious” see every player’s part simultaneously. music as opposed to “popular” music, but also relating specifically to the Early Classical and Suite: A set of instrumental or orchestral pieces. Classical periods in music from 1720–1820. They may be extracts from a ballet (Nutcracker Suite), incidental music to a play (L’Arlésienne Concertmaster: The principal or lead player in Suites) or film (Lieutenant Kije Suite), or they may the violin section. This player often performs solo be stand-alone original work (Holberg Suite, The passages for violin within the compositions being Planets). performed. The concertmaster comes on stage to tune the orchestra just prior to the orchestra Symphonic Poem: A piece of orchestral music, beginning a performance. usually in a single continuous section or movement, that is intended to inspire listeners to imag- Concerto: Composition for one or several solo ine or consider scenes, images, ideas, or moods, instruments, accompanied by an orchestra, usu- and not to focus on following traditional patterns ally with three movements. of musical form that is found in a symphony or other larger musical work. Major: Music written in “major” keys is more bright and positive sounding than music written Symphony: The word symphony comes from in “minor” keys. The sound produced is based on the Greek word symphonia, which means the interval between the first and third notes of “agreement or concord of sound.” The sym- a chord, with a major third being one note wider phony is a major orchestral work requiring a full- than a minor interval. sized orchestra for its performance. Most of the famous composers of the last several centuries Minor: Music written in “minor” keys is more have written symphonies as part of their life’s sad or melancholy sounding than music written work. Older symphonies often had only three in “major” keys. The sound produced is based on movements (fast, slow, and fast again), while the interval between the first and third notes of more modern symphonies by composers such a chord, with a major third being one note wider as Beethoven, Brahms, and Mozart are generally than a minor interval. in four movements that follow a set pattern:

Movement: A section of a larger composition Fast, but sometimes with a slow introduction, made up of several significant sections, such often in sonata form as a concerto or symphony. In most cases, the Slow, such as Adagio, Andante, or Largo orchestra will pause briefly between movements, Moderately fast and dance-like, using a Minuet but applause should generally be reserved until or Scherzo the end of the entire work. Fast, often Allegro or Allegretto, Rondo, or Opus: A number that designates the chrono- Sonata logical number of the work amongst those composed by a particular composer. Tempo: The speed of the music. There can be many different speeds in one piece of music. Overture: The introductory work in larger musical compositions such as operas, suites, or Theme and Variations: A composition in oratorios. (There are a number of cases where which a musical theme or melody is introduced, the overture is the only part of a composition that then repeated in a series of different modifica- is still played today.) tions of the original. 54 We Bring Buyers And Sellers Together In Harmony

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Indian Hill Volunteers Make Things Happen! Indian Hill Music extends a warm thank-you to all of our volunteers who generously give their time and talents throughout the season!

We have volunteer opportunities for everyone, whether it’s being an usher, assisting with events, or stuffing envelopes. Let us know your interest and skills and we’ll find a good fit for them. If you are interested in lending a hand, call 978.486.9524 x104.

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H S T • F • Concord Chorus 5 O 4 U 19 Kevin Leong, Music Director N D E D v v Holiday ConCerts rutter Gloria Heavenly music for the season, John Rutter’s brilliant Gloria, featuring works by Byrd, Bach, Morten Lauridsen’s stirring Lux aeterna, and Fauré and favorite carols and music for chorus, brass, and organ

December 14, 2019 May 30, 2020 2:00 & 5:00 pm 8:00 pm Middlesex School Chapel Church of St. Brigid 1400 Lowell Road 1981 Massachusetts Avenue Concord, Massachusetts Lexington, Massachusetts v v For tickets and more information, please visit www.concordchorus.org.

62 Oct 5 Poetic Expressions Beethoven|Zhao Jiping|Tchaikovsky Wu Man, Pipa Feb 15 Conquering New Lands Dvořák|Beethoven Nov 9 & 10 A Celebration of Life Jennifer Kloetzel, Cello Orff The Master Singers of Lexington March 28 Imagination Takes Flight & Lexington High School Chorus Marsh|Wagner|Mussorgsky|Stravinsky Dec 6 & 8 Holiday Pops May 2 & 3 Spring Pops Lexington Children’s Choir Music for the entire family

Cary Hall, Lexington, MA | 781-523-9009 | www.lexingtonsymphony.org

63 NashobaAnne Watson Valley Born, Music DirectorChorale January 26, 2020, 3 pm Franz Joseph Haydn, Missa in angustiis (Nelson Mass), and Ola Gjeilo, Dreamweaver April 18, 2020, 8 pm Ludwig van Beethoven, Mass in C, Op. 86, featuring our Emerging Artist Competition Winners Both concerts are at Littleton High School.

Also, our annual Messiah Sing is December 1, 2019, 2:30 pm at First Parish Church of Groton. www.nashobavalleychorale.org 978-540-5022

64 2019- 20 SEASON

NEW STORIES – LIVE ON STAGE NINE SIMONE, JANE AUSTEN, LOWELL’S “MILL GIRLS,” CHERYL STRAYED & MORE!

TICKETS START AT $24 4-SHOW PACKAGES START AT $87 (ZONE D, SEE WEBSITE FOR ALL PRICES)

50 E. MERRIMACK ST | LOWELL, MA | 978-654-4678 | MRT.ORG Pictured: Joel Van Liew, Brian Beacock and Daina Michelle Griffith in Slow Food. Photo by Meghan Moore. 65 Annual Support

Indian Hill Music gratefully acknowledges the following individuals whose generous financial contributions have provided critical support for our performance, education and community outreach programming. This list reflects annual gifts made during the year July 1, 2018 - June 30, 2019.

MAESTRO Litowitz Foundation Inc Steven Levitsky E ($100,000 and above) Budd Litowitz, Susan Litowitz, Terri Ragot ¯ Anonymous (2) ¯ Directors Mark and Rebecca Scheier E Priscilla Endicott ¯ Bob and Sue Lotz ¯ Dan and Carrie Schulman David Moulton ¯ Elizabeth H. Wilson DIRECTOR’S CIRCLE Bobbie and David PATRON PLATINUM Spiegelman E ($25,000 and above) Randy Steere and Paul Landry ($750 and above) David and Pamela Stone ¯ Anonymous (1) ¯ Bruce and June Beauchesne Steven and Jennifer Stone ¯ ¯ Camilla C. Blackman ¯ Ralph and Sue Brown Bill Wilkinson ¯ ¯ Samuel C. Endicott Fund Frank and Emilie Coolidge E ¯ Peter Endicott, Priscilla Faith Cross BENEFACTOR John Cunney and Endicott, and Cricket Potter, ($2,500 and above) Trustees Jared Wollaston Anonymous (2) Sheila LaFarge ¯ Catherine Fitzgerald and Bob and Judy Anderson ¯ Dave Powell GOLD Peter and Karen Burk Hugh Fortmiller and ($15,000 and above) Barbara and John Francie Nolde E Chickosky E David Kelly Bruce and Sue Bonner E Michael and Denyce Curtis Michael and Christine Knupp Dave and Karen Riggert E E Kirsta and Chris Davey Warren and Maredith ¯ SILVER Christine and Fred Faulkner Kundert ($10,000 and above) Lisa Hicks and Ken Kolodziej Charles Learoyd ¯ Stephen and Suzanne Irish Deborah and Scott Anonymous (2) Mary Jennings and MacDonald The Acton Family E Jim Simko Marilyn and Don Malpass Priscilla Endicott Simon Jones and William P. and Carol Ann Charitable Foundation Richard Gioiosa Marshall Priscilla Endicott, Cricket Steve Lieman E Russell and Wanfang Potter, and Katrina Wol- John McBee Murray lenberg, Trustees E Elizabeth Goldring Piene Jane and Bob Puffer ¯ Harrill Family Foundation E Susan Randazzo and Tom and Loretto Roney James and Donna Harrill, Stuart Schulman ¯ Paul and Wanda Royte Trustees E John and Judy Robinson Louise Schulman Ted Lapres and Ed and Liz Strachan ¯ John Sheehan Connie Keeran ¯ E Kim and Janet SheffieldE Jonathan and Jessie Panek E INVESTOR Janet Stevens E Carole and Art Prest ($1,500 and above) Pam and Griff Resor ¯ Anonymous (1) PARTNER Phil and Dorothy Robbins ¯ Peter and Mary Ann Ashton ($250 and above) LUMINARY Holly Clack Anonymous (4) ($5,000 and above) Geoffrey and Harriet Alchemy Foundation ¯ George and Annette Allison E Schwartz Crew Barb Altman and Jeff and Mary Fuhrer Catherine Coleman and E Bill Grundmann E Tom Mullen Charles and Constance Susan Avery David Gaynor and Gagnebin Leonard and Linda Berkowitz INDIAN HILL MUSIC 2019 – 2020 SEASON Bernice Goldman ¯ Steve Herbert and Jean-Pierre and Cheryl Boissy 66 Ursula Ziegler Annual Support

Willa Breese Barbara and Richard Skaggs E Nancy Donahue Ning and Lingji Chen Beverly Blaisdell Smith E Mimi and Peter Dorward Tom and Sara Clay Cynthia and Andrew Smith E Pete and Sydney Dranka Combined Jewish Sudhir Srinivasan and Janis Dyer Philanthropies Padmini Narayan Edgar and Carol East Mr. and Mrs. Charles H. Robert and Eleanor Stetson E Daria and Blaise Eckert ¯ Detwiller III Steven Sussman E Lisa and Paul Eisenberg Laura and Kent Dickey Temple Beth Elohim E Mark A. Emery Peter and Carola Endicott Brotherhood E Robert and Marian Evans Rose Ann and George English Jason and Deb Verner E Michele and Remy Evard Esther Lawrence Fund George Watkins Richard and Marilyn Fedele Matt and Judy Fichtenbaum Abbott and Barbara Weiss E Suzanne and Barton Fiske Lisa and Joe Fiorentino Willie and Darrell Wickman Theodore C. Forbath Philip and Carolyn Francisco John and Janet Zimmer Helen Ford Patty and Bob Fraser E Anne and Richard Fornicola Pam and Glen Frederick FRIEND E Jody and James Fox Paul and Donnie Funch ($100 and above) E E Richard and Nancy Friday Debra Gorfine Anonymous (11) Ping and Kaiping Fu John Grady David Alexander Roberta and David Fusari David Grubbs E William and Kimberly Arndt E Andy Fyfe Bruce Hangen and William AuffingerE Paul and Rita Gallagher Anabelle Tirado ¯ E Wendy and John Baker David and Karen Gaylin Kimberly and Joshua Harriman Ron and Alex Banay Elinor and Rick Gentilman Paul and Geraldine Harter ¯ Douglas Barrus E John and Judy Giger Ilisa Hurowitz Florence Baumoel Mary Giurleo and Mario Alfano Gregory Hutchins E Judy and Glenn Bell Robert and Dee Glorioso Sheryl Ishii Alan Berkowitz C. David Gordon and Irene Jahnle Tim and Paula Bingham ¯ Barbara T. Murray ¯ Jeanne Kangas and Paul and Irene Bleau Ruth Gray Robin Lazarow E Charles and Cynthia Bliss Larry and Rita Gibes David and Lynda Kramer E Daniel and Kelly Bliss Grossman Ronald and Sue Kwon E David and Rita Bortell E Nicholas and Jan Hadland Carol Lake E Cynthia Boyle Erica Reynolds Hager and Jason Langlais Kathy Bradford DJ Hager Mary Leahy ¯ Roberta Braverman Lisa Hamilton-Goscombe Donald and Jo Ann Leitch E Leslie and Vince Brew Kristin Harrington Mary Lejeune E Sharon Briggs and McLaren and Susan Harris Susan Litowitz E Todd Lainhart E Patti and Chris Hegarty Richard and Jane Lyons E E Donna Brock E Karl Helmer Bob Mayerson and Bill and Pam Brown E Nancy Hilsinger Joan Shulman E Jill Brown and John Mitchell E Ann Himmelberger Ned and Mary Mitchell ¯ E Linda Brown, for the joy given Linda Hoffman and Jon and Lorrie Morgan to Cyrus and Milo Brown Blase Provitola David Panek and E Stephen and Gail Burne ¯ Katherine Hollister and Barbara van Buskirk Dave Caponera and Peter Mahler Subrat and Geeta Pani E Mamie Wytrwal Bonnie House Ed and Carolyn Perkins ¯ Shirley Catella Mark and Jeanne Hubelbank Bob and Becky Pine ¯ E Jane Chrisfield ¯ Team Hughes Elena Plis Lisa Cleveland * Jeffrey Hutchins, in honor of Rita Rand Stephen and Michelle Collette Greg Hutchins Ron and Karen Riggert E Barry and Carolyn Copp E Ning and Ling Jia Rheta Roeber and Harry and Maxine Crowther E Helen Jiang Paul Malchodi ¯ John Daly Jack and Betty Keddy ¯ INDIAN HILL MUSIC 2019 – 2020 SEASON Mathias Rosenfeld Hugo Delgado and Robert Kennedy E Susan and Jim Salem Carmen Peralta 67 68 INDIAN HILL MUSIC 2019 – 2020 SEASON Quek FamilyQuek Price E Robert L W Donna Nowak Peter and Norton Elizabeth E C JoMary Nispel Murray and Barbara Nicolson Judith Munson ¯ P Morrison Family F MoeRenee Kevin and MaryFran Mitrano J C Alayne McLeod Rick and Stephanie McGhee J Amaresh and Sadhana J John and Kathy Lynch Jonathan and Ruth Liebowitz ¯ and Li RitongLei Chen Ricardo and Marla Lewitus Sa of honor in Alexis Ladd, B Ga andErika Doug P Shelley and Dan Klein Anne Kingan and Robert N Victor Rosenbaum Tom and Katherine E Rosa R R PetridesErnie Er B Th Greg Passler * H Paul McCarthy Kyle and Kirsten McCarthy Shawn McCann * Marguerite Mazzone E Cliff Maxwell ¯ on and Benson Pamela W. Lynn udy and Gerry Miller E Miller udy and Gerry oseph andoseph Sarah McGhee Annual Support ynne Osborn rances Moretti E aul and Pat Motyka E hyllis Konop E ruce and Kunkelruce Ellen unny Pease ichard and Anita Pollak E alph and Marcia E Regner hristopher and Andrea arol Miller atalie and Paul Rothwell ¯ enry Parkenry anda Null mira and Mahesh Lawande nest and RenaPerelmuter E e Payer Family lina Kumykova M M H B oardman Kraft ugh Fortmiller ason Nolin E ahapatra

Patricia A. Trela John and Ting Christine E Philip and Diane Temple E Jean and Roger Temple E Storrs Carol Marion Stoddart ¯ Tetyana Shulyak Alexander Woodle and Sharon Wooding and Jerry and Jean Mary Bob Wilson Barbara and Harris Willson E Gregory Waters Katherine Von Kohorn andAlfred Kristen von Campe Evanthea Vlahakis ¯ andEileen Charles Verner Jeff Elisa and Van Auken Mr. and Mrs. John Valentine A R C Th J V A D J Nancy Shepherd E R Shane Martha Carolyn and Fred E Sellars Christof and Schulz Eliza George and Carolee Schaffer M M S Charlotte Russell S Ronald Row Y J Charles Zaroulis JaneMary Wuensch and Bernie K R A inglin Zhang ames Staley and ames and Staley ane and Troy Siebels tephen Samarov teven and Anne Marie Rowse oubo Zhao era Spohr obert and Zelda Williams and Zelda obert E and Shaw Elizabeth obert ichard and Nancy Tavernier E areen and Keith Wortman hangjian Sun ra Tyler E nn and John Sorvari nne Watson Born avid Smith and ichael and Kathleen Saunders ichael Santoro omas and Carol St. Germain N B t L he Fieldstone Foundation Fieldstone he ynda Mooreynda etsy Tyson-Smith ancy Friedrichsancy

through

E ¯ consecutive years gift for the last 10 or more and above. and are only able to list gifts of $100 toDue spacelimitations, we know and accept our apologies. listed incorrectly, letus please If your name was omitted or to avoid errors inour listings. we carefully have very tried ourto all generous donors and Indian Hill Music is grateful * indicates an-kind gift consecutive years gift for the last 20 or more

Contributor has made a a made has Contributor ontributor has made a a made has ontributor

Special Gifts:EndowmentandDesignatedMajorGifts Special Gifts: Endowment and Designated Major Gifts

We are grateful to the many generous donors who have contributed to Indian Hill Music’s endowment and investments to support our education, performance and outreach programs well into the future. Anonymous (1) The Frederick L. Reynolds Jr. Community Marjorie Besas Memorial Fund Education Fund Camilla C. Blackman Endowment Fund Reynolds Family Concertmaster Chair Priscilla Endicott Education and Orchestra Phil and Dorothy Robbins Gift Endowment Funds Albert and Elizabeth Stone Scholarship Fund Charles Lincoln Gagnebin Memorial Fund Faith A.B. Wilkinson Memorial Scholarship Orchestra of Indian Hill Music Director Fund Fund at the Boston Foundation

Encore Society

The Encore Society celebrates those who have included Indian Hill Music in their estate plans, through bequests, life-income gifts, annuities, or other deferred-giving arrangements. We are deeply grateful to the generous and forward-thinking individuals who have joined Indian Hill’s Encore Society.

Anonymous (5) Bruce and Sandra Garvin Pam and Griff Resor George and Annette Allison Gregory Hutchins Phil and Dorothy Robbins Peter and Mary Ann Ashton June Adams Johnson and Edythe Salzman Bruce and Sue Bonner Stephen Lieman Mark Scheier David Boyle and Ursula Flury Sheila LaFarge Albert and Elizabeth Stone Frank and Emilie Coolidge Charles Learoyd Steven Sussman Cheryl DaSilva Steve Levitsky William R. Thurston Priscilla Endicott Bob and Sue Lotz George Watkins Hugh Fortmiller Jonathan and Jessie Panek William G. Wilkinson Glen and Pam Frederick Terri Ragot

Memorial Gifts

In memory of Yuan-Mei Xing In memory of Joyce Socha Kathrin Boerner Michael and Jane Apone Chung Cheng David and Judith Bakos Ru Ding Clayton and Nancy Cox John and Susan Turcotte Gavriel Mark Scheier David A. Jackson Beverly and David Welsh Nancy Jackson and Adam Rudolph Steven Jackson In memory of Sally Campbell Nathan Kimball Liz Banister Arto and Ani Kurkjian Laura Papandrea In memory of Patricia and Andrew Scannell Susan Randazzo and Stuart Schulman Cheryl Hardy-Faraci and Chuck Faraci Jennifer and John Tanzer Mark Thayer INDIAN HILL MUSIC 2019 – 2020 SEASON Kate Weiss 69 Businesses, Foundations, Government Support

Indian Hill Music is pleased to acknowledge the following Businesses, Foundations and Government agencies for their generous contributions received from July 1, 2018 through June 30, 2019.

DIRECTOR BENEFACTOR ($25,000 and above) ($3,000 and above) Massachusetts Cultural Council Bamboo Fine Asian Cuisine Sushi Bar Sterilite Corporation Epic Enterprises Inc. GateHouse Media New England * PRODIGY Attorney Ray Lyons ($15,000 and above) Red Hat, Inc. Scheier Katin & Epstein, P.C. Charles S. Chapin Charitable Lead Unitrust Workers Credit Union

CONCERTMASTER PARTNER ($7,500 and above) ($1,500 and above) Community Foundation of North Central Bemis Associates, Inc. Massachusetts The Groton Inn * Digital Federal Credit Union Goldman, Sachs & Co. Enterprise Bank AlphaGraphics of Shirley * The George R. Wallace Foundation Helen and William Mazer Foundation

COMPOSER FRIEND ($5,000 and above) ($1,000 and above) A.M. Transportation Services, Inc. Epstein Joslin Architects, Inc. Groton Ayer Realty Trust Northern Bank & Trust Company Haartz Corporation Youth in Philanthropy, Acton-Boxborough Insulet Corporation United Way Keena Keel, Master Piano Tuner * Middlesex Savings Bank * in-kind gift Deluxe Corporation Foundation Dennis F. Murphy Insurance Agency Contributors in BOLD have supported Indian Hill Nashoba Group @ Raveis Music for 10 or more years. Nypro Foundation Rollstone Charitable Foundation Shepco, Inc. Wind Point Foundation INDIAN HILL MUSIC 2019 – 2020 SEASON

70 David Moulto Brown,Ralph Director Honorary Anderson, Director Robert Honorary Emerita Endicott,Priscilla Director Emerita C.Blackman,Camilla Director VernerDeb Troy Siebels Dave Riggert Carole Prest Melissa Maranda Stephen J. Irish Kimberly Harriman Jeffrey Fuhrer Kirsta Davey George Clerk Allison, Jonathan Panek, Treasurer Simon Jones, Vice-Chair Peter Ashton, Chair BOARD OFDIRECTORS Kate Weiss, Artistic Operations Manager Matt Waters, Maintenance Associate Lauren Panfili, Patron Specialist Services Julie Pampinella, Marketing &PR Manager Jeff Moore, Marketing &PR Manager Joel Mongeon, Maintenance Associate Monahan,Caera School Business Manager MaryFran Mitrano, Development Manager Ann Maher, Coordinator Patron Services Leahy,Mary Development Manager Lacroix, PatronDulcey Specialist Services Michael Havay, Class &Ensemble Manager Debra Gorfine, Senior Accounting Analyst Education of Cleveland,Lisa Director Assistant Brew,Leslie Patron Representative Services Marketing of Evanthea Vlahakis, Director Pete Education of Robbins, Director Conductor, & Hangen,Bruce Director Artistic Development of Catherine Coleman, Director Susan Advisor Randazzo, Senior Fiorentino,Lisa Chief Executive Officer ADMINISTRATIVE STAFF & O rchestra of Indian Hill Public Relations n, Honorary Director Honorary

mission inavarietyof ways. ambassadors; and generously support our of organizational priorities; as Indian act Hill feedback and strategic guidance on avariety talent. members Council provide clear-eyed through investments their of time, treasure and have shown commitment adeep to Indian Hill, Council Theis comprised of individualswho COUNCIL OFINDIANHILLMUSIC Council Council astateCouncil, agency, fundsfrom and with the bypart, from agrant theMassachusetts Cultural The programs of Indian Hill Music are supported, in Sue Lotz LivingstonMary Stephen Lieman Steve Levitsky Boardman KraftErika KnuppMike ReynoldsHagerErica Hugh Fortmiller Ursula Flury Armand Diarbekirian DaSilva Cheryl Faith Cross Coolidge Emilie John Chickosky Ruth Cavanagh Peter Burk Indian Media Hill Season Sponsor: thanks to OrchestraSpecial of Indian HillStaff&Board administered Cultural by Local Councils. Bill Wilkinson StrachanEd Randy Steere Cindy Smith Mark Scheier Edythe Salzman Charlotte Russell Robbins Phil Robbins Dorothy Karen Riggert Pam Resor Jane Puffer Russ Murray Paul Malchodi LyonsRay LyonsGail

71 INDIAN HILL MUSIC 2019 – 2020 SEASON Ad Index

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A.M. Transportation Services, Inc...... 2 The Lexvest Group ...... 57 Accent Design Inc...... 55 Loaves & Fishes ...... 4 Acton Coffee House ...... 75 Attorney Ray Lyons ...... 62 Acton Funeral Home ...... 80 M. Steinert & Sons ...... 82 Alpine Environmental ...... 64 Merrimack Repertory Theater ...... 65 Applewild School ...... 83 Middlesex Savings Bank ...... 3 Bamboo Fine Asian Cuisine ...... 77 Museum of Russian Icons ...... 79 Bridges and Bows ...... 59 Music Worcester ...... 56 Burtons Grill ...... 60 Nashoba Group @ William Raveis ...... 5 Carleton Willard Village ...... 1 Nashoba Valley Chorale ...... 64 Carriage House Violins of Johnson String Nashoba Valley Medical Center ...... 8 Instrument ...... 82 Newbury Court Retirement Community . . 61 Century Carpet & Creative Floors ...... 58 O’Neill and Associates ...... 79 Law Offices of Nancy Catalini Chew . . . . 60 Osmun Music, Inc ...... 63 Colonial Spirits ...... 76 RiverCourt Residences . . .Inside Back Cover Concord Chorus ...... 62 Rollstone Bank & Trust . . .Inside Front Cover Concord Orchestra ...... 59 Scheier Katin & Epstein P.C...... 57 Concord Teacakes ...... 61 Senior Care Advisors, LLC ...... 59 Donelans Supermarkets Inc ...... 58 Spectrum Singers ...... 38 Edgewood Retirement Community . . . . .77 Storage Solutions ...... 75 Epstein Joslin Architects ...... 84 Symphony NH ...... 61 Golden Girl Granola ...... 76 JJ Tanzer and Ashima Scripp, Realtors® . . . 55 The Groton Inn ...... 8 West Acton Villageworks . . . . . Back Cover Groton Station House Restaurant ...... 7 Westford Chorus ...... 58 Handel & Haydn Society ...... 78 William Raveis ...... 5 Hazel & Company Real Estate ...... 74 Indigo ...... 60 Kitchen Outfitters, LLC ...... 74 Gary Knowlton Painting ...... 63 Lexington Symphony ...... 63 INDIAN HILL MUSIC 2019 – 2020 SEASON

72 Indian Hill Shares Music Generously

Summer ukulele lessons at Boys and Girls Club of Fitchburg and Leominster

“We are extremely excited Indian Hill Music is proud to continue our about our new partnership with partnerships with public schools in Fitch- Indian Hill Music! It expands and enhances our music offerings to burg, Ayer-Shirley, Lawrence, and Clinton kids who otherwise wouldn’t have as well as our new program at the Boys them. Music has such develop- and Girls Club of Fitchburg and Leomin- mental benefits for children that ster. This important outreach helps provide it is a priority for us to strengthen that part of our program.” free and subsidized music lessons, band – Donata Martin, Executive Director of the programs, and performing opportunities to Boys and Girls Club young people who might never have the

chance to study music. “Playing ukulele just makes me happy. I really enjoy showing what I’ve learned to my family and To learn more about Indian Hill Music’s commu- my class.” – Ava, age 9, Leominster nity outreach programs, contact Pete Robbins, Director of Education at (978) 486-9524 x118 or [email protected].

Making Music ... Creating Community 73

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82 83 Music Center at Indian Hill, recital hall detail

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Music Center at Indian Hill, rendering of south lawn 84

Art + Music Meetings Events

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