welcome

Dear Friends,

Welcome to the opening concert of Emmanuel Music’s 45th sea- son! In our three major concerts we return to our beginnings and our core – the music of J.S. Bach. But we are bringing new per- spectives that promise to offer discoveries and revelations to all, whether you have been steeped in Bach’s music for years or are just now discovering its richness.

Emmanuel Music began 45 years ago this December with the mission of performing Bach cantatas for Emmanuel Church’s Sunday services. Our weekly collaborative explo- rations of Bach’s music make us uniquely positioned to explore Bach in new ways that are both deeply understood and deeply felt.

Bach is the father of classical music, and he created or foreshadowed virtually every development that followed. And so tonight we explore rearrangements – Bach’s own and those of others -- that let us hear some of his compositions newly and freshly. What happens when Bach reimagines a concerto for three harpsichords as a concerto for three violins? Or when Stravinsky puts his own stamp on selections from The Well-Tempered Clavier? Or when Ward Swingle rearranges selected Bach pieces for an a capella octet, with one voice to a part? Our ears open to the richness of his composi- tions and the range of voices and variations. We marvel that there is always more to discover.

Two more major concerts will explore unusual aspects of Bach. On March 19 we per- form a reconstruction of Bach’s lostSt. Mark Passion, and on April 9 we collaborate with Urbanity Dance, Betsi Graves, Director, to bring to life J. S. Bach’s The Contest between Phoebus and Pan and Kurt Weill’s The Seven Deadly Sins. The performance space will be in and among the audience, for unparalleled immediacy and impact. And let’s not forget the chamber series, where we bring you masterpieces by Felix Mendelssohn as well as Wolf’s greatest song cycle, The Italian Songbook. This season’s chamber series will truly stand out as among the best of those we’ve presented over many decades.

Whether you are discovering Emmanuel Music or returning for the latest of many sea- sons, we welcome you to savor the music with us. There will be many moments of unsurpassed beauty.

All the Best,

Kate Kush President, Emmanuel Music Board emmanuel music Swingle Singers Selections Ryan Turner, ARTISTIC DIRECTOR John Harbison, PRINCIPAL GUEST CONDUCTOR Prelude No. 1 in C Major, BWV 846 from The Well-Tempered Clavier, Book 1

BACH REARRANGED Gigue from Cello Suite No. 3 in C Major, BWV 1009 J. S. BACH | IGOR STRAVINSKY | WARD SWINGLE Sinfonia No. 11 in g Minor, BWV 797 Badinerie from Orchestral Suite No. 2 in b minor, BWV 1067 SATURDAY, OCTOBER 3, 2015 – 8:00 PM “Little” Fugue in g minor, BWV 578 Pre-concert conversation at 7:00 PM with John Heiss and Christopher Krueger Margot Rood and Shari Wilson, soprano Carrie Cheron and Margaret Lias, alto Orchestral Suite No. 2 in b minor, BWV 1067 J. S. Bach Charles Blandy and Jonas Budris, tenor (1685-1750) Jacob Cooper and Donald Wilkinson, bass Overture - Rondeau - Sarabande - Bourrée I & II - Polonaise & Double - Sponsored by Butler and Lois Lampson Minuet - Badinerie Robert Schultz, drums and Bebo Shiu, bass

Christopher Krueger, flute The Orchestra and Soloists of Emmanuel Music Concerto for Three Violins in D Major, BWV 1064R J. S. Bach Ryan Turner, conductor

Allegro - Adagio - Allegro Tonight’s performance is made possible in part through the generosity of Hanna and James Bartlett. Heather Braun, Heidi Braun-Hill & Rose Drucker, violin

***INTERMISSION*** The audience is cordially invited to join Ryan Turner and the musicians at a Four Preludes and Fugues from The Well-Tempered Clavier post-concert reception in Wolfinsohn Recital Room directly following the performance. Prelude and Fugue No. 10 in e minor J. S. Bach BWV 854 from Book 1 arr. Igor Stravinsky Prelude and Fugue No. 4 in c-sharp minor ed. Christopher Hogwood BWV 849 from Book 1 Prelude and Fugue No. 11 in F Major This project is funded in part by grants from the Massachusetts Cultural Council and the BWV 880 from Book 2 Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council, Prelude and Fugue No. 24 in b minor administerd by the Mayor’s Office of Arts, Tourism, and Special Events. BWV 869 from Book 1 PROGRAM NOTES PROGRAM NOTES

Bach was the first great composer to be forgotten by the general public and then to re- going back to the ballet suites in 17th-century French opera. The dances’ standard con- emerge to take his place as one of the masters. However, The Well-Tempered Clavier, his ventions are audible, however, Bach transforms them through elaborate ornamentation encyclopedic two-volume keyboard collection, never went unplayed. Within thirty years and by pushing traditional French dances past formal bounds, such as the strict canon of Bach’s death, Mozart was busy studying The Well-Tempered Clavier and Beethoven was at the fifth between the flute/first violins and bass in the Sarabande, the ornate flute learning to play the piano by practicing its twenty-four preludes and fugues. The entire figurations in the Polonaise and the flute fireworks of the extremely rare and virtuosic generation of composers born around 1810—Schumann, Chopin, Mendelssohn, and Liszt, Badinerie. etc.—thought of Bach as essential to the foundation of music itself, and they considered The Well-Tempered Clavier as the bedrock of their keyboard technique. Bach’s collection Today’s leading Bach scholar Christoph Wolff posits: remained a touchstone for the most adventurous composers of the twentieth century as well. Charles Ives and Igor Stravinsky played one of the fugues every morning before break- By composing dances Bach significantly refined his musical language, not so much in the fast, to start the day fresh. Arnold Schoenberg, who made a full orchestral transcription of basic realm of vocabulary, syntax, and grammar but notably in the area of articulation the E-flat Major Prelude and Fugue (Saint Anne), liked to call Bach “the first composer with and expression. Nowhere else but in his suites of dances do we encounter a more sys- twelve tones,” thinking of the b minor Fugue from Book 1 of The Well-Tempered Clavier, in tematic, sophisticated, and far ranging exploration of the subtleties of musical articula- which all twelve steps of the chromatic scale appear in the opening subject. tion and along with it the fine tuning of musical expression.

Yet we know surprisingly little about Johann Sebastian Bach. The details of his life are vague beyond the basic résumé of court and church positions; they make for no more than a one- BACH Concerto for Three Violins in D, BWV 1064R dimensional figure. “Since he never wrote down anything about his life,” his son Carl Philipp INSTRUMENTATION three solo violins, strings, continuo Emanuel said, “the gaps are unavoidable.” With dozens of students to teach, music to write on order, and ten children to raise (another ten died in infancy), he was too busy to worry The keyboard concertos, like the details of Bach’s life, pose more questions than an- about posterity. A great deal of Bach’s music survives, but, incredibly, there’s much more swers. We are not sure when they were composed and for whom, and, in many cases, that didn’t. It is speculated that over two hundred compositions from the Weimar years are even what instrument they originally were written for, since most are arrangements of lost, and that just 15 to 20 percent of Bach’s output from his subsequent time in Cöthen has earlier works. Of the fourteen surviving concertos for one, two, three, or four keyboards survived. Two-fifths of the cantatas he wrote in Leipzig have never been found. There also that Bach composed in Leipzig in the 1730s, only one was actually written with the key- are many unanswered questions about the music by Bach that we do have. board in mind. Of the rest, we know for certain the original scoring of just three.

It was only after Bach had taken charge of the Collegium Musicum in Leipzig in the 1730s BACH Orchestral Suite No. 2 in b minor, BWV 1067 that he began to produce keyboard concertos at all, and his usual practice was to adapt COMPOSED 1738-39 music he had composed earlier. The idea of writing for more than one keyboard may INSTRUMENTATION flute, strings, continuo simply have been suggested by the large number of musicians in the Bach household, in particular his two oldest sons, Wilhelm Friedemann and Carl Philipp Emanuel. It is gen- The numbering of Bach’s four suites is a convention that has little to do with their order erally believed that all of these works are actually arrangements of preexisting concer- of composition. The first and fourth suites originate from around 1725, with the third dat- tos for other instruments. Scholars have worked to reconstruct the “original” concertos ed, with some certainty, from 1731. The second suite, with its hybrid mixture of concerto from these secondary sources, and the Concerto for Three Violins in C Major (performed elements and suite form and the extraordinary virtuosity of its flute writing, dates from at this concert in the preferred key of D), after the Concerto for Three Harpsichords in C 1738–39 and hence counts as Bach’s very last orchestral work. All four orchestral suites Major, is one of these re-created works. The version is, therefore, more an act of plau- were likely performed by the musicians of the Collegium Musicum in Leipzig, which Bach sible reconstruction than an arrangement; it is actually Bach’s version for three harpsi- led from 1729 to 1737 and then again from 1739 until his death in 1750. Founded by Tel- chords that is the arrangement. Most scholars think that the surviving source is itself an emann at the beginning of the eighteenth century, the Collegium Musicum was a musical arrangement of a lost violin concerto. That means that when we hear this concerto per- society known for its casual concerts at Gottfried Zimmermann’s coffee house on the main formed on violins, we might be hearing something closer to what Bach originally wrote, street of Leipzig on winter Friday evenings and in his garden on Wednesday afternoons in but reconstructed from an arrangement of the original. the summer. The word concerto poses two possible definitions: 1) from the word consere, “to con- The Orchestral Suites, while adhering to a specific pattern in their organization of move- sort” or 2) concertare, “to compete”. Bach fully embraces the duality of the concerto as ments, all have in common an overture that serves as an opening movement — a tradition “harmonious contention.” In the first movement, the solo violins expand on thematic PROGRAM NOTES PROGRAM NOTES material – ritornello - presented by the full ensemble. Most interesting, though, is what nella is remarkably faithful to the Bach scores he loved, while infusing the genius of Stravin- Bach does between the ritornelli - inventive, improvisatory passages for the soloists that skian sonority: Fugue XI for three clarinets, bass pizzicato at the end of Fugue X, and the recall thematic material. The soloists come to the foreground in the Adagio, in an intricate dividing of a single line between viola and cello in Fugue XXIV. Stephen Walsh, in Stravinsky: conversation around a lyrical melody. In the final Allegro, the virtuosic dialogue between The Second Exile, points out “the mere existence of these arrangements is astonishing tes- soloists and ensemble continues with precipitous haste and sheen. tament to the resiliency of the creative spirit.”

BACH Four Preludes and Fugues from The Well-Tempered Clavier Swingle Singer Selections arr. Stravinsky; ed. Hogwood COMPOSED 1722 (publication of volume 1), ca. 1740 (volume 2) Trained in classical music and jazz, Ward Swingle (1927-2015) was born in Alabama and April–June, 1969, Stravinsky arrangement studied in Europe with the eminent pianist and composer Walter Gieseking, and worked as INSTRUMENTATION three clarinets and bass clarinet, two bassoons, strings an accompanist for Roland Petit’s Les Ballets des Paris.

The Well-Tempered Clavier was Igor Stravinsky’s daily bread at the end of his life—he began Swingle founded the renowned Swingle Singers almost as a lark in Paris, where he had the day by playing a page or two as a way of exercising his fingers and jump-starting his lived intermittently since the 1950s. In 1962 or thereabouts, while he was working as a stu- thoughts. Robert Craft, Stravinsky’s long-time colleague, said that after the composer died, dio session singer, he and seven French colleagues, wanting something novel to put their he found the music of Bach’s e-flat minor Prelude from Book I still open on the piano. It was voices to, tried vocalizing Bach much as a jazz singer would, using scat syllables. the last piece Stravinsky had played, just three days earlier. The result, backed by string bass and drums, was a 1963 album released as “Jazz Sébas- Stravinsky’s final project—in a career that stretched over seventy years—was an orchestra- tien Bach” in France and “Bach’s Greatest Hits” in the United States. Featuring Swingle’s tion of four of Bach’s preludes and fugues. The scoring for three clarinets, two bassoons and arrangements of Bach The Well-Tempered Clavier and The Art of Fugue, the album spent strings is a combination never before employed by Stravinsky, although his previous project more than a year on the Billboard chart and won a Grammy Award for best performance by of 1968, an orchestration of Two Sacred Songs by Hugo Wolf, used a similar grouping in a chorus. Swingle also won the Grammy for best new artist of 1963 and the Swingle Singers three clarinets, two horns and string quintet. went on to win three more Grammys in the 1960s.

He began work in April 1969, a year largely given over to serious illness and to treatments The Swingle Singers have performed at the White House, at Carnegie Hall, Alice Tully, and in New York and Los Angeles. After much difficulty, Stravinsky completed the Bach project Town Halls and the Village Gate in New York, and at La Scala in Milan. The group has col- in June. “My transcriptions fromThe Well-Tempered Clavier were finished in the hospital,” laborated with artists and ensembles including the Modern Jazz Quartet, the jazz violinist he later told Craft, “and the next day, my birthday, as it happened, I was paroled back to the Stéphane Grappelli, and the New York Philharmonic. hotel.” These final pages from the great twentieth century master were unknown for many years after Stravinsky’s death. They were not discussed in the Stravinsky literature, and They were esteemed by the contemporary composer Luciano Berio, whose 1968 orchestral remained unpublished until 2011, when Christopher Hogwood completed his own edition, work Sinfonia, commissioned for the Philharmonic’s 125th anniversary season, included heard this evening. texts spoken and sung by them.

In an interview with Robert Craft for the New York Review of Books, Stravinsky said: The original Swingle Singers disbanded in 1973. Reconvened by Swingle in England not long afterward, the ensemble was known first as Swingle II and later as the New Swingle Singers. “As for my ‘aim’, if I must pretend to have had one, I simply wished to make the music avail- Today, the Swingles comprise of seven men and women; their repertoire, sung a cappella, able in an instrumental form other than the keyboard, which may have also been Mozart’s spans an eclectic range of styles. ‘aim’; in transcribing five fugues from the same collection for two violins viola and bass. But I could not have done any more than that in the case of the middle pieces. The act of writ- ©Ryan Turner ing was probably the psyche’s way of defending itself, and it was all that mattered then, not what was written – so more than therapy, an intended orchestration.”

The marvel of these arrangements is found at the intersection of purism and invention. The composer who once made history by completely redecorating Pergolesi’s music in Pulci- THE ORCHESTRA OF EMMANUEL MUSIC ABOUT EMMANUEL MUSIC Violin I Bass Danielle Maddon Bebo Shiu Lena Wong Heather Braun Clarinet Rose Drucker Eran Egozy Jan Halloran Violin II Amy Advocat Heidi Braun-Hill Jesse Irons Bass Clarinet Karen Oosterbaan Amy Advocat Ryan Turner conducts Bach’s St John Passion, March 21, 2015. Dianne Pettipaw Photo by Julian Bullitt. Bassoon Viola Jensen Ling Emmanuel Music, a collective group of singers and instrumentalists, was founded in 1970 Joan Ellersick Adrian Jojatu by Craig Smith to perform the complete cycle of over 200 sacred cantatas of J. S. Bach in Laura Jeppesen the liturgical setting for which they were intended, an endeavor twice completed and a Daniel Doña Harpsichord tradition which continues today. Artistic Director Ryan Turner has led the ensemble since Michael Beattie 2010. Cello Over the years, Emmanuel Music has garnered critical and popular acclaim through its Rafael Popper-Keizer Orchestra Personnel presentations of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as Cora Swenson Lee Manager well as its in-depth exploration of the complete vocal, piano, and chamber works of Debussy, Joan Ellersick Brahms, Schubert, and Schumann. A recent highlight was the Boston and Tanglewood premiere of John Harbison’s opera The Great Gatsby.

A unique aspect of Emmanuel performances is its selection of vocal and instrumental EMMANUEL MUSIC IS PROUD TO BE A MEMBER OF: soloists from a corps of musicians who have long been associated with the group. Emmanuel Music has given rise to renowned musicians at the local, national, and international level; its long-standing association with Principal Guest Conductor John Harbison has also yielded a wealth of creative artistry. greater boston choral consortium Emmanuel Music has achieved international recognition from audiences and critics alike in its innovative collaborations with leading visionaries among the other arts, including the Mark Morris Dance Group and stage director Peter Sellars. Emmanuel Music made its European debut in 1989 in Brussels at the Théâtre Royal de la Monnaie, and its New York The Boston Musical City debut at Lincoln Center in 2001. Intelligencer In a schedule that totals over fifty performances per year, guest conductors have included Seiji Ozawa, Christopher Hogwood, Christoph Wolff, Robert Levin, Julian Kuerti, David Hoose, and Christopher Shepard.

Emmanuel Music has been the subject of numerous national radio and television specials, and has completed ten recording projects featuring works of Heinrich Schütz, John Harbison, and J. S. Bach, including the critically acclaimed bestseller Bach Cantatas BWV 82 and 199 featuring Lorraine Hunt Lieberson on the Nonesuch label (hailed as one of the Top CDs of the Year by The New York Times); Mozart Piano Concertos and Fantasies, with Russell Sherman on the Emmanuel Music label; and the latest release on the AVIE label, Lorraine at Emmanuel. ABOUT THE ARTISTS ABOUT THE ARTISTS

Ryan Turner, now in his sixth year as Artistic Director of Emmanuel Based in Boston, violinist Heather Braun performs as first violin- Music, brings both talent and heart to his music-making as a ist of the prize-winning Arneis Quartet; the Quartet has recently conductor, a programmer, and singer. Praising his most recent performed at venues including the Beijing Modern Music Festival, performance of John Harbison’s The Great Gatsby, critics described the Modulus Festival in Vancouver, Stanford University’s Lively Arts him as “a thinking man’s conductor” and remarked on his “supple, Series, Aspen Music Festival, Reggio Emilia, Boston University, and even liquid shaping of phrase, impeccable technique and truly Swarthmore College. Ms. Braun also performs as co-concertmaster refreshing communication of the intimacy of ensemble playing.” and soloist with the Orchestra of Emmanuel Music, and was a Lor- Born in 1972 and raised in El Paso, Texas, Mr. Turner attended raine Hunt Lieberson Fellow in 2010-2011. Other recent performing Southern Methodist University in Dallas. He arrived in Boston in 1995 highlights include the Frederick Collection recital series, Rockport to continue his studies at the Boston Conservatory. He joined Emmanuel Music in 1997 as (MA) Chamber Music Festival, East-West Virtuosi, and the Manchester (VT) Music Festi- a tenor soloist and chorus member, making his debut as a guest conductor in 2006. Since val. Ms. Braun has performed as a soloist with various orchestras in Boston, Milwaukee, his appointment as Artistic Director, Mr. Turner has programmed and conducted over Washington DC, and Manchester, VT. Ms. Braun received her Bachelor of Music degree one hundred fifty Bach cantatas, the Bach St. John Passion, B Minor Mass and Christmas from the Eastman School of Music, studying with Mikhail Kopelman, and completed her Oratorio, and major works and operas by Stravinsky, Mozart, Handel, and John Harbison. Master of Music and Doctor of Musical Arts degrees at Boston University, studying with A champion of new music, Ryan Turner has programmed and premiered the works of Peter Zazofsky. While studying at BU, she was twice given the String Department Award composers John Harbison, James Primosch, Brett Johnson, and Ben Hogue. and received the Zulalian Foundation Award in 2010. She has collaborated in concert with the Ying Quartet, St. Lawrence String Quartet, Menahem Pressler, Robert Levin, As an opera conductor, Mr. Turner’s repertoire ranges from Handel to Mozart to Martin. and members of the BU School of Music faculty. Ms. Braun has coached chamber music He has made guest appearances with the Boston Lyric Opera, Longy School of Music and and violin at the Boston University Tanglewood Institute, Manchester Music Festival, Boston College. He returns to the Boston Lyric Opera this Fall to conduct Philip Glass’s and Apple Hill Center for Chamber Music. She was appointed to the Boston University In the Penal Colony. Turner teaches on the voice and early music faculty at the Longy School of Music faculty in 2014, is a violin and viola faculty member for the Brookline School of Music of Bard College. He was the Director of Choral Activities at Phillips Exeter Public Schools Extension Program, and has coached for the Boston Youth Symphony Or- Academy from 2006 to 2012. From 2006 to 2009 he served as the Acting Director of the chestras. SongFest Bach Institute in California, founded by Craig Smith. From 2001 to 2010 Mr. Turner presided as Music Director of the Concord Chorale and Chamber Orchestra. He has also served as Assistant Director of Choral Activities at the University of Rhode Island, as Interim Director of Choral Activities at Plymouth State University, and as Music Director Violinist Heidi Braun-Hill has performed with chamber music series of the Concord Chorus. presented by Emmanuel Music, Token Creek, Apple Hill, Firebird Ensemble, the Chameleon Arts Ensemble, Winsor Music, Radius Ryan Turner has appeared as tenor soloist in oratorio, recital, and opera. Some highlights Ensemble, and the Warebrook Contemporary Music Festival. Since include his appearances with the Mark Morris Dance Group in Handel’s L’Allegro, il 1999 she has been a soloist with Emmanuel Music’s Bach Cantata Penseroso ed il Moderato, six seasons with the Carmel Bach Festival, and singing the role Series and has performed in Peter Sellars/Craig Smith productions of Ferrando in Cosi fan tutte with Opera Aperta. Mr. Turner made his Carnegie Hall debut in the US and Europe. She has premiered chamber works by Martin as the tenor soloist in Handel’s Messiah in 2008. He has sung solos in over forty Bach Brody, Martin Boykan, Edward Cohen, and Allen Anderson, and cantatas with Emmanuel Music. His discography includes Bach BWV 67 with Emmanuel has worked closely with composer John Harbison. Ms. Braun- Music, Praetorius’s Christmas Vespers with Apollo’s Fire, and Kapsberger’s Apotheosis Hill, affliated with many Boston groups and sought after as a concertmaster, has made with Ensemble Abendmusik. recordings with various groups on the Arsis, Nonesuch, Naxos, BMOP/sound, and Albany labels. Passionate about arts education, she is a member of the music faculty at Phillips Ryan Turner lives north of Boston with his wife, soprano Susan Consoli, and their two Exeter Academy. She is a graduate of Boston University, where she studied with Peter children, Aidan and Caroline. Zazofsky. Ms. Braun-Hill lives in Boston with her husband, Whitacre Hill, and their two children. ABOUT THE ARTISTS ABOUT THE PRE-CONCERT SPEAKER

Rose Drucker is a versatile freelance violinist performing through- John Heiss is an active composer, conductor, flutist, and teacher. He has received out the Boston area with groups including Emmanuel Music and the awards and commissions from the National Institute of Arts and Letters, Fromm Founda- Boston Philharmonic, where she serves as principal second violin. tion, NEA, Rockefeller Foundation, Massachusetts Council on the Arts and Humanities, As a member of the Arneis Quartet she has appeared in Stanford’s ASCAP, and the Guggenheim Foundation. Mr. Heiss has been principal flute of Boston Lively Arts Series, Music on Main in Vancouver, and the Beijing Mod- Musica Viva and has performed with many local ensembles, including the BSO. He has ern Music Festival in China. Arneis has also performed in Boston been a faculty member of New England Conservatory since 1967, and has taught New and New York and at summer festivals in Aspen, The Banff Centre England Conservatory students the roots of 20th-century modernism both in the class- in Canada, Stanford University, and Deer Valley, UT. They were the room and as a conductor and coach. His courses on Ives, Schoenberg, and Stravinsky Fellowship Quartet at the Apple Hill Center for Chamber Music and have shaped generations of musicians. the inaugural winners of the John Lad prize, awarded by the St. Lawrence String Quartet at Stanford University. With Emmanuel Music she has appeared in the Chamber Music and Solo Bach series and was a 2005-2006 Lorraine Hunt Lieberson Fellow. Ms. Drucker has been coached by members of the Muir, St. Lawrence, Brentano, Emerson, and Juil- liard quartets and has studied with Peter Zazofsky and Mark Rush. She holds degrees from Boston University and the University of Arizona. emmanuel music Ryan Turner A graduate of the New England Conservatory of Music, Christopher Krueger was a student of James Pappoutsakis. He has performed Artistic Director as principal flutist with the Boston Symphony, the Boston Pops and Boston Pops Esplanade Orchestra, the Orpheus Chamber Orchestra, in collaboration with the Opera Company of Boston, Boston Ballet, Boston Musica Viva, Urbanity Dance, Betsi Graves, Director and Cantata Singers, among other organizations, and was a founding member of the Emmanuel Wind Quintet, winners of the 1981 Walter W. Naumburg Award for Chamber Music. Currently he is a member BACH REINVENTED of Collage New Music, Emmanuel Music, and performs frequently as principal flutist with Cantata Singers and other organizations in Boston. In the mid-1970s, Kurt Weill The Seven Deadly Sins Mr. Krueger became interested in historical performance. His career as a Baroque flutist J.S. Bach The Contest Between has taken him throughout the United States, Europe, Eastern Europe, and Australia. He has been a soloist on the Great Performers Series and Mostly Mozart Festival at Lincoln Phoebus and Pan Center, the Philadelphia Bach Festival, Tanglewood, Ravinia, the Berlin Bach Festival, Susan Consoli, soprano the City of London Festival, and the Lufthansa Festival of Baroque Music, as well as in Krista River, alto France, Belgium, Italy, and Poland. He is a member of the Bach Ensemble and the Aulos Lynn Torgove, alto Ensemble, and is principal flutist with the Handel and Haydn Society and Boston Baroque. Frank Kelley, tenor Mr. Krueger has conducted and been a soloist with the Handel and Haydn Society and Dana Whiteside, baritone Emmanuel Music, and his recordings can be heard on Sony, DG, Decca, EMI, Nonesuch, Matthew Anderson, tenor Pro Arte, CRI, Telarc, Koch, and Centaur. Mr. Krueger has served on the faculties of the New David Kravitz, baritone England Conservatory of Music, Boston University, Wellesley College, the Longy School of Music, Oberlin’s Baroque Performance Institute, and the Akademie für Alte Musik in Brixen/Bressanone, Italy. April 9, 2016 at 7:30PM Emmanuel Church, Boston www.emmanuelmusic.org EMMANUEL MUSIC BOARD

BOARD OF DIRECTORS ADVISORY BOARD

Kate Kush PRESIDENT Belden Hull Daniels Dale Flecker VICE PRESIDENT Richard Dyer David Vargo TREASURER Anthony Fogg Get Eric Reustle CLERK The Rt. Rev. Alan M. Gates Hanna Bartlett John Harbison Richard B. Beams Rose Mary Harbison Elizabeth Boveroux Ellen T. Harris Marion Bullitt David Hoose H. Franklin Bunn Richard Knisely Coventry Edwards-Pitt Sara Lawrence-Lightfoot John Graef Robert Levin Involved David Kravitz Errol Morris There are many ways to get involved behind the scenes and increase your engagement as a Peter Libby Mark Morris member of the Emmanuel Music community. Patrice Moskow Joan Nordell support our mission Charles Sherman James Olesen When you make a gift to Emmanuel Music you directlysupport our mission of enriching the Vincent Stanton, Jr. Richard Ortner life of the community through the transformative power of music. Every gift plays a role in Matthew Strassler Ellis L. Phillips, III our success: you can underwrite a cantata or a soloist or make a gift to support the Annual Fund, students of the Bach Institute program, or the Hercules Society. Our donors make the Dana Whiteside Peter Sellars exceptional work of our talented musicians happen, both on the stage and in education and The Rev. Pamela L. Werntz, Russell Sherman outreach programs. ex-officio Sanford Sylvan Members of the Emmanuel Music donor family enjoy a variety of privileges and benefits to Christoph Wolff enhance the concert-going experience. Benjamin Zander become a board member Are you interested in making a difference in your community, in expanding your leadership STAFF opportunities, and in becoming an insider in the region’s nonprofit arts and cultural scene? Emmanuel Music Board members are part of the inner circle responsible for oversight, plan- Ryan Turner ARTISTIC DIRECTOR ning, and serving as ambassadors for our wonderful musical mission. John Harbison PRINCIPAL GUEST CONDUCTOR If you love the music we present you may find a satisfying role as a member of our Board. Craig Smith FOUNDER (1947 - 2007) Useful experience and skills include finance and accounting, media technology, advocacy, Patricia Krol EXECUTIVE DIRECTOR fundraising, human resources, government relations, legal, management, marketing, develop- ment, public relations, and strategic planning. We seek a diverse Board in terms of race, age, and gender. Michael Beattie ARTISTIC ADMINISTRATOR Jude Bedel DIRECTOR OF DEVELOPMENT volunteer Help one of Boston’s cherished music organizations by becoming a volunteer. Emmanuel Joan Ellersick ORCHESTRA PERSONNEL MANAGER Music currently offers a broad range of activities for volunteers: from general office work like Donald Firth CONTROLLER filing and helping with mailings to concert support such as ushering or working the box office and concessions. All of our volunteers are valued partners in helping Emmanuel Music main- Dayla Santurri PR/MARKETING ASSOCIATE tain its legacy of musical excellence. Joanna Springer COMMUNICATIONS MANAGER Jayne West For more information, visit www.emmanuelmusic.org or contact us at COMMUNITY CONNECTIONS COORDINATOR [email protected] or 617.536.3356 to discuss how you would like be involved. COMMUNITY CONNECTIONS COMMUNITY CONNECTIONS

the Boston Modern Orchestra Project. Ms. Rood is a core member of Boston’s Lorelei Lorraine Hunt Lieberson Fellows Ensemble, an all-female vocal ensemble dedicated to the performance of new music, The Lorraine Hunt Lieberson Fellowship honors young artists who have enthusiastically and is a founding member of the Michigan Recital Project, which features commissions participated within the Emmanuel community of musicians and demonstrated by emerging composers. Also sought after as a collaborator, Ms. Rood has been invited exceptional artistic talent. by composers at Columbia University, University of Pennsylvania, University of Louisville and Keene State College for performances and master classes. Her new recording with The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her musical composer Heather Gilligan, Living in Light, will be released in 2017. Margot is a member career as a violist in the Orchestra of Emmanuel Music under the direction of Craig of the Chorus of Emmanuel Music, participates in the Sunday Bach Cantata Series, is Smith. By the mid-1980s, she had become a full-time singer and moved into the ranks featured in Bach Reimagined on October 3, 2015, and is singing Mendelssohn and Wolf of the Emmanuel Chorus, honing her craft both as an ensemble musician and soloist in lieder in the Chamber Series Concert on November 1, 2015. the environment of intellectual rigor and collegial support unique to Emmanuel. Ms. Lieberson’s talent was nurtured and developed within the Emmanuel Music community of musicians and, in particular, the weekly Bach Cantata performances. It is in this spirit that we celebrate and support the young musicians identified each year as Lorraine Violinist Sarah Atwood is completing her Master’s degree at Hunt Lieberson Fellows. New England Conservatory with Tamara Smirnova, Associate Concertmaster of Boston Symphony Orchestra. Sarah currently holds the position of assistant principal second with the Cape Symphony, The 2015-2016 Lorraine Hunt Lieberson Fellows: and throughout the past year acted as concertmaster of New England Conservatory’s unconducted Chamber Orchestra. Ms. Atwood’s Soprano Margot Rood, hailed for her “luminosity and grace” by The performance experience includes Carnegie’s Perelman Hall with the New York String New York Times, performs a wide range of repertoire across American Orchestra, Carnegie’s Weill Hall in a performance of solo Paganini, and Jordan Hall, as stages. Following her solo debut at Boston’s Symphony Hall in 2011, part of many ensembles. First place winner of the 2014 American Protege International she has been a frequent soloist with Handel and Haydn Society under Piano and Strings Competition and recipient of the 2013 Presser Award, Sarah has won the direction of conductor Harry Christophers. Recent and upcoming both Grand and First Prizes in Boston University’s Solo Bach Competition, in addition solo appearances include Rhode Island Philharmonic (Messiah); New to concerto competitions throughout New England. Sarah performs with Emmanuel World Symphony (Reich’s Desert Music); Handel and Haydn Society (Messiah, Vivaldi Music, Cantata Singers, Pro Arte Chamber Orchestra, and substitutes for the New Gloria, Bach Mass in b minor); Seraphic Fire (Messiah, Vivaldi Gloria, Mozart Requiem); World Symphony. Festivals include Sarasota Music Festival, Yellow Barn Music Festival, Bach Collegium San Diego (Messiah); A Far Cry (Golijov’s Three Songs); Oratorio Chorale and Tanglewood Music Center. Performances as part of summer festival residencies (Brahms Requiem); Kent Singers (Brahms Requiem); Tucson Chamber Artists (Bach St. include Rockport Chamber Music Festival and Monadnock Music. As a chamber John Passion and Mozart C minor Mass); Back Bay Chorale (Bach St. John Passion); musician, Sarah has been on faculty at Arts Ahimsa Music Festival and coached at the Brookline Symphony (Mahler Fourth Symphony); and the Boston Early Music Festival Rivers Conservatory. She has also given extensive masterclasses in schools with her Fringe. She is often featured on the Marsh Chapel Choir Bach Cantata Series. Recent New England Conservatory Ensemble Fellowship quartet, as part of the Virginia Arts stage appearances include Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, Festival. Emily Webb in Rorem’s Our Town with Monadnock Music, Johanna in Sweeney Todd with St. Petersburg Opera, the title role in Handel’s Esther at Harvard University, and Ramiro in Helios Early Opera’s production of Cavalli’sArtemisia . In addition to opera and oratorio, Ms. Rood has performed as soloist with some of the United States’ premiere new music ensembles, and was a 2015 recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw, and Evangelist in Arvo Pärt’s Passio with COMMUNITY CONNECTIONS CONCERT UNDERWRITING Community Connections Program Emmanuel Music Concert Underwriting 2015-2016 Emmanuel Music is grateful to The Rowland Foundation for its support of this program. We are deeply grateful to the following benefactors for their leadership support Community Collaborations in underwriting the 2015-2016 season as of September 9, 2015. Emmanuel Music works in partnership with staff and faculty at a variety of Boston-area schools and performing arts organizations to develop in-depth opportunities for young The Position of Artistic Director Community Connections Program musicians. Partner organizations include the Boston Arts Academy; the Perkins School for H. Franklin and Betsy Bunn The Rowland Foundation Belden and Pamela Daniels the Blind; the Boston Children’s Chorus; and the Dever, Murphy, and McCormick public The Bach Institute schools in Dorchester. Each year instrumentalists and vocalists from Emmanuel Music’s Evening Concert Series Peter Libby and Beryl Benacerraf core ensemble work with over 1000 young student musicians through collaborative Hanna and James Bartlett Charitable Fund performances, master classes, workshops, and recitals. Through their intense engagement Alan J. and Suzanne W. Dworsky Oberlin College and Conservatory with professional musicians at the highest level, these young students are given an Joan Margot Smith extraordinary opportunity to experience inspiration, fulfillment, and joy from music-making. Lindsey Chapel Series Soloist Underwriting Cynthia Livingston and Richard Shader Several students who have participated in Emmanuel Music’s Community Connections Lois and Butler Lampson programs have gone on to study music at the college level. Countless others have pursued The Mattina R. Proctor Foundation Chamber Music Series other careers, yet kept music as an important part of their lives. Sarah M. Gates The Cantata Series Kate and Tom Kush Anonymous John Pratt Steven and Jane Akin In honor of Richard Beams H. Franklin and Betsy Bunn Sarah M. Gates Errol Morris and Julia Sheehan Jaylyn Olivo and Dale Flecker Ruth Tucker and Dan Hazen^ David Vargo and Sheila Collins Young Music Fund, Emmanuel Church ^Deceased

Daniel Doña, violist with the Arneis Quartet, works with a student We welcome the opportunity to discuss additional underwriting opportunities for at Perkins School for the Blind as part of Emmanuel Music’s Community Connections Program. the 2015-2016 artistic season and beyond. For more information, please contact Subsidized Tickets Jude Bedel, Director of Development, at [email protected] or call 617.536.3356. Emmanuel Music, through its Community Connections Program, offers numerous Boston- area schools and organizations working with underserved populations access to subsidized tickets for Emmanuel Music concerts. Students, their families, and staff from the Boston Children’s Chorus, Project STEP, the Boston Arts Academy, and other Boston public schools benefit from this exceptional opportunity. HERCULES SOCIETY CUMULATIVE GIVING The Hercules Society Emmanuel Music Cumulative Giving The Hercules Society was established in 1999 to support the performance of Handel’s Emmanuel Music is grateful to the many individuals, foundations, corporations, and Hercules, featuring Lorraine Hunt Lieberson in the role of Dejanira. In subsequent years, government agencies whose generous gifts provide vital support for our artistic, the Society has underwritten major operas, oratorios, and performances in the Evening educational and outreach programs. With over 40 free concerts a season, our ticket Concert Series. We gratefully acknowledge Hercules Society members who made gifts sales cover less than 20% of our operating budget. We extend our deep appreciation between September 1, 2014 and August 31, 2015. to the following patrons whose annual gifts of $50 or more were received between September 1, 2014 and August 31, 2015. For questions or comments, please contact Jude Bedel, Director of Development, at [email protected] or call GATEKEEPERS OF OLYMPUS NEMEAN LION 617.536.3356. $10,000 and over $1,000 and over Toni and Robert Strassler Annemarie Altman and Dave Cook $50,000+ Program* Deb and Ian Wallace Anonymous Errol Morris and Julia Sheehan Dana Whiteside Richard and Mahala Beams Joan Margot Smith Jaylyn Olivo and Dale Flecker Robert Zevin Harold J. Carroll Young Music Fund, Emmanuel Robert N. Shapiro PILLAR OF HERCULES Church Charles Sherman and $500 and over $5,000 and over Victoria Cowling Chu and Michael Chu Amy Poliakoff Anonymous (4) Dale Flecker and Jaylyn Olivo $10,000 and over Vincent Stanton, Jr. and Roberta Anderson and Julian and Marion Bullitt* The Barrington Foundation, Inc. Viva Fisher David Dysert Sarah M. Gates* Julian and Marion Bullitt Vincent and Mary Alice Stanton Beth Baiter Kate and Tom Kush H. Franklin and Betsy Bunn Prudence L. Steiner, Olive Lois Beattie Rachel Jacoff Pamela and Belden Daniels Bridge Fund Jude and Olivier Bedel Margaret and Peter Johnson Eran Egozy and Yukiko Ueno-Egozy James and Margaret Bradley Sarah M. Gates $1,000 and over Thomas Burger and Andrée Robert AUGEAN STABILIZER Paul E. Keane and Linda Baron Davis Timothy and Jane Gillette Anonymous (2) Mary and Kenneth Carpenter $2,500 and over The Klarman Family Foundation Annemarie Altman and Fay Chandler^ Kathryn and Edward Kravitz Kate and Tom Kush David Cook Pamela Dellal Paul and Katie Buttenwieser* Edward and Joan^ Mark* Butler and Lois Lampson The Atlantic Philanthropies Robert and Margaret Faulkner Peter Libby and Richard and Mahala Beams Wendy and Clark Grew Pamela and Belden Daniels* Ruth and Victor McElheny Beryl Benacerraf Charitable Fund Linda Cabot Black Deborah A. Hoover Vincent and Mary Alice Stanton The Mattina R. Proctor Foundation Willa and Taylor Bodman Robert Levin and YaFei Chuang Robert Meyers Rowland Foundation Boston Cultural Council Willie Lockeretz George and Martha Mutrie Toni and Robert Strassler Pauline Ho Bynum Christopher Lydon F. Blair Weille^ Harold J. Carroll Danielle Maddon and Joan and Roderick Nordell Diana Post and Hal Churchill Geoffrey Steadman $5,000 and over GE Foundation* Mark Morris Sheila D. Perry Anonymous (2) John and Rose Mary Harbison Eric and Anne Nordell David and Marie Louise Scudder Elizabeth Boveroux Ann Higgins Winifred and Leroy Parker Victoria Cowling Chu and Mr. John Hsia Peggy Pearson Robert N. Shapiro Michael Chu John Hull Plimpton-Shattuck Fund Margaret Hornady-David and Rachel Jacoff at Boston Foundation M. T. Tosteson Don David Margaret and Peter Johnson Ellis L. Phillips, III Cynthia H. Livingston Paul E. Keane and Margo Risk Massachusetts Cultural Council Linda Baron Davis David Satz *Hercules Society Founder Oberlin Conservatory and College Kathryn and Edward Kravitz Ute and Roy Tellini John Pratt David Kravitz and Majie Zeller The Rev. Pamela Werntz and ^ Deceased Ruth Tucker and Dan Hazen^ Patricia Krol and Ms. Joy Howard David Vargo and Sheila Collins Stephen Chiumenti Winsor Music, Inc. Lorraine Lyman Mr. Cyril Yansouni $2,500 and over Edward and Joan^ Mark Fay Chandler^ Anonymous Ruth and Victor McElheny Scott Corey Dunbar Gail and Darryl Abbey Robert Meyers The Atlantic Philanthropies George and Martha Mutrie $250 and over Director/Employee Roderick and Joan Nordell Anonymous (4) Designated Gift Fund Perkins School for the Blind Alchemy Foundation Hanna and James Bartlett Sheila D. Perry Thomas W. Barber Paul and Katie Buttenwieser Joseph Quinn Michael Beattie Coventry Edwards-Pitt and Eric Reustle Tom and Susan Blandy Matthew Weinzierl David and Susan Rockefeller Mr. J. Buffington Charles L. Felsenthal David and Penelope Caponigro Mary Eliot Jackson Marie Louise Scudder Bill Chapman John Hancock Matching Gifts Magdalena Tosteson David J. Chavolla CUMULATIVE GIVING CUMULATIVE GIVING

John and Cindy Coldren Kathryn Disney Drew Mittelman Frances Gratz Crawford Foundation, Charles and Sheila Donahue Carol Monica Linda J. Heffner Francine and Bill Crawford Elsa Dorfman and Harvey Silverglate Peggy Morrison Winifred Hentschel emmanuel 20 15 Warren Cutler Thomas Driscoll John Mudd Leslie M. Holmes Pierre de St. J. Macbeth and Susan Eastman Nancy Mueller Mr. and Mrs. Charles W. Husbands music Ann Boomer Milligan Ursula Ehret-Dichter Carol Nelson Walter S. Jonas 16 Richard Dyer Brenda Engel John and Ellen O’Connor Rosemary S. Kean Ryan Turner, Artistic Director Marie-Pierre and Michael Ellmann Susan Entin Hazel O’Donnell Peter and Cornelia Keenan Tom and Jody Gill Françoise and Michel Epsztein Cecily T. Parkhurst Richard and Laurie Kent Anne and Rob Goble Margaret Farley Marcia Paszek Dr. A. A. Koeller Ann G. Johnson Susan Feder Henry Paulus Linda and Paul Krouner Frank and Susan Kelley Harriet Feinberg Nancy Peabody Penelope Lane J.B. Kittredge and David Friend and Tom and Elena Powers Donald Langbein Winand van Eeghen Margaret Shepherd Harold I. Pratt Peter A. Lans Mr. Daniel J. Klein and Salome Fung Janice Randall Deborah Lemont Ms. Alice Rothchild Jane Gunter-McCoy and Pauline Ratta Fred and Jean Leventhal Donna and Alec Morgan Seth T. McCoy Philip and Ann Read Carol O. Marshall Bill Nigreen and Kathleen Gladstone Kelly Reed and Ken Williams Ralph and Sylvia Memolo Kathleen McDermott Ron and Elizabeth Goodman Allan Rodgers Barbara B. Merrifield Patrick and Kendra O’Donnell Nadja Gould Virginia Rogers and William Hobbie Jeffrey and Mary Mitchell Lynn Nowels and James Olesen Winifred P. Gray Lee and Shirley Rosen Tim Montgomery William J. Pananos Mary Jewett Greer Richard Sampson and Valda Zalkalns Martha Moor Bonnie Payne and Roger Tobin Mary Alice Grellner Frank Sander Roslin P. Moore John Petrowsky and Tom Vise Joan and Arthur Gulovsen The San Francisco Choral Society Cornelius and Elizabeth Moynihan Dianne Pettipaw Constance A. Hammond Nancy Shafman and Mark Kagan Virginia Newes William and Lia Poorvu Suzanne and Easley Hamner Joseph Shandling The Nordell Perrault Family Rosemary Reiss and Avner Ash Margaret Hanni Andrew Sigel Bettina A. and John M Norton Dayla Arabella Santurri and John Heiss Marilyn Ray Smith and Dana Pentia Stephen E. Gobish Fleet Hill and Walter Popper Charles Freifeld POD LLC* EVENING CONCERTS Linda Abbey Saripalli and Randall Hiller Suzanne Smore Kathleen Powers Cedric Saripelli Margot Dennes Honig Mr. and Mrs. Richard Southgate Peggy E. Pressman Michael J. Scanlon David and Charisse Howse Barbara Spark Carmen Puopolo BACH REIMAGINED Robert Schuneman Charlene and Charles Hyle Joel Stein Catherine Racer Maureen Feldman Siegel and Janet Isenberg Susan Swan Peter and Linda Rubenstein Joy Feldman Ben and Mary Jaffee Erin E. M. Thomas Nancy and Ronald Rucker BACH RECONSTRUCTED Eileen M. Sporing Brett Johnson and Tyler and Marcia Tingley Jo Sandman St. Mark Passion Micho and William Spring David McSweeney Barbara Tinker Stephen and Toby Schlein William and Lisa Strouss Dr. John B. Kaiser Meredith Turcotte Effie A. Shumaker March 19, 2016 at 8 PM Ann B. Teixeira Michael Karr and William L. Vance Rena and Michael Silevitch Elizabeth W. Thomson Marie-Paule Bondat Charles Warren Diane Sokal and Ryan Turner and Susan Consoli David S. Keating Joel and Bonni Weinstein Randolph Meiklejohn BACH REINVENTED Robert and Binney Wells Barbara and Robert Keller Michael Welsh Robert Solonche Collaboration with Marilee Wheeler Ann Kneisel T. Walley Williams, III Dave Steadman and James V. White Sutti and Ehud Koch Katherine B. Winter Daphne Kiplinger URBANITY DANCE Clara Kozol Heather Wittels Alan Strauss April 9, 2016 at 7:30 PM $100 and over Chris Krueger and Jane Bryden Carol Wlodkoski Cornelis L. Thieme Anonymous (5) John Krzywicki and Mary Briggs Chip and Jean Wood Lynn Torgove Joan Amory Pamela Kunkemueller Carl Woodbury Stewart and Sondra Vandermarl Michael and Serafin Anderson Sara D. Kunz Carol P. Woodworth Judith Walcott MENDELSSOHN/WOLF Rosemary and John Ashby Thomas and Amy Kwei Evelyn S. Wyman Ed and Amy Wertheim CHAMBER SERIES, YEAR II Margaret Barnard Susan Larson and Jim Haber Isabel Yoder Martin and Phyllis Wilner Ann Marie Barone Michael and Elisabeth Lay Charlotte R. Wolfe Sundays at 4 PM Nancy Beams Rebecca A. Lee $50 and over October 25 & November 1, Kathryn Bertelli Margaret Lias and Meghan Sweeney Anonymous (14) ^ Deceased Petrina Biondo Mr. and Mrs. Mark Lichtenstein Ms. Marilyn Aborn * Matching Gift 2015 Charles and Birgit Blyth James C. Liu Christopher Buckley Esther Breslau Peter Loizeaux Mike Budreski April 3 & May 1, 2016 Alan H. Brock Frederick MacArthur Suzanne Carleo Lola Brodfeld John Maher and Ellen Sarkisian Dr. Elaine Carmen The Budris Family Audrey Mahler Elisabeth Clark Tickets and Information Gretchen Conklin Charles Maier Jessi Eisdorfer www.emmanuelmusic.org Bruce and Susan Creditor Linda Pope Marsh Jean Fuller Farrington Fay Dabney Barbara T. Martin William Faucon 617-536-3356 John and Sally Davenport Jane Martin Gaby Friedler Mary H. Degarmo Susan Maycock and Charles Sullivan Michael Gandolfi Mary-Catherine Deibel Ellen Mayo David Getz Barbara K. DeVries Suzanne McAllister Keith Glavash and Marylène Altieri ACKNOWLEDGEMENTS

EMMANUEL MUSIC ACKNOWLEDGES GENEROUS IN-KIND CONTRIBUTIONS:

• Musicians of Emmanuel Music who share their artistry with us on a weekly basis throughout the season • The clergy, vestry, and staff of Emmanuel Church • Julian Bullitt, for sharing his technical and photographic expertise • Jim Bradley, for his ongoing operational support • Bill Prokipchak and Brittany Williams, for weekend administrative and operations support bach • Pamela Dellal, for her magnificent texts and translations cantata series • Lois Beattie and Marion Bullitt for their ongoing administrative support • Taj Boston and NuBar, for offering special dinners for concertgoers Fall 2015 Cantatas • Patrice Moskow, for her invaluable editorial and administrative support • Ellen Mayo, for coordinating our volunteer activities Sundays at 10:00 AM • Volunteers for this evening’s concert: Lois Beattie, Sara Kunz, Juana The Orchestra and Chorus of Emmanuel Music presents cantatas and motets of Bach and Monsalve others in a liturgical setting, conducted by Ryan Turner, Artistic Director; John Harbison, • Susan Larson, for her “way with words” Principal Guest Conductor; Michael Beattie; and other guests. • Interns Nick Sterner and Juana Monsalve for their administrative support 10/4 Haydn Lord Nelson Mass • Sametz Blackstone for its print materials design David Angus, conductor • Dana Whiteside for his generous support of the post-concert reception 10/11 BWV 95 Christus, der ist mein Leben • Members of the Boston Musician’s Association, Local 9-535 of the John Harbison, conductor American Federation of Musicians 10/18 BWV 187 Es wartet alles auf dich 10/25 BWV 110 Unser Mund sei voll Lachens 11/1 BWV 106 Gottes Zeit ist die allerbeste Zeit Michael Beattie, conductor Emmanuel Music 11/8 BWV 188 Ich habe meine Zuversicht sincerely thanks 11/15 BWV243 Magnificat in D Major The Longy School of Music of Bard College, 11/22 BWV 115 Mache dich, mein Geist, bereit die Bahn Karen Zorn, President 11/29 BWV 36 Schwingt freudig euch empor and Thomas Burger, Chair 12/6 BWV 167 Ihr Menschen, rühmet Gottes Liebe for hosting this concert. 12/13 BWV 132 Bereitet die Wege, bereitet die Bahn 12/20 BWV 62 Nun komm, der Heiden Heiland Michael Beattie, conductor 12/24 BWV 91 Gelobet seist du, Jesu Christ Christmas Eve, 7 PM

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