Beethoven's Symphony No.9

A COMMUNITY SUPPORTED ORCHESTRA

August 2, 2017 7 pm at the DCR’s Hatch Shell

SPONSORED BY: Dear Concertgoer,

We are thrilled that you have chosen to spend a summer evening with us at the DCR’s Hatch Memorial Shell on the banks of the Charles River for one of our 2017 series of free orchestral concerts. Last year, we celebrated our 15th anniversary as the Boston Landmarks Orchestra, and this year, we celebrate our 10th anniversary performing at this iconic and historic venue on the Esplanade.

Our mission is to make orchestral music free and accessible to everyone in the greater Boston community, and visitors from near and far. We are proud of our Music Director Christopher Wilkins’s artistic integrity and musical leadership, as well as his “strategy of participation” to engage with community partners from all over our city, and youth and adults in every Boston neighborhood.

We have grown fond of repeating the phrase “our concerts are free, but they are not free to produce!” The members of our orchestra are among Boston’s finest, most highly trained professional musicians. We provide the best sound engineering possible for our venue. And we invest significantly in our education and community outreach programs and our community partnerships.

Please consider a suggested contribution of $20 to the Boston Landmarks Orchestra to help us continue this summertime tradition for many years to come, adding immeasurably to the quality of life in Boston.

You may return the enclosed reply envelope and your contribution to one of our volunteers in blue t-shirts or drop it off at our Information Tent.

Visit www.landmarksorchestra.org/donate to donate securely online. Contributions may also be mailed to: Boston Landmarks Orchestra, 214 Lincoln Street, Suite 331, Boston, MA 02134

Please enjoy the evening, and we hope to see you again soon.

Sincerely,

Laura Connors Jo Frances Meyer Chair, Board of Trustees Executive Director Beethoven’s Symphony No. 9 Boston Landmarks Orchestra Christopher Wilkins, Music Director Adrian Anantawan, violin Michelle Johnson, soprano Emily Marvosh, contralto William Hite, tenor Ron Williams, baritone Boston Landmarks One City Choir Back Bay Chorale, Scott Allen Jarrett, Music Director

Turkish March from The Ruins of Athens, op. 113 Ludwig van Beethoven (1770-1827)

Romance in F major, op. 50 Beethoven

Adrian Anantawan, violin

Incidental music to Goethe’s Egmont Beethoven Lied—Die Trommel gerühret (The drum resounds) Entracte—Poco sostenuto e risoluto Overture

Michelle Johnson, soprano

INTERMISSION

Symphony No. 9 in D minor, op. 125 Beethoven Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I Adagio molto e cantabile—Andante moderato Finale: Ode to Joy

Michelle Johnson, soprano Emily Marvosh, contralto William Hite, tenor Ron Williams, baritone Boston Landmarks Orchestra VIOLIN I BASS HORN Gregory Vitale, concertmaster Robert Lynam, principal Kevin Owen, principal Christine Vitale Barry Boettger Jane Sebring Pattison Story Kevin Green Whitacre Hill Gerald Mordis John Shiu Nancy Hudgins Tera Gorsett FLUTE TRUMPET Colin Davis Lisa Hennessy, principal Heidi Braun-Hill Dana Oakes, principal Teresa Patton Lisa Brooke Jesse Levine Iva Milch VIOLIN II TROMBONE PICCOLO Robert Couture, principal Paula Oakes, principal Teresa Patton Stacey Alden Hans Bohn Iva Milch Maynard Goldman Angel Subero Robert Curtis OBOE TUBA Melissa Howe Ben Fox, principal Donald Rankin, principal Olga Kouznetsova Lynda Jacquin TIMPANI VIOLA CLARINET Jeffrey Fischer, principal Kenneth Stalberg, principal Steven Jackson, principal Abigail Cross Margo McGowan PERCUSSION Donna Jerome Robert Schulz, principal Don Krishnaswami BASSOON Craig McNutt Andra Voldins Michael Mechanic, principal Ashleigh Gordon Elah Grandel Maynard Goldman, Gregory Newton Personnel Manager CELLO Loewi Lin, principal CONTRABASSOON Kristo Kondakci, Aron Zelkowicz Gregory Newton Assistant Conductor Jolene Kessler American Sign Melanie Dyball Language (ASL) Team Emileigh Vandiver Adrianna Neefus Jessica Palmariello

The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in the City of Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra regularly collaborates with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides. The Boston Landmarks Orchestra is committed to BREAKING DOWN BARRIERS to access for people with disabilities. It offers braille, large-print, and text-to-speech programs, assisted listening devices, and ambassadors to greet and assist people at a handicapped drop-off point. The Orchestra works with American Sign Language (ASL) interpreters as performers at select concerts. Rather than providing direct translation of the spoken word, interpreters communicate the feeling of the music and the remarks given during the concert. Boston Landmarks One City Choir SOPRANO Pamela St. Aimee (Mattapan) Emily Achtenberg (Jamaica Plain) Sheryl Stockless (Framingham) Dina Ali (Cambridge) Donna Stratford (Belmont) Sheila Azores (Mattapan) Li-han Tseng (Brighton) Jocylyn Bailin (Needham) Brenda Ulrich (Roslindale)* Lisa Bello (Needham) Linda Velgouse (Watertown) Sue Chang (Watertown) Kathryn Wang (Cambridge) Doris Drake (Dedham) Susan Wenham Patricia Driscoll (Roslindale)* Nicole Werther (Somerville)* Naomi Dunson (Cambridge) Wenqiong Xue (Medfield) Christiane Dutton (Arlington) Chen Yan (Ayer) Sarah Fitzpatrick (Reading) Barbara Piper Green (East Boston) ALTO Meredith Gulley (Roxbury) Lisa Anderson (Brookline) Melissa Glenn Haber (Somerville)* Laurie J. Arnone (Roslindale) Meredith Hall (Quincy)* Candace Brooks (Medford) Sophia Halling (Wenham) Susan Burnett-Halling (Wenham) Kristina Haslinger (Cambridge) Margaret K. Burt (Harvard) Alison Hickey (Cambridge)* Carmen Cardoza (Hanover) Sarah Holmes (Newton) Hannah Davis (Dedham) Bei Hopkins (Lexington) Margaret Evans (Brookline) Kai-Yin Hsu (Lexington) Rina Farber-Mazor (Woburn) Mimi Huntington (Cambridge) Sylvia Ferrell-Jones (Arlington)* Eliana Hussain (Arlington) Lisa Geoghegan (West Roxbury) Christine Jesoraldo (Lynn) Nadja B. Gould (Watertown) Kathy Johnson (Cambridge) Janet Halloran (Weymouth) Kristin Kulash (Cambridge)* Karen Hawthorne (Medford)* Melody Kwok (Canton)* Donna M. Hicks (Boxborough) San San Lee (Newton) Marjorie Hilton (Cambridge) Jean MacGowan (West Roxbury) Janet Hobbs (Cambridge) Kelly Anne McMullin (West Roxbury)* Julia Jou (Auburndale) Judith Melin (Brookline) Caroline Keith (Cambridge) Lisa Micali (Beacon Hill) Julia Krol (Brighton) Katie Murphy (Newton) Terry Lane (Newton Centre) Tammy Ngai (Brookline) Linda Langdon (Arlington) Sylvia Pearce (Cambridge) Joanne LaPlant (Allston) Sharon Pei (Methuen) Angel Long (Revere) Dottie Pitt (Dorchester) Allison Mann (Cambridge) Beth Ratay (Somerville)* Susan Maxwell (Needham) Kim Reid (Boxford)* Susan Meurling (North End) Renee Saindon (Somerville) Ludovica Mottura (Brookline)* Erin Sanborn (Wakefield) Anja van Ommering (Cambridge)* Peg Schadelbauer (Waltham) Patricia G Pepper (Watertown) Mary-Margaret Segraves Susan Grose Rioff (Cambridge)* (Cambridge)* Sandy Sachs (Jamaica Plain) Ruth Sacks (Belmont) Matt Siano (Newton) Tammy Sadok (Needham) Peter Smith (Roslindale)* Ellen Scerbo (Downtown Crossing)* William Tuttle (West Roxbury)* Molly Schen (Roslindale)* James Wang (Sharon) Janet Selcer (Brookline)* Katheleen Williams (Cambridge) Sharon Shriver (Medford)* Thomas Yan (Lexington) Britt Simonson (Fenway/Kenmore) Huahang Sun (Brookline) BASS Carol Tong (Arlington) Ira S. Alkalay (Newton) Sosi Toomajanian (Watertown) David Ames (Newton) Rikki Tracy (Cambridge)* David Arnold (North End) Kuen Tuen (Winchester) John Cho (Arlington) Pooja Usgaonkar (Cambridge) David Clough (Arlington) Kate Wall (Cambridge) Eugene Chang (Concord) Jeanne Walsh (Brighton) Donald E. Dutton (Arlington) Hong Wei (Newton) Michael Edson (Sharon) Cynthia Welch-Moriarty (Amherst) Jack Elder (Brookline)* Mary M Wendell (Milton)* Bob Goldsmith (Carlisle) Deborah Wheeler (Beverly) Mike Halling (Wenham) Ichen Wu (Newton) David Hammond (Malden) Sonya Huang (Somerville) William S. Kuttner (Charlestown) Jim Lawton (Brookline) TENOR Michael Levin (Brookline) Bayani Anastacio (Malden) Paul McLean (Cambridge) George Batchelor (Newton)* Daniel Malis (Cambridge) Anthony Clayton (Arlington) David N. Menchaca (Brookline) Alex Dippold (Cohasset)* Jonathan Mott (Somerville)* Bradley Dunkin (Medford)* Martin Pierce (Lincoln)* Paul Garver (Acton) Nathaniel Pulsifer (Ipswich) Talib Hussain (Arlington) Abby Reichlin (Brighton)* John E. Meurling (North End) Thomas R. Rowen (Peabody) Miguel Montalva (Roslindale)* Norman Roye (Quincy)* Matthew Morse (Allston)* Peter Rutten (Arlington) Justin Mazzola Paluska (Cambridge) Sean Shen (Methuen) Jian Pu (Reading) Kenneth D. Silber (Cambridge) Paul Rabin (Jamaica Plain)* Ed Tiffany (South End) Joseph Reid (Winchester)* Crispin Weinberg (Brookline) Timothy Rodriguez (Brookline) Milton Wright (Hyde Park) Lucas Sanders (Cambridge) *indicates Back Bay Chorale member

Translations will be tweeted live during portions of tonight’s concert! Follow @LandmarksNotes (not @landmarksorch) to receive real time translations as you watch the concert. PODIUM NOTE: For expressive range, communicative power, and sheer aura, no work commands our attention as Beethoven’s Ninth does. The purity and force of its two-hundred-year-old vision still brings solace to our world. It was performed last month at the G-20 summit in Hamburg because, according to Angela Merkel, it is “a hymn to humanity, peace, and international understanding.” When Beethoven unveiled the Ninth Symphony to an eager Viennese audience in 1824, he had not written a symphony in nearly twelve years. It was an historic occasion attended by the leading figures of Viennese society even though public taste had long-since turned away from the complexities of Beethoven’s music toward the more easy-to-digest style of Rossini. Beethoven was not on board with the trend: "You do not know how to deal with real drama," Beethoven reportedly told Rossini to his face when they met in 1822. Real drama for Beethoven meant “to front only the essential facts of life,” including its philosophical, political, and ethical dimensions. It meant contemplation of the sublime, and reverence for the divine. It did not mean writing music to fill a few hours with pleasant diversion. Beethoven wrote music to be listened to, and on his own terms. Tonight’s program contains work from what are commonly referred to as the three periods of Beethoven’s output: early, middle, and late. The Ruins of Athens is not a late work, despite a high opus number. It was composed in 1811, the same year as his Seventh Symphony. The Turkish March—with its colorful use of Janissary percussion (bass drum, cymbal, triangle, and switch)—is familiar to many who have little familiarity with classical music. When he settled in Vienna at the age of twenty-two, Beethoven studied counterpoint (with Haydn), violin (with Schuppanzigh), and Italian vocal style (with Salieri). Evidence of all three disciplines appears in two diminutive and exquisite solo works, the Romances for violin and orchestra. Although the Romance No. 2 in F was the first of the two to be composed—around 1798—it was the second to be published. The sweetly lyrical melody of the opening could only be by Beethoven. It is an early example of what Hans Gál described as “absolute melody”— a tune with “broad rhythms, eight-measure groupings, and clear melodic curves.” It is unusual to have as soloist someone who has been a close partner to the Boston Landmarks Orchestra for many years, but in a different capacity. Adrian Anantawan served as teacher and conductor at the Conservatory Lab Charter School for many years. In that role, he has collaborated many times with us as the conductor of that school’s Dudamel Orchestra. This fall he assumes a new position as director of the orchestral program at Milton Academy. We warmly welcome Adrian tonight. He is one of the outstanding violin soloists in our region. Beethoven’s middle period is sometimes referred to as his ‘heroic’ period because of several works that suggest heroism, rescue, or apotheosis. The ‘Eroica’ Symphony—originally called by its composer the ‘Bonaparte’ Symphony—is the clearest example. Also included in this group are the Fifth Symphony and the incidental music to Goethe’s Egmont. Beethoven was ecstatic to write music accompanying Goethe’s historical drama. The play reflected his own values, and mirrored political events as he saw them in his own day. Goethe’s Egmont extolled a man who sacrificed his life in order to take a public stand against oppression, a theme Beethoven had already explored in Fidelio. Beethoven was especially pleased to write two songs for a soprano he admired, Antonie Adamberger, in the role of Egmont’s lover, Clärchen. The first of these songs is a march featuring piccolo and timpani to represent fife and drum. The Egmont Overture—one of the best-known works in the orchestral literature—begins with an austere full orchestra unison, and then stern chords conveying the resolve of the hero. These are the overture’s motto, and they are followed by a yearning line in the woodwinds. This contrast conveys the tension between love and honor. An ominous theme in the cellos quickly gathers force as the main Allegro begins. A rising sequence features the four-note rhythm made famous by the Fifth Symphony—short- short-short-long. As the main section comes to a close, the motto rhythm is hammered out three times, and then the violins sound a falling fourth, indicating the moment of Egmont’s execution. Four hushed chords in the woodwind create an aura of suspense. Gradually, excitement builds as the orchestra gathers together for the final “victory symphony.” Following the completion of the Seventh and Eighth symphonies, Beethoven’s output slowed considerably. He had been beset by personal worry and illness, and his works took longer to produce, as he was writing now with greater depth and imagination. He had entered a new phase in his creative life—his “late period.” His music sounded other-worldly, untethered, irrational, and puzzling—not just to the Rossini-loving Viennese, but to nearly everyone. The first movement of the Ninth begins with mystery and ambiguity. The tempo, harmony, melody, and home key are all in doubt. As the music grows stronger, most of it is strongly projected in a downward direction. A group of lyrical, upward themes follow. After a development section that intensifies, the return of the opening idea is not whispered as before, but roared; there are frightening torrents of sound. I think of T.S. Elliott’s memorable phrase: “The end of all our exploring/Will be to arrive where we started/And know the place for the first time.” The second movement is a hybrid of scherzo, fugue, and sonata forms. The main theme is athletic and bracing, but its open intervals and minor mode echo the ominous character of the first movement. The central trio provides antic relief, and also one of the most challenging of the many tempo controversies surrounding the Ninth. An examination of the manuscript shows that Beethoven himself changed his mind about the tempo; I prefer to find a tempo that sounds brisk and cheerful, but does not feel uncomfortably fast or slow. The Adagio is one of Beethoven’s most sublime creations. It has two gorgeously serene themes, including the solo for the fourth horn that emerges in the middle of the movement and was written for a new invention—a valved horn that could play all the notes of the chromatic scale. Maynard Solomon’s words sum up this glorious music: “In a sense, all of Beethoven’s best music is utopian, in that it holds out images of beauty, joy, and renewal as models of future possibility.” The famous finale of the Ninth can be thought of as a four-movement symphony within a symphony. The first “movement” of it begins with Beethoven’s Schreckensfanfare—a Fanfare of Terror—that leads into a recitative for the cellos and basses alone. It is instrumental music that sounds as if it were the setting of a text, which, of course, it will soon become. The woodwinds now suggest the Ode to Joy theme. That hymn- tune begins with utter serenity in the cellos and basses without harmony at first, and then is treated to ever-increasing adornment as other instruments join in. The Fanfare of Terror is heard once again, and then—for the first time in musical history—the human voice is heard in a symphonic setting. The words are Beethoven’s, not Schiller’s: “Oh friends, not these tones! Rather let us raise our voices with more pleasant and joyful sounds.” The Ode to Joy pours forth once again with incomparable elation and optimism. The second “movement” of the finale is a grand march featuring the tenor soloist, another variation of the Ode to Joy theme. With the third section, we enter holy ground: “Do you kneel down, you millions? Do you sense your creator, world? Seek Him beyond the stars.” Here Beethoven reverts to a style suggesting the great masters of sacred polyphony of an earlier age, music he had studied closely since 1812. And finally the work comes to a close in a series of musical paragraphs featuring the solo quartet and the chorus, with trumpets and horns at the conclusion blaring out the main motive double-time. - Christopher Wilkins CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. Mr. Wilkins also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading orchestras of the United States, including those of Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh, and San Francisco. He has also appeared regularly with orchestras in New Zealand, Latin America, Spain and the UK. Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981. As an oboist, he performed with many ensembles in the Boston area including the Tanglewood Music Center and the Boston Philharmonic under Benjamin Zander. ADRIAN ANANTAWAN holds degrees from the Curtis Institute of Music, Yale University and Harvard Graduate School of Education. He has played at the White House, the Opening Ceremonies of the Athens and Vancouver Olympic Games and the United Nations. Some of his most memorable moments have included performing for the late Christopher Reeve, Pope John Paul II, and His Holiness the Dalai Lama. Adrian has toured extensively in Canada as a soloist with the Orchestras of Toronto, Nova Scotia, Winnipeg, Saskatoon, Montreal, Edmonton and Vancouver. He has also presented feature recitals at the Aspen Music Festival, Weill Recital Hall at Carnegie Hall. He has also represented Canada as a cultural ambassador in the 2006 Athens Olympics, and was a feature performer at the Vancouver 2010 Winter Olympics Opening Ceremonies. Active within his community, Adrian helped to create the Virtual Chamber Music Initiative at the Holland Bloorview Kids Rehab Centre. The cross- collaborative project brings researchers, musicians, doctors and educators together to develop adaptive musical instruments capable of being played by young person with disabilities within a chamber music setting. After graduation from Harvard, he was the co-Director of Music at the Conservatory Lab Charter School, and was recently appointed Chair of Music at Milton Academy. Adrian is a Juno Award nominee, a member of the Terry Fox Hall of Fame, and was awarded a Diamond Jubilee Medal from Her Majesty Queen Elizabeth II for his contributions to the Commonwealth. MICHELLE JOHNSON has been praised for her “extraordinary breath control and flawless articulation. Her voice is velvety and pliant – a dulcet dream.” Opera Credits include Madame Lidoine, Dialogues des Carmélites, Leonora, Il trovatore, Minnie, La Fanciulla del West, Élisabeth de Valois, Don Carlos, title role, Manon Lescaut, Donna Anna, Don Giovanni, Mimi, La bohème, Alice Ford, Falstaff, and Aida. Winner of numerous competitions, most notably Grand Prize Winner of the Metropolitan Opera National Council Auditions, William Matheus Sullivan Foundation, Gerda Lissner Foundation and the Giulio Gari Foundation. American contralto EMILY MARVOSH has been gaining recognition for her “sterling voice” and “graceful allure” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and in Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the American Bach Soloists, Phoenix Symphony, Chorus Pro Musica, Music Worcester, Indian Hill Music, and the Chorus of Westerly. Upcoming performances include Beethoven’s Missa Solemnis at Jordan Hall with the Cantata Singers, and Handel’s Messiah at the National Cathedral. Her contributions to 21st century repertoire and performance include world premiere performances with Juventas New Music and the Manchester Summer Chamber Music Festival, and she is a core member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, and the Boston Symphony Orchestra. She holds degrees from Central Michigan University and Boston University. www.emilymarvosh.com WILLIAM HITE’s reputation, spanning three decades as an engaging and expressive artist, has led to appearances with the Boston Symphony Orchestra, the Philadelphia Symphony Orchestra, American Symphony Orchestra, Boston Baroque, Philharmonia Baroque and the Mark Morris Dance Group under the direction of Bernard Haitink, Ozawa, James Levine, Rafael Frübeck de Burgos, Nicholas McGegan, Jane Glover, Robert Spano, Grant Llewellyn, Leon Botstein, Gil Rose, John Harbison, Julian Wachner and Peter Schreier. Mr. Hite’s upcoming and recent engagements include Mozart’s Apollo et Hyacinthus with Emmanuel Music, Boston, Gluck’s Ezio with Odyssey Opera, the evangelist in Bach’s St. Matthew Passion with the Buffalo Philharmonic and Messiah with the Apollo Chorus of Chicago. Mr. Hite may be heard in Messiah with Chicago’s Apollo Chorus on the Clarion label, Acis and Galatea on NCA. On the Koch label he may be heard in the St. John Passion with Emmanuel Music. He is a Senior Lecturer in Voice and coordinator of the voice area at the University of Massachusetts in Amherst. www.williamhitetenor.com. Recognized nationwide for his artistry in the field of opera and oratorio, RON WILLIAMS continues to gather acclaim for his work onstage and in the concert hall. He has sung leading roles with several opera companies nationally, including San Francisco Spring Opera, Michigan Opera Theatre and Opera San Jose, where he created the role of Edward in the world premiere of Alva Henderson’s The Last Leaf. Locally, Williams debuted with Boston Lyric Opera in the revival of Kurt Weill’s Lost in the Stars, receiving critical acclaim from The New York Times. He portrayed nemesis Nick Shadow in the much-heralded production of The Rake’s Progress with Boston’s Opera Laboratory Company at the Massachusetts Institute of Technology. The Boston Globe praised his performance of Figaro in Opera New England’s The Barber of Seville. With Greater Worcester opera, he has sung Escamillo in Carmen and last summer sang Count Almaviva in Le Nozze di Figaro. Mr. Williams was a regional finalist in the San Francisco Opera National Auditions. He received the College Foundation Award from the California Music Teachers Association. Ron remains passionately interested in arts education for young audiences and has performed at the National Children’s Arts Festival at the John F. Kennedy Center for the Performing Arts in Washington D.C. Mr. Williams maintains a busy concert schedule having performed with Cantata Singers, Chorus North Shore, Symphony Pro Musica, as well as the Dartmouth College Symphony (N.H.) where he sang Beethoven’s Fidelio. Ron took on the role of the biblical narrator in a performance of King David by Arthur Honegger with The Masterworks Chorale under the late Alan Lannom. Ron was seen in the one-man opera of Domenico Cimarosa, Il Maestro di Cappella with Boston Civic Symphony. He made his debut with Boston Cecilia in Britten’s Cantata Misericordium and made several solo appearances including the role of Christus in J.S. Bach's Saint Matthew Passion, all under the direction of Donald Teeters. Ron made his European debut with the Düsseldorf Chamber Orchestra in Germany. His stage debut was in Saint Gallen, Switzerland and he has performed on the European stage in several countries including The Netherlands, France, Denmark Austria, Switzerland and Spain. An artist committed to bringing to the stage the works of twentieth-century American composers, Ron has researched and performed the works of Hale Smith (Mediation in Passage) and Ned Rorem (The Lake of Innisfree). Ron has been involved with the premiere of several works locally including Elmer Gantry, a new American opera by Robert Aldridge and Herschel Garfein. www.ronsings.com The BACK BAY CHORALE is a 120-member auditioned chorus drawing experienced singers from the Greater Boston area. From its inception, the Chorale has committed to sharing music in the community with repertoire that ranges from Renaissance to contemporary. Musician, minister, and social activist Larry Hill founded the Chorale in1973 at Boston’s Church of the Covenant to create a musical ministry that would bring meaning to both singers and their audience. In the years since Hill’s death in 1989, the Chorale has continued to grow in stature and is now regarded as one of Boston’s premier nonprofessional choruses. www.backbaychorale.org SCOTT ALLEN JARRETT is one of North America’s most exciting and versatile musicians, sought after as a conductor, keyboard artist, and teacher of conducting. He serves as Director of Choruses and Assistant Conductor of the Charlotte Symphony (NC), Music Director of Back Bay Chorale, Director of Music at Boston University’s Marsh Chapel, and Acting Director of Choral Activities in the BU School of Music. He is a frequent guest conductor at Trinity Wall Street. LANDMARKS ORCHESTRA DONORS & SPONSORS(GIFTS WITHIN LAST 12 MONTHS) CORPORATE, FOUNDATION, & GOVERNMENT SUPPORT Anonymous Free for All Concert Fund Arbella Insurance Foundation Highland Street Foundation Paul & Edith Babson Foundation John Hancock Financial Services Boston Cultural Council Liberty Mutual Foundation The Boston Foundation Massachusetts Cultural Council Eastern Bank Charitable Foundation The Plymouth Rock Foundation Edmund & Betsy Cabot Charitable Rockland Trust Foundation Adelard A. Roy & Valeda Lea Roy Foundation Clipper Ship Foundation Lawrence & Lillian Solomon Fund Cogan Family Foundation Women’s Philharmonic Advocacy Fiduciary Trust Company Yawkey Foundation MUSIC DIRECTOR’S SOCIETY MUSIC DIRECTOR BENEFACTOR Michael & Karen Rotenberg Stephen & Alicia Symchych MUSIC DIRECTOR PLATINUM Susan & Appy Chandler Allison K. Ryder & David B. Jones Ann & Graham Gund Epp Sonin Richard & Rebecca Hawkins MUSIC DIRECTOR GOLD Laura Connors & Brian O’Connell Jo Frances & John Meyer Barbara & Amos Hostetter Lia & William Poorvu MUSIC DIRECTOR SILVER Anonymous Jeryl & Steve Oristaglio David Arnold & Ann Moritz Katharine & Anthony Pell Eileen & Jack Connors Jr. Donna & Robert Storer Cynthia & Oliver Curme/Lost & Foundation Edwin & Joan Tiffany Jeff D. Makholm & Roberta Parks Arthur Winn David G. Mugar MUSIC DIRECTOR BRONZE Richard & Nonnie Burnes Sharon & Brian McNally Saul & Naomi Cohen Nguyen Anh Tuan & Phan Thi Yen Gene & Lloyd Dahmen Laura Roberts & Edward Belove Priscilla H. Douglas Debra & Mark Stevens Peter & Dieuwke Fiedler Deborah Thaxter & Robert Adkins Pamela & John Humphrey Herbert & Angela Wilkins Andrew Ley & Carol Searle

BENEFACTORS Nancy Adams & Scott Schoen Newell & Kate Flather Ben & Caroline Ansbacher Howard Gardner & Ellen Winner Ted Ansbacher & Barbara Nash Kira & Robert Hower Smoki Bacon & Dick Concannon June Hunt Robert L. Beal Rona Kiley Linda Cabot Black Christine & David Letts Suzanne & Jeffrey Bloomberg Steven Levitsky Ronald G. Casty Vivien Li Corinne Dame Anne Linn Mary E. Darmstaetter Lisa & James Micali Joseph & Eden Davies Kyra & Coco Montagu Michael & Kitty Dukakis Bill Nigreen & Kathy McDermott Harron Ellenson & Roger Snow Stuart & Elizabeth Pratt BENEFACTORS (continued) Suzanne Priebatsch Joel & Elinor Siner Suzanne & Bernard Pucker Stephen Spinetto & Alice Krapf Susan & Frederick Putnam Fredi & Howard Stevenson Diana Rowan Rockefeller David Szabo & Megan Albert Stuart & Jan Rose Henry D. Tiffany III/Control Concepts, Inc. Michael Rubenstein & Elizabeth Skavish Clara Wainwright Maureen & Michael Ruettgers Robert & Suzanne Walters David & Marie Louise Scudder Christopher Wilkins Eileen Shapiro & Reuben Eaves Douglas & Laura Wilkins Wendy Shattuck & Samuel Plimpton Stephen & Sarah Wilkins John Shields & Christiane Delessert Benjamin Zander Glenn & Barbara Sieber SUPPORTERS Enid Beal & Alan Wolfe Robert Krim & Kathlyne Anderson Maria & Bill Bloom C. Bruce Metzler & Carol Simpson Paul & Catherine Buttenwieser Leslie & Sandra Nanberg John Childs & Peggy Fogelman Glenn Noland Ingrid Christiansen Myran Parker-Brass & Kenneth Brass Elaine Copps Rachel Perry Julie Crockford & Sheridan Haines Megan & Alkes Price Zoltan & Cristina Csimma Jeffrey & Hillary Rayport Alvin & Victoria Davis Kathy Ripin & Leonard Sayles Courtney Doyle Andrea Schein & Angelo Veneziano David & Anne Gergen Kathy & Garrett Sharpless Deborah Hanley & Frank McGuire Marilyn Smith & Charles Freifeld Jonathan Hecht & Lora Sabin Joan & Bernard Sudikoff Richard Howe & Betty Ann Limpert Beverly J. Tangvik Frederic Johnson Renata von Tscharner & Peter Munkenbeck Martin & Wendy Kaplan Marcia Walsh & Eric Block Elizabeth & Paul Kastner Milton L. Wright Jr. Michael & Claire King Michael Yogman & Elizabeth Ascher Paul Kowal CONTRIBUTORS Robert & Gudrun Ashton Jane Lauridsen Diane Austin & Aaron Nurick Anmol Mehra Martha & Robert Berardino John Curtis Perry & Sarah Hollis Perry Mr. & Mrs. Anthony Casendino Peter Rabinowitz & Judith Gelber Anne Colleton & Bill Davison Arthur Rishi & Kimberly Howe Rishi Catharine-Mary Donovan Harborne Stuart & Cathy Tankosic Joseph Ferreira Ildiko Szabo Glenda & Robert Fishman Thomas & Barbara Van Dyke Patricia Freysinger Craig & Catherine Weston Arthur & Eloise Hodges Joyce Yaffee

Every effort has been made to ensure the accuracy of this list as of the print deadline. Please contact Jim Murray, Manager of Development & Communications, at [email protected] regarding any inaccuracies or omissions. BOSTON LANDMARKS ORCHESTRA BOARD OF TRUSTEES BOARD OF OVERSEERS Laura Connors, Chair Stephen Spinetto, Chair Steven Levitsky Gene D. Dahmen David B. Arnold III Anne Linn Peter Fiedler Smoki Bacon Sharon McNally Richard Hawkins Kathryn Beaumont David G. Mugar B. J. Krintzman Richard M. Burnes Bill Nigreen Katharine M. Pell Marian “Hannah” Carlson Jeryl Oristaglio J. Brian Potts Richard Concannon Myran Parker-Brass Michael Rotenberg Conrad Crawford Susan Putnam Allison K. Ryder Julie Crockford Diana Rowan Rockefeller Stephen Spinetto, ex officio Corinne Dame Anthony Rudel Stephen Symchych Joseph Davies Maureen Ruettgers David Szabo Katherine DeMarco Penelope McGee Savitz Edwin Tiffany Priscilla H. Douglas Andrea Schein Milton L. Wright Jr. Newell Flather Eileen Shapiro Michael Yogman Howard Gardner John Shields David Gergen Epp Sonin Alfred D. Chandler III, Sean Hennessey Donna Storer Trustee Emeritus Mary J. Kakas Beverly J. Tangvik Paul Kowal William Walczak Charles Ansbacher, Robert M. Krim Douglas Wilkins Founder Fernando Leon Arthur Winn STAFF Jo Frances Meyer, Executive Director Arthur Rishi, Artistic Administrator Michelle Major, Chief Financial Officer Jim Murray, Manager of Development & Communications Joanne Barrett/JBPR, Public Relations Adele Traub, Social Media Coordinator Stephanie Muñoz, Education & Outreach Coordinator Samuel Hawkins, Kenrick Tsang, Interns PRODUCTION Emerson Kington, Technical Director Audrey Dunne, Production Manager & Librarian Cate Gallagher, Production Assistant Steve Colby, Sound Design & Audio Mix MJ Audio, Audio Production Mackenzie Skeens, Stage Crew Supervisor Brian Gomez, Francisco Perdomo, Sebastian Saint Leger Rock, Amari Vickers, MLK Summer Scholars Michael Dwyer, Photography Jesse Ciarmataro, Graphic Design VERY SPECIAL THANKS Boston Cares The Boston Globe Boston University Office of Disability Services JCDecaux MBTA WEDNESDAYS AT 7PM GREAT MUSIC FOR FREE AT THE DCR’s HATCH SHELL

August 9, 2017 ANTHEMS OF THE WORLD If it is raining on the 9th, the concert will be postponed to the 10th at the Hatch Shell or Kresge Auditorium at MIT.

August 16, 2017 LONGWOOD SYMPHONY ORCHESTRA If it is raining on the 16th, the concert will be cancelled.

August 23, 2017 LANDMARKS DANCE CARNIVAL If it is raining on the 23rd, the concert will be postponed to the 24th at the Hatch Shell. Special Event: Wednesday, August 30, 2017 at 7 PM A FAR CRY A Far Cry makes its debut at the Hatch Shell, presented by the Free for All Concert Fund and produced by Boston Landmarks Orchestra. If inclement weather is in the forecast on the day of a concert, please check www.landmarksorchestra.org or call 617-987-2000 after 4 PM for any changes to the date or venue. Download our mobile app to receive weather alerts, notifications, and special offers.

214 Lincoln Street, Suite 331 Boston, MA 02134 617-987-2000 www.landmarksorchestra.org

#Landmarks2017

These programs are supported in part by grants from the Massachusetts Cultural Council and the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts + Culture for the City of Boston. Die Trommel gerühret, text by Johann Wolfgang von Goethe

Lied: Die Trommel gerühret Song: The drum resounds

Die Trommel gerühret! The drum resounds! Das Pfeifchen gespielt! The fife is played!

Mein Liebster gewaffnet My love is armed for war dem Haufen befiehlt, and commands his host; die Lanze hoch führet, he holds the lances high die Leute regieret. and commands his men.

Wie klopft mir das Herz! How my heart pounds! Wie wallt mir das Blut! How my blood races! O hätt' ich ein Wämslein O if only I had a doublet, und Hosen und Hut! and breeches and helmet!

Ich folgt' ihm zum Tor ‘naus I would follow him through the gate mit mutigem Schritt, with courageous step, ging' durch die Provinzen, and march through the provinces, ging' überall mit. march everywhere with him.

Die Feinde schon weichen, The enemy has grown weak, wir schiessen da drein; we fire at them; Welch' Glück sondergleichen, What happiness without equal Ein Mannsbild zu sein! To be a man!

O Freunde, nicht diese Töne! Oh friends, not these tones! Sondern laßt uns angenehmere anstim- Rather let us raise our voices men, und freudenvollere. with more pleasant and joyful sounds. Freude! Freude! Joy! Joy!

An die Freude Ode to Joy Friedrich Schiller Friedrich Schiller

Freude, schöner Götterfunken, Joy, beautiful spark of the gods, Tochter aus Elysium, Daughter from Elysium, Wir betreten feuertrunken, We enter, drunk with fire, Himmlische, dein Heiligtum! Heavenly One, thy sanctuary! Deine Zauber binden wieder Your magic joins again Was die Mode streng geteilt; What convention strictly divides; Alle Menschen werden Brüder All mankind becomes as brothers, Wo dein sanfter Flügel weilt. Where your gentle wing abides.

Wem der große Wurf gelungen Who has succeeded in the great attempt, Eines Freundes Freund zu sein; To be a friend's friend, Wer ein holdes Weib errungen Whoever has won a lovely woman, Mische seinen Jubel ein! Add his to the jubilation! Ja, wer auch nur eine Seele Indeed, who calls even one soul Sein nennt auf dem Erdenrund! His own upon this world! Und wer's nie gekonnt, der stehle And whoever never managed, shall steal Weinend sich aus diesem Bund! Weeping away from this company.

Freude trinken alle Wesen All beings drink of joy An den Brüsten der Natur; At nature's breast. Alle Guten, alle Bösen All good and all the evil Folgen ihrer Rosenspur. Follow her rosy path. Küsse gab sie uns und Reben, She has given us kisses and wine, Einen Freund, geprüft im Tod; A friend, tested unto to death. Wollust ward dem Wurm gegeben Desire was given by the serpent, und der Cherub steht vor Gott. And the cherub stands before God!

Froh, wie seine Sonnen fliegen Gladly, as His heavenly bodies fly Durch des Himmels prächt'gen Plan Through heaven’s magnificent design, Laufet, Brüder, eure Bahn, Run, brothers, your race, Freudig, wie ein Held zum siegen. Joyfully, as a hero to victory.

Seid umschlungen, Millionen! Be embraced, you millions. Diesen Kuß der ganzen Welt! This kiss is for the whole world! Brüder, über'm Sternenzelt Brothers, above the starry canopy Muß ein lieber Vater wohnen. There must live a loving Father. Ihr stürzt nieder, Millionen? Do you kneel down, you millions? Ahnest du den Schöpfer, Welt? Do you sense your creator, world? Such' ihn über'm Sternenzelt! Seek Him beyond the stars; Über Sternen muß er wohnen. Above the stars must He dwell.