Boston Early Music Festival 2021–2022 Season: Piffaro by bostonearlymusicfestival

2021-2022 Season Together again!

Pif faro

Joan Kimball & Bob Wiemken, Artistic Directors

Sunday, November 14, 2021 4pm | First Lutheran Church, Boston

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International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

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“I find the Carlophilipemanuelbachomania grow upon me so, that almost every thing else is insipid to me.” — Thomas Twining, letter to Charles Burney, 

Published by The Packard Humanities Institute cpebach.org

Dear Friends, We’re delighted to welcome you to this afternoon’s concert featuring the stellar Renaissance wind band Piffaro. For more than forty years, the multi-instrumentalists of Piffaro have thrilled audiences with earthy yet elegant performances of the rich and varied wind music of the late Medieval and Renaissance periods. In celebration of Piffaro’s final season with retiring founders and Artistic Directors Joan Kimball and Bob Wiemken, the beloved ensemble returns to BEMF with a musical journey reflecting a vivid selection of Renaissance counterpoint. Their multifaceted musical arsenal of shawms, sackbuts, dulcians, recorders, krumhorns, bagpipes, plus lute, guitar, and many percussion instruments, illuminates a wide variety of contrapuntal compositions, including those based on popular tunes from the 15th century, in a brilliant display of the techniques that later developed into the formal fugal structures of the Baroque. Their program—Point/ Counterpoint: Fuguing in Renaissance Music—encompasses works by over a dozen composers, including Josquin, Lassus, Scheidt, Praetorius, and the Baroque master of the fugue, Bach. We hope you enjoy today’s performance—in person or in a later virtual viewing—and that you will return for our two remaining 2021 programs, starting with the return of BEMF’s popular Chamber Opera Series over Thanksgiving Weekend at NEC’s Jordan Hall in Boston, which features a brilliant pairing of two masterworks by Telemann: his comedic intermezzo Pimpinone, and the dramatic cantata Ino. On December 10, the magnificent Tallis Scholars return to BEMF with a program at St. Paul Church in Cambridge celebrating the 500th anniversary of the death of Josquin. Both will be available virtually later in December. Please accept my sincere thanks for your continued support of and enthusiasm for the Boston Early Music Festival. Kathleen Fay Executive Director

Table of Contents Concert Program Program Notes Artist Profiles About BEMF Friends of BEMF 2021–2022 Season

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Exhibitions Another Tradition: Drawings by Black Artists from the American South Through January 16, 2022

Van Eyck to Mondrian: 300 Years of Collecting in Dresden Through January 23, 2022

Imperial Splendor: The Art of the Book in the Holy Roman Empire, ca. 800–1500 Through January 23, 2022

Bound for Versailles: The Jayne Wrightsman Bookbindings Collection Through January 30, 2022

Music at the Morgan The Dresden Connection: Jan Vogler, cello, and Mira Wang, violin

Thursday, November 18, 2021, 7:30 PM

Tabea Debus, recorder, and Paul Morton, theorbo, guitar

Rush Hour Music in J. Pierpont Morgan’s Library Tuesday, January 11, 2022, 6:30 PM

Aristo Sham, piano

Young Concert Artists Wednesday, January 19, 2022, 12 PM

Argus Quartet

Rush Hour Music in J. Pierpont Morgan’s Library Tuesday, February 22, 2022, 6:30 PM For information visit themorgan.org/programs

The Morgan Library & Museum 225 Madison Avenue at 36th Street New York City

The concert program is made possible by assistance from the Joan and Alan Ades-Taub Family Foundation, the Esther Simon Charitable Trust, Miles Morgan, the Witherspoon Fund of the New York Community Trust, the Theodore H. Barth Foundation, and the following endowed funds: the Cynthia Hazen Polsky and Leon B. Polsky Fund for Concerts and Lectures; and the Celia Ascher Upper: Jan Vogler. Photography by Marco Grob. Lower: “Heiningen Gospels” (fragment), in Latin, Germany, Hamersleben, ca. 1180–1200. Morgan Library & Museum, MS M.565, fols. 13v–14r. Purchased by J. Pierpont Morgan, 1905.

Boston Early Music Festival

Boson Early Music Fesival Management Kathleen Fay, Executive Director Carla Chrisfield, General Manager Maria van Kalken, Assistant to the Executive Director Brian Stuart, Director of Marketing and Publicity Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager Perry Emerson, Operations Manager Corey King, Box Office and Patron Services Manager Andrew Sigel, Publications Editor Nina Stern, Director of Community Engagement

Artistic Leadership Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

Boston Early Music Festival, Inc. 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 • Email: bemf@bemf.org • BEMF.org 2021–2022 Season

BlueHeron 23RD SEASON

SCOTT METCALFE, ARTISTIC DIRECTOR

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 ��     ��-�� �� Missa Sine nomine a 5

 ��-��   Obrecht, Daniel-Lesur, Sanlıkol

www.blueheron.org

Season 24

21 22

� a legacy of fearless song

November 20-21, 2021 at First Church in Boston Ludwig van Beethoven Cello Sonata No. 5 in D Major, Op. 102, No. 2 Pavel Haas String Quartet No. 3 (1937-38) Arvo Pärt Spiegel im Spiegel for clarinet & piano Shen Yiwen Guo Shang “Hymn to the Fallen” for flute, clarinet, violin, cello & piano Dmitri Shostakovich Piano Trio No. 2 in e minor, Op. 67

www.chameleonarts.org

617-427-8200

“unflinching and luminous” - The Boston Globe

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Members of the BEMF Corporation Jon Aaron Debra K.S. Anderson Kathryn Bertelli Mary Briggs Diane Britton Douglas M. Brooks Gregory E. Bulger Julian G. Bullitt Deborah Ferro Burke John A. Carey Anne P. Chalmers Bernice K. Chen Joel I. Cohen David Cook† Brit d’Arbeloff Vivian Day Mary Deissler Peter L. DeWolf JoAnne W. Dickinson Richard J. Dix Alan Durfee Michael Ellmann Peter L. Faber Emily C. Farnsworth Dorothy R. Fay Kathleen Fay John Felton Frances C. Fitch Claire Fontijn Randolph J. Fuller James A. Glazier Marty Gottron Carol A. Haber David Halstead

2021–2022 Season

George L. Hardman Ellen T. Harris Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi Lois A. Lampson Thomas G. MacCracken William Magretta Bill McJohn Miles Morgan Nancy Netzer Amy H. Nicholls James S. Nicolson Bettina A. Norton Scott Offen Lorna E. Oleck Henry P.M. Paap James M. Perrin Bici Pettit-Barron Amanda Pond Melvyn Pond Paul Rabin Christa Rakich Lee S. Ridgway Michael Rigsby

Douglas M. Robbe Michael Robbins Susan L. Robinson Patsy Rogers Wendy Rolfe-Dunham Loretto Roney Thomas Roney Ellen Rosand Valerie Sarles F. Williams Sarles† David W. Scudder Andrew Sigel Jacob Skowronek Arlene Snyder Jon Solins Robert Strassler Ganesh Sundaram Adrian C. Touw Peggy Ueda Donald E. Vaughan Ingeborg von Huene Nikolaus von Huene Howard J. Wagner Benjamin D. Weiss Ruth S. Westheimer Allan Winkler Hal Winslow Christoph Wolff Arnold B. Zetcher Ellen Zetcher † deceased

Boson Early Music Fesival 2021–2022 Named Gift Sponsorships Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2021–2022 Season:

David Halstead & Jay Santos Sponsors of the October 2021 performance by the BEMF Vocal & Chamber Ensembles David M. Kozak & Anne Pistell Sponsors of the December 2021 performance by The Tallis Scholars Susan L. Robinson Sponsor of the March 2022 performance by Juilliard415 & Royal Early Music George Hardman Sponsor of the restoration of BEMF’s 5-octave fortepiano by Robert Smith, Boston, 1984 Annemarie Altman Sponsor of Kristian Bezuidenhout, fortepiano, for his April 2022 performance with soprano Carolyn Sampson, in memory of Dave Cook Bernice K. Chen Sponsor of Gilbert Blin, Stage Director and Costume Designer, for the November 2021 Chamber Opera Series performance of Telemann’s Pimpinone and Ino John Felton & Marty Gottron Sponsors of Paul O’Dette, Artistic Co-Director, for the November 2021 Chamber Opera Series performance of Telemann’s Pimpinone and Ino Donald E. Vaughan & Lee S. Ridgway Sponsors of Douglas Williams, Pimpinone, for the November 2021 Chamber Opera Series performance of Telemann’s Pimpinone and Ino Amanda & Melvyn Pond Partial Sponsors of Nina Stern, Director of Community Engagement, and the Engaging Communities program

You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. Thank you. 6

Boston Early Music Festival

Boson Early Music Fesival presents

Piffaro, The Renaissance Band

Joan Kimball & Bob Wiemken, Artistic Directors

Point/Counterpoint: Fuguing in Renaissance Music Fanfare Fuga

Arranged by Piffaro Jakob Obrecht (1457/58–1505) Trumpets, shawms & sackbuts

Fuguing on a hymn tune

Christ ist erstanden Setting à 3, Glogauer Liederbuch, ca. 1480 Anonymous Setting à 4 Heinrich Isaac (ca. 1450–1517) Setting à 5 Heinrich Finck (1444/45–1527) Setting à 5 Stephan Mahu (ca. 1480/90–ca. 1541) Setting à 3 “auf Bergreihenweis” Johann Walter (1496–1570) Setting à 4 “ad aequales” Walter Chorale à 4 Michael Praetorius (1571–1621) Chorale, BWV 276 Johann Sebastian Bach (1685–1750) Shawms, sackbuts, dulcians & schalmei

Melody to Fantasy

Innsbruck, ich muess dich lassen Instrumental fantasy Arranged by Joan Kimball Canon in tenor Arranged by Bob Wiemken Isprugk ick muess dich lassen Isaac Bruder Conrads Tantzmass Anonymous (16th c.) Bagpipes, recorder, lute, krumhorns, douçaine & percussion

2021–2022 Season

A Contrapuntal Journey

A solis ortus/Christum will sollen loben schon Latin hymn: A solis ortus cardine A solis ortus cardine Motet: Christum wir sollen loben schon à 4 Hymnus: Christum wir sollen loben schon à 5 Chorale: A solis ortus cardine à 4 Canzona: A solis ortus cardine à 4 Chorale: Christum wir sollen loben schon à 4 Recorders

Anonymous (11th c.) Anonymous (late 15th c.) Walter Walter Praetorius Samuel Scheidt (1587–1654) Bach

Three 15th-century German Tunes

Hildebrandslied – Es taget vor dem Walde – Zart liep Bagpipes, recorders, guitar & string drum

Arranged by Piffaro

Canon, Imitation & Chromaticism

Octo Tonorum Melodiae: Septimi Toni Thomas Stoltzer (ca. 1480–1526) Carmina chromatico: Prologue Orlande de Lassus (ca. 1532–1594) Musica, Dei donum optimi Lassus Shawms, sackbuts & dulcians

Profane Polyphony: Fantasia, Contraponto, Canzona Il Fantazies du Joskin Contraponto Ottogesima Prima Canzon La borga Canzona Prima

Josquin des Prez (ca. 1450–1521) Costanzo Festa (ca. 1485/90–1545) Costanzo Antegnati (1549–1624) Claudio Merulo (1533–1604) Recorders & lute

Counterpoint meets the Dance Passameze Alamande Volta

Praetorius Scheidt Praetorius Shawms, sackbuts, dulcians & percussion Live Concert Sunday, November 14, 2021, 4pm First Lutheran Church of Boston 299 Berkeley Street, Boston, Massachusetts Virtual Concert Friday, November 26 – Friday, December 9, 2021 BEMF.org

Boston Early Music Festival

Piffaro, The Renaissance Band

Joan Kimball & Bob Wiemken, Artistic Directors Grant Herreid, lute, guitar, recorders, shawm & percussion Priscilla Herreid, shawm, schalmei, recorders, krumhorn & bagpipe Greg Ingles, sackbut, straight trumpet, recorders & krumhorn Joan Kimball, shawm, dulcian, recorders, krumhorn & bagpipes Erik Schmalz, sackbuts, straight trumpet, recorders, krumhorn & string drum Bob Wiemken, dulcians, recorders, krumhorn & douçaine Guest Artist Fiona Last, shawms, dulcian, recorders & bagpipe Antonio Oliart Ros, Recording Engineer Kathy Wittman, Videographer Program subject to change.

2021–2022 Season

2021-2022 Season Together again!

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Paul O’Dette & Stephen Stubbs, Artistic Directors

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Williams Saturday, November 27, 8pm Sunday, November 28, 3pm NEC’s Jordan Hall, Boston

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n Friday, December 10, 2021

8pm | St. Paul Church, Cambridge

THE TALLIS SCHOLARS Peter Phillips, director

Josquin 500: Music of Josquin, Palestrina, and Byrd n Friday, February 18, 2022 8pm | St. Paul Church, Cambridge

Stile Antico Toward the Dawn: A musical journey from evening to sunrise

n Friday, February 25, 2022

8pm | St. Paul Church, Cambridge

Jordi Savall, director & Le Concert des Nations Les Fêtes Royales in Baroque Versailles n Saturday, March 26, 2022 8pm | First Church in Cambridge, Congregational

Juilliard415 & Royal Early Music Paul Agnew, director

C. P. E. Bach: Die Israeliten in der Wüste n Saturday, April 2, 2022 8pm | NEC’s Jordan Hall, Boston

Carolyn Sampson, soprano & Kristian Bezuidenhout, fortepiano Songs of Parting: Music by Mozart, Haydn, and others n Saturday, April 29, 2022 8pm | St. Paul Church, Cambridge

Ensemble Correspondances Sébastien Daucé, director

Septem Verba & Membra Jesu Nostri: Music of Buxtehude and Schütz

2021–2022 Season

Boston Early Music Festival

PROGRAM NOTES Point/Counterpoint: Fuguing in Renaissance Music “Counterpoint, that part of music most necessary to make good use of every other part, has for its aim not only the foundations of music, but perhaps even more, artifice and the most detailed subtleties of this art, which are fugues forwards and backwards, simple or double, imitations [echoes, etc.], canons, and perfidie [counterpoint over ostinato bass] and other elegances made like these, which, if used at the right time and place, adorn music marvelously.” Pietro della Valle, Della musica dell’età nostra… (1640), translated by Margaret Murata Introduction and Definitions Call it what you will—contrapuntal, polyphonic, fugal, imitative, canonic—the music that generated this program and makes up the greater part of the selections featured was in one form or another the highest achievement of the composers’ art from at least the middle of the fifteenth century right through to Johann Sebastian Bach in the eighteenth. One can trace its beginnings particularly with the works of Johannes Ockeghem (ca. 1410/25–1497), in which one sees the style of imitative polyphony at its most obvious onset, a style in which each voice of a polyphonic composition has equal weight, melodic significance, and shared thematic material. No viola parts in these works! However, we chose, as a chronological parameter and as a programmatic artifice, to begin with Jakob Obrecht’s commanding Fuga and follow the subsequent compositional journey up to J. S. Bach himself, presenting contrapuntally inspired and adorned music in much of its great variety. The program presents much more than just fugues, however, at least in the more limited definition that word seems to hold for most people today. A look at the word’s etymology and broader scope in late Medieval through Baroque compositional history is most instructive here. The root fug- has a long and surprisingly circumscribed meaning from its Indo-European origins through the present. Here is a part of that lineage: Origins in the Greek φυγή, ῆς, ἡ – fleeing, flight To the Latin fuga, -ae, f. – flight, running away Verbal forms in Latin: Fugio, -ere (intransitive) – to take to flight, run away Fugo, -are (transitive) – to put to flight, chase away Into French and English as early as at least the fifteenth century Fugue

2021–2022 Season

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EXTENDED RUN – ONLINE ONLY DECEMBER 30 – JANUARY 9

Boston Early Music Festival

Throughout the history of its use the word sustains almost exclusively the intrinsic notion of flight, of fleeing. The Latin introduces verbs that give both a transitive and an intransitive sense, that is, both an action and a being acted upon. Both these senses, i.e., to chase and to flee, drive and help to explain fugal writing in the historical periods of this program. In the late Middle Ages, the term fuga was widely used to denote any works that displayed strict canonic form, such as the Fuga by Obrecht. However, to Medieval and Renaissance composers the word “canon” meant something rather different from our common use and conception. A fugue, in its early use, was a piece of composed music, perhaps even a single line as in the case of Obrecht’s work, wherein a particular melody is played in a number of voices, each voice introduced in turn by playing the same melody, albeit perhaps at a different interval. Canon, on the other hand, was the rule or more or less disguised direction for how the performer might turn the simple melody line into a full polyphonic texture of however many voices. The canon provided the intellectual game, the puzzle to be solved in the realization of the composer’s intent. Throughout the Renaissance, the word fugue came to denote specifically compositions that evinced thorough imitation in all parts, though not necessarily canonic in scope. Since the seventeenth century, the term has described what is commonly regarded as the most fully developed procedure of imitative counterpoint with its highly prescriptive form and compositional shape. It is the intent of this program in part to track this journey from fuga to fugue with the aim of demonstrating the wealth of musical forms, styles, and possibilities composed with the underlying notion of fleeing and chasing as progenitor. Before we launch into the specific pieces and composers in the program, however, we need to clarify the meanings and make distinctions among a few more musical terms, terms that are often bantered about with less precision of meaning than might be obvious or necessary. Polyphony Greek: πολυ – much, many & Φωνη – voice Generating Greek φημί (phēm., “to say, speak”) and φωνή (phonei, “voice, sound; any articulate sound, especially vowels) Counterpoint/Contrapunta – i.e., “punctus contra punctum” From Latin: contra – “opposite, against, facing” punctum (from pungo, -ere – “to prick, puncture”) – “point, small hole, puncture”; by transference, “a small portion of anything” Canon From Greek: κανών, -όνος, ὁ – “a rule, regulation, rule of conduct or doctrine; a measured (defined) area, province” Transliterated into Latin: canon, -onis. m. – “marking or measuring line; rule, model” Though the word “counterpoint” is frequently used interchangeably with “polyphony,” this is not strictly correct. The term “polyphony” refers generally to music consisting of two or more distinct melodic lines while “counterpoint” refers to the compositional techniques involved in the 2021–2022 Season

Emmanuel Music joyfully celebrates the music from Bach's ﬁrst Christmas in Leipzig.

December 19, 2021 Emmanuel Church | 15 Newbury Street Boston, MA 02116

Christmas in Leipzig emmanuelmusic.org

BREMF@HOME 19 – 28 NOVEMBER

MYTHS & LEGENDS Brighton Early Music Festival’s digital offering BREMF@home returns to your screens this fall with ten high quality early music events 19 – 28 November 2021. Programmes include Italian madrigals from Fieri Consort and Monteverdi String Band; Mendelssohn’s Midsummer Night’s Dream filmed in a beautiful Tudor house and garden; and a programme tracing The Legend of London in the 17th century with Lux Musicae London.

More details at bremf.org.uk 16

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handling of these melodic lines together. A polyphonic texture may be contrapuntal in a variety of ways, including fugal. There, are we speaking the same language now? One more point needs mentioning. All fugues are based on a single melody, or a melodic motif, or motives, shared within all parts of the composition. These melodies may be borrowed or newly composed. Both sources appear in Renaissance fugal writing. Borrowed material frequently came from the wealth of early Christian or Jewish chant, and appears mainly in the sacred spheres of mass, motet, hymn, and chorale. Newly composed melodic material generally appears in secular compositions most clearly exemplified in the canzona, madrigal, and the instrumental fantasy. The Composers: The First Generation – Jakob Obrecht and Josquin des Prez The latter years of the fifteenth century saw the emergence of a coterie of composers from the Franco-Flemish north—modern day Holland, Belgium, and the north of France—who both preserved and perfected late Medieval practice and built upon and transmitted the new contrapuntal techniques elaborated by their elder contemporary, Johannes Ockeghem. So prized were their talents that all the wealthy courts and cities in Italy, for instance, vied with one another to engage them as heads of their musical establishments. Called the “oltromontani,” “those from across the mountains,” i.e., the Alps, these northerners successfully planted the new contrapuntal ideas into Italian soil which grew into the international language of polyphony throughout Europe for decades to come. One case in point was the d’Este court in Ferrara. Ercole I d’Este, Duke of Ferrara and distinguished patron of the arts in Italy, managed to land the already famous Josquin des Prez (Il Fantazies du Joskin) to become his maestro di capella early in 1503. However, an outbreak of the plague there prompted the evacuation of the ducal family and many of its citizens, whereas Josquin stayed until early in 1504. After his departure, he was succeeded by Jakob Obrecht, whose music Ercole I held in high regard. Obrecht himself, however, succumbed to the plague and died in Ferrara just before August of 1505. Following the auspicious beginning at the hands of these two renowned composers, the city of Ferrara remained a major center of musical composition, practice, and innovation throughout the sixteenth and into the seventeenth centuries. Obrecht represented most notably a late Medieval style which he brought to full culmination in his compositions. His ingenious Fuga, which begins this program and our fugal exploration, is case in point. Built on one line of music to be realized by three instrumentalists together with a canon for the creation of another, unwritten line, the piece becomes a highly successful four-part composition of intriguing complexity. The canon, or rule, clues the performer as to how to create the unwritten accompanying line in support of the written. It was the task of the performer to divine the part from the cryptic guide the canon provided, a game of intellect most admired and practiced throughout the Medieval period. The canon, or rule, for the missing line is written in Latin, the language of the literati. The statement tells the performer that each note of the line to be created equals six semibreves value of the 2021–2022 Season

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Reimagining, Rediscovering!

The Best of All Worlds — Online and In Person

Dramatic Return October 2

Earthly Baroque March 12

Sounding Joy December 18

Taking Inspiration April 30

French Baroque Cantatas and instrumental works

Festive, Classical-era Christmas selections

Instrumental selections that walk on the wild side

Handel and the fascinating musicians who caught his ear

Plus a new Delving Deeper episode: Sites and Sounds of Early Sudbury February 12

For more information, and to receive our season brochure, visit OldPostRoad.org

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written notes and played at the octave. It doesn’t spell out the pitches to be played which must be deciphered based on the written line. This realized canon line provides a rudimentary harmony to the fugal lines above, something of a movable drone, much as might have served a discant line in late Medieval style. Experimentation and Development Numerous composers on this program contribute works that show both remnants of late Medieval style as well as evidence of the freer imitative developments of early-sixteenth-century polyphonic textures. An example of the former comes from Costanzo Festa, an Italian composer reputed to be the first native Italian polyphonist of international renown. He too had Ferrara connections, but eventually was hired in the service of Pope Leo X as singer in the Sistine Chapel choir where he remained for thirty years. Best known for his madrigals and sacred motets, he nevertheless wrote an astonishing set of 125 instrumental Controponti based on the famous “La Spagna” melody from two to as many as eleven voices. In that collection he displays his full polyphonic, contrapuntal erudition. The Controponto Ottogesima Prima on this program creates a strict fugal interaction between the tenor and bass lines at just a minim, or half note, apart from one another. This serves to ornament the “La Spagna” melody above played in long note values in the Altus, itself harmonized by the upper, Cantus voice in equally lengthy notes. The effect is striking and bridges the late Medieval and early Renaissance styles effectively. Another leg of our fugal exploration takes us from eleventh-century Burgundy to eighteenthcentury Leipzig and in fact to J. S. Bach himself, the means of transport the well-known Easter hymn Christ ist erstanden (“Christ is risen”). It is based on and derived from the original Latin Easter sequence Victimae paschali laudes (“Praises for the paschal victim”), attributed to Wipo of Burgundy in the eleventh century. The hymn was itself transformed into a Leise in the twelfth century. The Leise was a devotional, German stanzaic song with refrain found particularly in the later Middle Ages. It’s assumed to have derived its name from the words of the opening section of the Mass, “Kyrie eleison,” which words often appeared repeated in the verse refrains of the song. In the early stages of specifically German polyphony, beginning with the lost earlyfifteenth-century Strasbourg manuscript, Leisen were often transformed into multiple-voiced, polyphonic compositions. The earliest known such polyphonic setting of the Leise on Christ ist erstanden to have survived is found in the Glogauer Liederbuch, dating from the 1480s, a three-voice version in late Medieval style. The melody lies uncharacteristically in the top voice and is embellished in florid, improvisational style in the two lower voices. The subsequent setting by Heinrich Isaac expands to four voices and places the melody in the more usual tenor voice, though the opening phrase appears in imitation in all the voices. Isaac’s setting, however, maintains some of the florid counterpoint of the Glogauer version. In both of these settings the Kyrie eleison is replaced by the simple Alleluia. Heinrich Finck, a well-known composer and younger contemporary of Isaac, expanded the Leise setting further to five voices, keeping the melody in the tenor, while achieving a more thoroughly 2021–2022 Season

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imitative style in all voices, bridging the gap between late Medieval and early Renaissance compositional efforts. Such is also the case with the setting by Stephan Mahu, whose works include some contrapuntal settings of German songs à 4 and 5, both sacred and secular. His five-part Christ ist erstanden setting is unusual for its scoring of four voices in the tenor range and one in the bass, containing the tessitura of the composition in a tightly knit aural spectrum resulting in a dense texture. Given that one of Mahu’s sacred songs, Lobt Gott, ihr Christen allen (“Praise God, all you Christians”), inveighs against the abuses of the Roman church, and that he contributed a five-voice setting of Martin Luther’s Ein’ feste Burg (“A mighty Fortress”) to Georg Rhau’s Geistliche Gesange (“Sacred Songs”) of 1544, it seems likely that despite being a Catholic, Mahu was not unsympathetic to Lutheran ideals. A major bend in the road occurred with the founding of the Reformation in Germany in 1517 under the leadership of Martin Luther. Though he jettisoned some of the excess baggage the Roman Church had amassed over the centuries, Luther nevertheless maintained many of its musical and liturgical traditions. Under his influence, and with the help of his close friend and colleague, Johann Walter, the Leise on Christ ist erstanden was transformed into a liturgical hymn for congregational use. In so doing, elements of the original Easter sequence melody were reinstated, as well as, most notably, the Kyrie eleison of the early Leise traditions. Walter was himself a prolific and accomplished composer who supplied the emerging Reformed, i.e., Lutheran, church with a wealth of musical treasures, in both hymnic and polyphonic motet styles. Moving beyond the sixteenth century, Walter’s contributions to the emerging Lutheran church were matched and even exceeded by the more well-known Michael Praetorius, composer, publisher, theorist, and arranger, whose respect for Walter’s works led him to include many in his own publications in the early 1600s. Praetorius provided numerous chorale-based settings of various hymn tunes that served the church’s pedagogical aims and needs. His chorale setting of Christ ist erstanden is a characteristic seventeenth-century marker on the road to those of Bach himself, the example of which ends this leg of the journey. Bach borrowed not only from the world of received sacred music, but from the secular as well. The next set of pieces exemplifies that clearly. The great Franco-Flemish-born composer, Heinrich Isaac, who nevertheless spent most of his career under Maximilian I in Germany, penned a sweet and heartfelt song, Isprugk ich muess dich lassen (“Innsbruck, I must leave you”) upon a necessary departure from the beloved town of Innsbruck in modern-day Austria. The song’s melancholy melody reflects the sadness that departure evoked. Bach was so enamored of this melody that he borrowed it for at least four different settings—each with a different harmonization and using from four to seven voices—under the title O Welt, ich muss ich lassen (“O World, I must leave you”). Our presentation, however, reflects Renaissance practice with bagpipes, recorder, lute, and krumhorns, instruments very popular in Isaac’s day. The basis of Isaac’s four-part composition here lies in the strict fugue between the tenor and bass voices. Above that, Isaac harmonizes the fugue in the two upper voices.

2021–2022 Season

Another major trajectory in this fugal exploration lies in the early Christian hymn A solis ortus cardine (“From the point of the sun’s rising”). Attributed to Coelius Sedulius (d. 450), the text narrates the life of Christ from birth to resurrection in twenty-three verses, each one starting with a consecutive letter of the Latin alphabet, a technique called abecedarius or “alphabet song.” The first seven verses related the events of the birth and thus became in the Medieval period a separate Christmas hymn in the Roman liturgical calendar. Subsequently, Martin Luther translated this hymn for use in the Reformed church, giving it the title Christum wir sollen loben schon (“We should now praise Christ…”), which became the principal Lutheran Christmas hymn until recently when the publication of the 1955 Evangelisches Gesangbuch (“Evangelican hymnbook”) left it out. The first four-voice polyphonic treatment of this early-fifth-century monophonic hymn appears to be the anonymous setting from the late fifteenth century on this program. It preserves the contour of the original melody, distributing the opening, stepwise rising fifth, D to A, in slow note values throughout the voices, vividly depicting the sun’s gradual emergence over the horizon. The original chant melody appears in the tenor voice, as was a customary style of the time, with elaboration in the remaining three parts. Johann Walter’s four-voice setting of the Lutheran hymn that follows maintains this treatment in a late Medieval style while altering the melody of the anonymous setting slightly. In addition, he embellishes the melody, particularly in the alto and bass lines, with appropriately florid counterpoint. His five-part setting represents a step toward the more equal-voiced contrapuntal tyle of the early Renaissance polyphonic practice, much in the manner of Heinrich Finck. The melody still lies in the tenor voice, yet snippets of the melody sound from all the voices in this overlapping, imitative texture, providing the compositional framework for the whole. The chorale setting by Michael Praetorius reverts to the Latin text, A solis ortus cardine, and moves the melody to the top voice, as regularly occurred throughout later sixteenth-century treatments of earlier material. The writing is much more chordal and homorhythmic, and thus more singable for a congregation of untrained voices, as was Luther’s desire. Even more altered, and imaginative, is the canzona-like setting by the renowned organist and composer, Samuel Scheidt, a younger contemporary and colleague of Praetorius, from his collection of organ works, the Tablatura Nova published in 1619. The familiar melody now lies almost intact in the alto voice while the other three voices of this four-voice texture literally dance above and below it. Melody no longer predominates. Instead, Scheidt allows himself to enjoy flights of fancy based on the ostinato of the opening rising figure from the original chant. Finally, Bach himself drew upon the Lutheran hymn to compose an entire cantata with Luther’s German text reinstated. The concluding chorale of this cantata is emblematic of Bach’s creative genius, and a fitting culmination to this part of our exploration. His harmonizations, replete with chromatic adventure, bear witness to his unique vision. Nevertheless, in homage to his source material he preserves the modal beginning, Dorian, and ending, Phrygian, of the original chant.

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Another striking example of very early Renaissance fugal and contrapuntal writing was penned by Thomas Stoltzer, a supporter of the Reformation who was appointed magister capellae at the Habsburg court of Hungary. Probably born in Silesia, a region of central Europe, the details of his early life are largely unknown. However, his compositions were very highly regarded, most of them published and admired nevertheless only after his death in 1526. A prolific composer, he wrote a collection of eight instrumental pieces in five-part settings, the Octo Tonorum Melodiae, one each on each of the eight psalm tones of the Roman church, demonstrating the possibilities of the developing contrapuntal techniques of his day. The one on this program on the seventh tone, i.e., on the tone G, expands the practice of imitation by using the contrapuntal principles of augmentation and diminution, an early example of the practice. The Altus voice introduces the melody at leisurely note values while at the same time the Discantus, or upper voice, replicates the melody but at half the note values, thus moving twice as fast. Throughout the piece, this feature and others shows Stoltzer at full mastery of his contrapuntal technique, creating a work of compelling effect in the motet style of his day. Stoltzer’s work achieved a successful melding of late Medieval technique and predilections with the emerging imitative counterpoint of the early Renaissance. The next generation of composers, represented notably by Orlande de Lassus, brought the style to a point of perfection. While serving Duke Albrecht V of Bavaria and his son William V in Munich for most of his career, Lassus achieved international acclaim as one of the most gifted purveyors of imitative polyphony of his generation. His Musica, Dei donum optimi (literally and colloquially “Music, God’s gift, He’s the best”) not only evinces his love and devotion to his profession, but also displays his near perfection of the genre. With Lassus, and his contemporaries Palestrina, Victoria, and Guerrero, the international language of sacred mass and motet reached a pinnacle in contrapuntal writing. Little more remained to be achieved within the style. There was need for something new and one of those new elements was chromaticism, the bold use of notes outside the gamut, or range of acceptable notes. Lassus’s chief contributions to this new direction lay in his collection entitled Prophetiae Sibyllarum (“Prophecies of the Sibyls”), an extraordinary collection of twelve songs with a prologue. The Sibylline Prophecies of the title are the work of second-century authors apocryphally attributed to the legendary Sibyls, ancient Greek prophetesses. The texts, which purport to foretell the birth of Christ, were accepted as genuine by Saint Augustine and other early Christian thinkers, giving the Sibyls a status equal to that of Old Testament prophets. Michelangelo painted five of the Sibyls onto the ceiling of the Sistine Chapel in the Vatican in 1508 to 1512. The Prologue, the Carmina Chromatico, whose text may have been written by Lassus himself, reads in translation: “Polyphonic songs which you hear with a chromatic tenor / these are they in which our twice-six sibyls once sang with fearless mouth the secrets of salvation.” Lassus responded immediately to the idea of “chromaticism” with a series of somewhat jarring, yet successful, progressions. Within the opening nine measures of this prologue, he uses all twelve chromatic pitches of the octave and builds triads on ten different roots, bursting the bounds of the traditional gamut beyond recognition and opening the doors to bold harmonic invention.

2021–2022 Season

Emergence of formal features – The High Renaissance Several pieces on the program carry the story of fugal development into the later Renaissance period, and for that we move to Italy and explore the canzona, an Italian instrumental form derived from the Franco-Flemish and Parisian vocal chanson. An early proponent of this form was Costanzo Antegnati. He was born in Brescia in northern Italy into a prolific family of organists and organ builders. The Antegnati organ, built in 1581 for the friars of St. Joseph’s Church in Brescia, was at the time the largest and most famous in Europe. Costanzo the son is most famous for the work L’arte organica (1608) which provides technical details for 144 organs built by his family, rules about the tuning of organs and harpsichords, and advice regarding organ registration. Costanzo Antegnati was himself an organist for many years and composed both sacred and secular works, the latter mostly madrigals. However, as organist he most certainly was called upon to improvise at the keyboard, and the canzona would have been one form available to him and imitative polyphony the style most appropriate to the form. His Canzon La borga may have originated as just such an improvisation, though it has been passed on to posterity as a fourvoice composition. The opening imitative melodic motif shared by all voices displays the dactylic metrical unit, i.e., long-short-short, ubiquitous in the chanson literature and almost de rigeur throughout the history of the canzona. The fugal imitation is striking, clearly a formal element in the work, building a couple of prominent unmistakable motives into a unified whole. The Canzona Prima by the Italian Claudio Merulo, another great organist of the High Renaissance, carries this technical display into a five-part texture and adds yet a third motif to the emerging fugal structure. Born in Correggio as Claudio Merlotti, he Latinized his surname when he became famous in Venetian cultural clubs. A prolific composer, he was most famous for his innovative keyboard music and his ensemble music composed in the Venetian polychoral style. At this point it’s important to point out two aspects of fugal practice that emerged throughout the sixteenth century. The first is the consort principle in which each voice of a polyphonic composition, whether vocally conceived or intended for instruments, was ideally performed on consorts of like instruments, certainly under the influence of the SATB voices of a choir. The keyboard most easily accomplished this, the organ especially with its various registrations mimicking the sounds of the many individual instruments of the Renaissance instrumentarium. Instrument builders were compelled to produce all their instruments, from shawms to lutes, in all the various sizes from large to small to achieve this goal. In this program this principle has been heard most notably in consorts of recorders and krumhorns. The Renaissance loud band, however, was an exception to the rule, as it developed its prominence throughout Europe and beyond through a combination of reeds and brass, the shawms, sackbuts, and dulcians (e.g., Stoltzer, Octo Tonorum Melodiae: Septimi Toni and Lassus, Musica, Dei donum optimi). This made most sense from a practical point of view. Soprano trombones were much less than satisfactory, near impossible to play in tune, and six-foot-long bass shawms were a bit unwieldy, especially when the bands had to participate in outdoor processionals. The portability, 24

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versatility, and ranges of the tenor and bass sackbuts and the tenor and lower dulcians made their incorporation into the loud bands inevitable, and hugely successful. Termed the Alta capella or “loud band” by Johannes Tinctoris in the 1490s, this combination of reeds and brass together still persists in the cobla bands in Catalonia today. The second aspect in play is the sense of counterpoint as a conversation among equals, as each voice in these compositions shares importance, melodic material, and consequence for the overall musical matrix. The greatest joy, and responsibility, in performing these works comes from being alert to the other members of the ensemble, responding at any one moment to others’ comments, initiating musical remarks oneself, and coming together at shared points of agreement—especially at cadences, the periods of musical statements. One might say that this is or should be a requirement of all shared music making no matter the age or the style. However, this perspective is most characteristic of and demanded from those performing the fugal, imitative counterpoint as it developed throughout the sixteenth century. Finally, dance stands as yet another significant compositional form in this fugal survey. In fact, a commonplace of current scholarly opinion holds that all early music, Medieval, Renaissance, and Baroque alike, is heavily imbued with elements of dance, not just specific dance forms themselves, such as the passameze, the allemande, the bransle, the gigue, the gavotte, the ballet, and more, but the rhythms, figures, and gestures of dance music in general. Michael Praetorius is well known, and well appreciated today, for his famous collection of dances, the Terpsichore of 1612. His collection is international in scope, preserving not only German dance forms but also much from the French, Flemish, English, and Italian traditions as well, both courtly and rustic. The Passamezze, Alamande, and Volta in this final set display many of the elements of fugal, polyphonic, contrapuntal writing that developed throughout the late Medieval and Renaissance periods, and bring the concert to a rousing conclusion, just as they must have done over 400 years ago. —Bob Wiemken

ARTIST PROFILES Piffaro, The Renaissance Band delights audiences with polished recreations of the rustic music of the peasantry and the elegant sounds of the official wind bands of the late Medieval and Renaissance periods. Its ever-expanding instrumentarium includes shawms, dulcians, sackbuts, recorders, krumhorns, bagpipes, lutes, guitars, harps, and a variety of percussion—all careful reconstructions of instruments from the period. Under the direction of Artistic Directors Joan Kimball and Bob Wiemken, Piffaro concertizes extensively, both close to home with its four-concert season in Philadelphia, as well as nationally and internationally. The ensemble débuted at Tage Alter Musik in Regensburg, Germany, in 1993, and has returned to Europe frequently over the decades, performing at major festivals in Austria, Germany, France, Belgium, Italy, Spain, and the Czech Republic. Piffaro has 2021–2022 Season

traveled to South America, including a memorable tour in Bolivia under the auspices of that country’s bi-annual International Renaissance & Baroque Festival, and has performed at the major Early Music festivals throughout the U.S., including Boston, Berkeley, Indianapolis, and Madison, as well as on Early Music series, chamber music series, and college series, both in the U.S. and Canada. Through Piffaro’s many recordings on Newport Classics, Deutsche Grammophon Arkiv Produktion, Dorian Recordings, PARMA/Navona, and its own house label, and through radio and internet broadcasts, its music has reached listeners as far away as Siberia. Piffaro has been active in the field of education since its inception, and has been honored twice for its work by Early Music America, receiving the “Early Music Brings History Alive” award in 2003, and the Laurette Goldberg “Lifetime Achievement Award in Early Music Outreach” in 2011. Its National Recorder Competition for Young Players attracts talented competitors from around the country to Philadelphia every two years. The ensemble was honored in 2015 by The American Recorder Society with its “Distinguished Artist Award.” Another honor arrived for the Artistic Directors this past season, the “Howard Mayer Brown Award” for Lifetime Achievement in the Field of Early Music.

Grant Herreid has performed on early reeds, brass, strings, and voice with many early music ensembles. A noted teacher and educator, he received Early Music America’s Laurette Goldberg Award for Achievement in Early Music Outreach. On faculty at Yale University, he leads the Yale Collegium Musicum and the Yale Baroque Opera Project. Grant also directs the New York Continuo Collective, and devotes much of his time to exploring the esoteric unwritten traditions of early music with ensembles Ex Umbris and Ensemble Viscera. 26

Boston Early Music Festival

Priscilla Herreid plays Renaissance winds, early oboes, and recorder with Piffaro, Hesperus, Handel and Haydn Society, Tempesta di Mare, Tenet Vocal Artists, NY Baroque Inc., The Sebastians, and Trinity Baroque Orchestra. The New York Times has described her playing as “spirited,” praising her “soaring recorder, gorgeously played…” Priscilla is honored to be Artistic Director Designate of Piffaro, continuing the rich legacy built by Joan Kimball and Bob Wiemken after the close of this season. She is a graduate of Temple University and The Juilliard School’s Historical Performance program. Greg Ingles attended Interlochen Arts Academy and graduated from Oberlin Conservatory and SUNY Stony Brook. Before his career in early music, Greg was the Solo Trombone in the Hofer Symphoniker. He is music director of the early brass ensemble Dark Horse Consort and made his Carnegie Hall début with Quicksilver. He plays with the American Bach Soloists, Concerto Palatino, the Handel and Haydn Society, Philharmonia Baroque, and Tafelmusik, and was in the Globe Theater’s Broadway début of Twelfth Night and Richard III. Greg is currently Lecturer in Sackbut at Boston University. Joan Kimball, artistic co-director and founding member of Piffaro, has concertized with the ensemble throughout the U.S., Europe, and South America, and has performed with many of the leading early music artists and ensembles in this country. Widely known in the early music community as a teacher of recorder, early double reeds, and bagpipes, she is on faculty at early music festivals and workshops across the country. She has also spearheaded Piffaro’s education programs over the years. Erik Schmalz received degrees in trombone performance from Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music, but discovered early music and period instruments shortly thereafter. His instrumentarium ranging from a 14th-century straight trumpet copy to original Romantic-era trombones, he has been a historic trombone specialist and performer for more than fifteen years. As a member of Piffaro and Dark Horse Consort, and a regular performer with Philharmonia Baroque Orchestra, Handel and Haydn Society, Tafelmusik, and Trinity Baroque Orchestra, Erik can be heard on many stages and on numerous recordings. Bob Wiemken is artistic co-director of Piffaro, with which he has recorded extensively, built over 150 programs of Renaissance and early Baroque music, and commissioned new works for early winds and chorus. He has performed with leading early music ensembles, and with Piffaro in festivals in North and South America and Europe. He teaches at U.S. festivals and workshops, directed the early music program at Temple University for twenty years, and is currently Instructor Scholar for Early Woodwinds at Texas Tech University. Oboist Fiona Last performs on historical winds across the United States, the UK, and Europe with groups such as Piffaro, the Gabrieli Consort, the Handel and Haydn Society, Apollo’s Fire, Tempesta di Mare, the Carmel Bach Festival, and Opera Philadelphia. Her interest in early instruments stems from the belief that understanding a musical style through the instruments for which it was written can bring new life to music making. Fiona holds music degrees from The Juilliard School, Yale School of Music, and Temple University. 2021–2022 Season

2011 | Niobe, Regina di Tebe | Philippe Jaroussky

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Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come, and may provide you and your loved ones with considerable tax benefits. Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you. To learn more, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving. 28

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Boson Early Music Fesival International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

Boston Early Music Festival The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London). Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe). International Baroque Opera One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video Soprano Amanda Forsythe in the 2014 production of presentation of André Campra’s extraordinary Le Pergolesi’s La serva padrona (Photo: Kathy Wittman) Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan. BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of John Blow’s Venus and Adonis and Marc-Antoine Charpentier’s Actéon. The series focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, 2021–2022 Season

combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by MichelRichard de Lalande, and divertissements from Atys by Lully, and most recently Francesca Caccini’s Alcina, the first opera written by a woman. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Jean-Baptiste Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in September 2017 in conjunction with a

Tenor Aaron Sheehan in the 2017 production of Campra’s Le Carnaval de Venise (Photo: Kathy Wittman) 30

Boston Early Music Festival

A standing ovation for La storia di Orfeo in November 2019 (Photo: Kathy Wittman)

six-city North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020. Celebrated Concerts Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, which always include the acclaimed Boston Early Music Festival Orchestra led by Orchestra Director Robert Mealy, and which often feature unique, once-ina-lifetime collaborations and programs by the spectacular array of talent assembled for the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest early-music scene” (New York Times). World-famous Exhibition The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition, in their first-ever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. 2021–2022 Season

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LEADERSHIP CIRCLE ($5,000 or more) Anonymous (2) Mary Briggs & John Krzywicki Diane & John Paul Britton Douglas M. & Aviva A. Brooks Katie & Paul Buttenwieser Tony Elitcher & Andrea Taras Marie-Pierre & Michael Ellmann Nicole Faulkner James A. Glazier

GUARANTORS ($1,000 or more) Anonymous (4) Anonymous, in memory of Martha Davidson Judy Anderson & Tom Allen Jeffrey & Jennifer Allred, in memory of F. Williams Sarles Dee Dee & John Brinkema, in memory of our son, Bobby Brinkema

Pamela & Lee Bromberg Susan Bronn David C. Brown David L. Brown, in memory of Larry Phillips Dinah Buechner-Vischer Carla Chrisfield & Benjamin D. Weiss Dr. Joseph Colofiore Linzee Coolidge Richard & Constance Culley Belden & Pamela Daniels Terry Decima Peter & Katie DeWolf Dorothy Ryan Fay Michael E. Fay Martin & Kathleen Fogle Peter B. & Harriette Griffin Phillip Hanvy Dr. Robert L. Harris Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz, in memory of Eric Herz James & Ina Heup Thomas & Sonja Ellingson Hout Ronald Karr Alan M. King Fran & Tom Knight Helen Kraus & Stephen Moody Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Catherine Liddell Shenkiat Lim Daniel† & Harriet Lindblom MAFAA William & Joan Magretta John S. Major & Valerie Steele Amy Meyer Marilyn Miller Robert Neer & Ann Eldridge John M. & Bettina A. Norton Keith Ohmart & Helen Chen Clara M. & John S. O’Shea John R. Palys Neal J. Plotkin & Deborah Malamud

This list reflects donations received from July 1, 2020 to October 22, 2021

2021–2022 Season

Alice Robbins & Walter Denny Jose M. Rodriguez & Richard A. Duffy Thomas & Loretto Roney Michael & Karen Rotenberg Kevin Ryan Suzanne Sarason Len & Louise Schaper Cynthia Siebert Dr. Glenn Sigl & Mr. John Self Raymond A. & Marilyn Smith Elizabeth Snow Catherine & Keith Stevenson David & Jean Stout, in honor of Kathy Fay Lisa Teot Adrian & Michelle Touw Peter Tremain Kathy H. Udall Reed & Peggy Ueda David H. Van Dyke, in memory of Janet E. Van Dyke Patrick Wallace & Laurie McNeil Peter J. Wender Sarah Chartener Whitehead Ellen & Arnold Zetcher PATRONS ($500 or more) Anonymous (8) Druid Errant D.T. Allan-Gorey Eric Hall Anderson Barry & Sarita Ashar Laila Awar Louise Basbas Jeffrey Bauman Seth Boorstein, in memory of Joan Boorstein Patricia Boyd Elizabeth A.R. & Ralph S. Brown, Jr., in honor of Kathleen Fay Julie Brown & Zachary Morowitz James D. Burr Robert Burton & Karen Peterson Elizabeth Canick Eleanor Anne Carlson David J. Chavolla Dr. & Mrs. Franklyn W. Commisso Joseph & Françoise Connors Martina Crocker, in memory of William T. Crocker Paul & Elizabeth De Rosa Carl E. Dettman

JoAnne Walter Dickinson Alan Durfee John W. Ehrlich David Emery & Olimpia Velez Thomas G. Evans Lloyd Foster Frederick & Barbara Gable Bruce A. Garetz Sarah M. Gates David & Harriet Griesinger Martha Gruson Eric Haas, in memory of Janet Haas Hope Hare Joan E. Hartman Jasjit & Donald L. Heckathorn Mary Hepburn, in honor of Laura Jeppesen Jennifer L. Hochschild & C. Anthony Broh Beth F. Houston George Humphrey Jean Jackson, in memory of Louis Kampf Judith L. Johnston and Bruce L. Bush, in memory of Daniel Lindblom Marietta B. Joseph Barry Kernfeld & Sally McMurry Wilfred & Leslie Kling Neal & Catherine Konstantin Robert & Mary La Porte Frederick V. Lawrence, in memory of Rosemarie Lawrence Joanne & Carl Leaman Clare Walker Leslie & David Leslie James Liu & Alexandra Bowers Dr. Gary Ljungquist Kenneth Loveday Dr. & Mrs. Bruce C. MacIntyre Quinn MacKenzie Jeffrey & Barbara Mandula Anne & William McCants Michael P. McDonald Thomas Michie Alan & Kathy Muirhead Joan L. Nissman & Morton Abromson William J. Pananos Henry Paulus Julia Poirier, in memory of Marc Poirier Amanda & Melvyn Pond Tracy Powers

Harold I. Pratt Susan Pundt Paul Rabin & Arlene Snyder Anne & Dennis Rogers Patsy Rogers Carlton & Lorna Russell Irwin Sarason, in memory of Barbara Sarason Valerie Sarles Clemens & Bonnie Schoenebeck Charles & Mary Ann Schultz Neil & Bonnie Schutzman Wendy Shattuck & Sam Plimpton Chuck Sheehan Michael Sherer David Shukis & Susan Blair Campbell Steward Ronald W. Stoia Theresa & Charles Stone Ralph & Jeanine Swick, in memory of Judie & Alan Kotok Nancy M. Tooney Peter & Kathleen Van Demark David Vargo & Sheila Collins Delores & Robert Viarengo Geoffrey Westergaard, in memory of David Eisler Michael Wise & Susan Pettee Kathleen Wittman & Melanie Andrade ASSOCIATES ($250 or more) Anonymous (15) Jonathan B. Aibel & Julie I. Rohwein David A. & Connie D. Allred, in memory of F. Williams Sarles Helen Mae Allred & Sandy Grimmett, in memory of F. Williams Sarles Nicholas Altenbernd Brian P. & Debra K.S. Anderson Neil R. Ayer, Jr. Lois Banta Mary Baughman William & Ann Bein Helen Benham Sally & Charlie Boynton Andrew J. Buckler Carlo Buonomo Frederick Byron

Boston Early Music Festival

Anne Chalmers & Holly Gunner, in honor of Kathy Fay & the BEMF Staff Mary Chamberlain Peter Charig & Amy Briemer Alex M. Chintella Floyd & Aleeta Christian Daniel Church & Roger Cuevas John K. Clark & Judith M. Stoughton Drs. Martin & Janet Cohen Sherryl & Gerard Cohen Edward L. Corbosiero Derek Cottier & Lauren Tilly Mary Cowden Geoffrey Craddock Christopher Curdo Bruce Davidson Elizabeth C. Davis Robert Dennis Katharine B. Desai Mr. & Mrs. Dennis Dewitt Michael DiSabatino, in honor of Charles DiSabatino & Nancy Olson Ellen Dokton & Stephen Schmidt Tamar & Jeremy Kaim Doniger Charles & Sheila Donahue John F. Dooley Mark Elenko Charles & Elizabeth Emerson Susan Fairchild & Jeff Buxbaum Austin & Eileen Farrar Gregg, Abby & Max Feigelson Janet G. Fink Charles Fisk Kent Flummerfelt, in memory of Jane Flummerfelt Claire Fontijn, in memory of Sylvia Elvin Gary Freeman Elizabeth French Sarah French Jonathan Friedes & Qian Huang Sandy Gadsby & Nancy Brown Anne & Walter Gamble Stephen L. Gencarello Barbara Godard Lorraine & William Graves Joseph & Elizabeth Hare G. Neil & Anne Harper Linda Hodgkinson Roderick J. Holland

2021–2022 Season

Jessica Honigberg Jane Hoover John Hsia Alex Humez Charles Bowditch Hunter Francesco Iachello Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Robin Johnson David K. Jordan Patrick G. Jordan Lorraine Kaimal, in memory of Jagadish C. Kaimal Elizabeth Kaplan Robert Kauffman & Susan Porter Louis & Susan Kern Peggy Kimball Robert L. Kleinberg George Kocur Kathryn Kucharski Joseph Kung Katharine Kush Bruce Larkin Tom Law Jasper Lawson Sarah Leaf-Herrmann William & Betsy Leitch Diana Lempel Philip Le Quesne Alison Leslie Susan Lewinnek Ricardo & Marla Lewitus, in honor of Hans Lewitus Lawrence & Susan Liden Joan Lippincott Roger & Susan Lipsey Robert & Janice Locke Rodolfo Machado & Jorge Silvetti Peter G. Manson & Peter A. Durfee Marietta Marchitelli Carol Marsh Carol & Pedro Martinez Anne H. Matthews June Matthews James McBride Lee McClelland Randall E. & Karen Moore Rodney & Barbara Myrvaagnes Lindsay & Mark Nelsen Nancy Nicholson Caroline Niemira Nancy Olson & Charles Di Sabatino

Louise Oremland John & Sandra Owens Cosmo & Jane Papa Eugene Papa David & Beth Pendery Joseph L. Pennacchio Pauline & Mark Peters Bici Pettit-Barron The Hon. W. Glen Pierson Anne & François Poulet Rodney J. Regier Sandy Reismann & Dr. Nanu Brates Michael Robbins Marge Roberts Liz & David Robertson Sherry & William Rogers Ellen Rosand Alison & Jeff Rosenberg, in honor of Martha Gottron & John Felton Lois Rosow Nancy & Ronald Rucker Paul Rutz & Sandra Henry Catherine & Phil Saines Joanne Zervas Sattley Lynne & Ralph Schatz Raymond Schmidt & Stephen Skuce Robert & Barbara Schneider Robert & Ann Schoeller Helen Schultz Alison M. Scott Michael & Marcy Scott-Morton Bettina Siewert, M.D. & Douglas L. Teich, M.D. Alexander Silbiger Mark Slotkin Jospeh Spector & Dale Mayer Louisa C. Spottswood Paola Stone Carl Swanson Jonathan Swartz Kenneth P. Taylor Suzanne G. Teich Lonice Thomas Mark S. Thurber & Susan M. Galli Edward P. Todd Donald Twomey & Michael Davison Dr. Tyler J. Vanderweele Robert Volante Mary E. Wheat Allan & Joann Winkler Donald G. & Jane C. Workman

Susan Wyatt Ellen L. Ziskind

Derick & Jennifer Brinkerhoff Catherine & Hillel Shahan Bromberg Amy Brown & Brian Carr PARTNERS Margaret H. Brown ($100 or more) Nevin C. Brown Anonymous (27) Caroline Bruzelius Andrew Adler L.T. Bryan Joseph Aieta III John H. Burkhalter III Thomas Albanese Susan H. Bush Kenneth Allen & Hugh Russell Kevin J. Bylsma Thomas Allen Pauline Ho Bynum Cathy & William Anderson Lisa Cacciabaudo Robert Anderson Nicholas Calapa Julie Andrijeski & J. Tracy Mortimore John Caldwell Laurie Andrus Daniela Cammack Jeffrey Angell Shannon Canavin & Kevin Goodrich Katrina Avery & Thomas Doeppner Dennis J. & Barbara Carboni Susan P. Bachelder James & Angela Carrington Antonia L. Banducci R. Cassels-Brown Tim Barber & Joel Krajewski Verne & Madeline Caviness, Dr. David Barnert & Julie A. Raskin in honor of Hildegard von Bingen Jim & Judy Barr Edward Clark & Joan Pritchard Arthur & Susan Barsky Alan Clayton-Matthews Rev. Joseph & Nancy Bassett Joel I. Cohen & Anne Azéma Alan Bates & Michele Mandrioli Maria & Charles Coldwell Joseph Baxer Matthew Coleman & Barbara Anne Bacewicz Lois Evelyn Conley, Trevor & Dax Bayard-Murray in memory of Philip R. Conley Elaine Beilin & Robert Brown Dorothea Cook & Peter Winkler Lawrence Bell Peter B. Cook Aliesha Bennett Rita & Norman Corey, Susan Benua in honor of Jeanne Crowgey Elliot Beraha Robert Cornell Nadine Berenguier & Bernd Widdig Nelson Correa John C. Berg & Martha E. Richmond Mary C. Coward & John Empey Noel & Paula Berggren Dan & Sidnie Crawford Judith Bergson David Croll & Lynne Ausman Michael & Sheila Berke Katherine Crosier, Elaine Bianco in memory of Carl C. Crosier William Birdsall Ruth Cross John Birks Edwina J. Cruise Barbara R. Bishop Daniel Curtis Sarah Bixler & Christopher Tonkin Warren R. Cutler Katharine C. Black James Cyphers Marylynn Boris Matthew Dahl Richard Borts Gilbert Daniels Ann Boyer Eric & Margaret Darling Katherine Bracher, Ruta Daugela in memory of Margriet Tindemans Karen Davis, Susan Brainerd in honor of Amanda Forsythe Spyros Braoudakis Carl & May Daw Susan Brefach & Don Estes Mr. & Mrs. Patrick Day, Esq.

Leigh Deacon Judith & Robert DeIasi Kate Delaney Ellen R. Delany Jeffrey Del Papa Deborah & Forrest Dillon Sarah Dillon & Peter Kantor Kathryn Disney Mark Dodd & Linda Brock Charles & Beverly Donohue Annette I. Dorsky Diane L. Droste Priscilla Drucker Laura Duffy Rev. S. Blake Duncan John Dunton & Carol McKeen Robert Echols Philip & Deborah Edmundson Ms. Helen A. Edwards Charles Epstein Jane Epstein Jake Esher Laureen Esser Richard Fabian Susan Farr Lila M. Farrar Marilyn Farwell Peter Fejer Grace A. Feldman, in memory of J.P. Feldman Janine Ferretti Robert & Janeth Filgate Carol L. Fishman Jocelyn Forbush Deborah Fox & Ron Epstein Lillian Fraker Matthew P. Fraleigh R. Andrew Garthwaite William Gasperini Dr. Aisling Gaughan & Kent Russel Thatcher Lane Gearhart Ronald & Gisela Geiger Gary Gengo David & Susan Gerstein Hans Gesell Susan Goldhor, in memory of Aron Bernstein Diane Goldsmith Nancy L. Graham Frances Gratz Bruce, Margaret & Sarah Graver John C. Gray Jr.

Boston Early Music Festival

Winifred Gray Ellen & James Green Mary Greer Margaret Griffin & Roger Weiss Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Christine Guth Joshua Guttman Richard & Les Hadsell Harry & Sharen Hafner Susannah Halston Suzanne & Easley Hamner Benjamin F. Harris David J. Harris, MD Jill B. Hartman Barbara & Samuel L. Hayes III Deborah Healey Diane Hellens Elizabeth Durfee Hengen Catherine & John Henn Steve Herbert & Ursula Ziegler Olmo Heredia-Blanco Katherine A. Hesse Raymond Hirschkop John & Olivann Hobbie Ellsworth Hood, in memory of Margaret Hood Victoria Hoover Sterling & Margaret Hopkins Valerie Horst & Benjamin Peck David Howlett Chris Marie R. Hudson Keith & Catherine B. Hughes Michelle Humphreys Priscilla Hunt & Victor Lesser Charles & Nan Husbands, in honor of Paul O’Dette Willemien Insinger Charlotte Isaacs Deborah L. Jameson Susan Jaster & Ishmael Stefanov-Wagner Dian Kahn Robert & Susan Kaim Joan Kapfer & Michael Jorrin Ward Keeler Alison Kelley Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David Kessler David P. Kiaunis John R. Kimball

2021–2022 Season

Jeremy Kindall Leslie & Kimberly King Naomi Reed Kline Carol & Arnold Klukas Sara M. Knight Christine Kodis Crystal Komm Scott-Martin Kosofsky & Betsy Sarles Ellen Kranzer Benjamin Krepp & Virginia Webb Barbara & Paul Krieger Katherine Krueger Jan Krzywicki & Susan Nowicki Robert G. Kunzendorf & Elizabeth A. Ritvo David Laibstain Dennis G. Lamser Charles E. Larmore Stephen J. Leahy Rob & Mary Joan Leith Drs. Lynne & Sid Levitsky Michael Lew Calien Lewis & Martha Mickles Ellen R. Lewis Susan & Walter Lichtenstein Marcia & Philip Lieberman Rebecca Lightcap Signe Lindberg Jose & Rebecca Lora Liz Loveland Daniel Lynch & Elaine Dow Deidre Lynch Mary Maarbjerg Mary Malloy & Stuart Frank Thomas & Susan Mancuso Douglas & Amanda Maple Judith Mason Donna McCampbell Dr. & Mrs. James R. McCarty, in memory of William R. Dowd Peter McCormick Kathleen McDougald George McKee Sharon McKinley Dave & Jeannette McLellan Cynthia Merritt Gerald & Susan Metz Ruth Milburn George D. & Barbara A. Miller Margo Miller Mary Lou Miller Myron Miller

Nicolas Minutillo Nathaniel & Judith Mishkin Robert C. Mitchell David Montanari & Sara Rubin Martha Morton Wes & Sandy Mott, in memory of Harry Nargiss Mouatta Lynn Mulheron Seanan Murphy Myrna Nachman Debra Nagy, in honor of Kathy Fay Paul & Rebecca Nemser Katharine Newhouse Amy Nicholls Jeffrey Nicolich Nancy Nuzzo Karen Oakley & John Merrick Herbert G. Ogden & Catherine Thomas Clifford & Frances Olsen Monika Otter David & Claire Oxtoby Kevin Oye & June Hsiao Gene & Cheryl Pace Robert Parker Beth Parkhurst, in memory of Cheryl M. Parkhurst Susan Patrick Susan Patrick, in memory of Don Partridge Sally & Rand Peabody Jim Pendleton John Petrowsky Rebecca Petteys Andrea Phan, in memory of Charlie Phan Elizabeth V. Phillips Lys McLaughlin Pike Mary Platt Gene & Margaret Pokorny Theodore Popoff & Dorothy Silverstein Charles & Elizabeth Possidente Susanne & John Potts Dr. Olena Prokopovych Virginia Raguin, in memory of Christopher Chieffo Christa Rakich & Janis Milroy Sarah & Eben Rauhut Sandra Ray John & Sue Reed

Ruth E. Reiner Emery & Joyce Rice Arthur & Elaine Robins Sue Robinson Richard Rodgers Michael Rogan & Hugh Wilburn Paul A. Rosenberg & Harriet C. Moss Peter & Linda Rubenstein Lisa & Gary Rucinski Rusty Russell James V. Ryan Cheryl K. Ryder Kate Salfelder Susan Sargent & Tom Peters Josef Schmee David Schneider & Klára Móricz Raymond Schneider Fred Scholz Elly Schottman Michael Schreiner Richard Schroeder & Jane Burns Mr. & Mrs. Lynn Schultz Peter Schuntermann Susan Schuur Joyce Schwartz Jeffrey Schwotzer Janet Scudder & Carl Fristrom Jean Seiler Maureen Shea Terry Shea & Seigo Nakao Ann Shedd & Mark Meess Kathy Sherrick Marilyn Shesko Kazuki Shintani Daniel & Ruth Shoskes Barbara Sidley, in memory of Nathan T. Sidley Michael & Rena Silevitch Harvey A. Silverglate, in memory of Elsa Dorfman Maurice Singer & Barbara Taylor Hana Sittler Sandra Sizer John & Carolyn Skelton Ellen & Jay Sklar Elliott Smith & Wendy Gilmore Gregory Smith Jim Smith & Joan Miller David Snead & Kate Prescott Jon Solins Piroska Soos Gabriella Spatolisano

Kathleen Moretto Spencer Joseph & Kelley Spoerl Scott Sprinzen George Stalker & Jean Keskulla Douglas Steely & Palma Bickford Bruce Steiner Ann Stewart Mary Stokey Helen Stott Elliott & Barbara Strizhak Alan & Caroline Strout Imogene A. Stulken & Bruce Brolsma Jacek & Margaret Sulanowski Ronald Suleski Bob & Eileen Sullivan Richard & Louise Sullivan Jack Summers Ganesh & Monika Sundaram Timothy Swain Margaret W. Taft, in memory of Seymour Hayden Jocelyn R. Tager, Ph.D. & Michael Fredrickson Ryan Taliaferro Lee & Judith Talner Richard Tarrant Eleanor H. Tejirian Lisa Terry John Thier, in honor of Essential Workers Judith Ogden Thomson Donald Trageser Pierre Trepagnier & Louise Mundinger John & Dorothy Truman Joseph Tulchin, in memory of Kate Heery Tulchin John & Anne Turtle Richard & Virginia von Rueden Mandy Waddell & Irene Cramer Robert & Therese Wagenknecht Rosemary Waldrop Marian M. Warden Prof. Eldon L. Wegner Thomas & LeRose Weikert Esther Weinstein Ronald Weintraub The Westner Family Barbara K. Wheaton Peter White Susan & Thomas Wilkes David L. Williamson

Dr. & Mrs. Randall S. Winn Charlotte Lindgren Winslow, in honor of Hal Winslow Irene Winter & Robert Hunt John H. Wolff & Helen A. Berger Renate Wolter-Seevers Jeff & Lisa Woodruff John H. & Susan Yost Kurt-Alexander Zeller † deceased FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Applied Technology Investors BNY Mellon Charitable Gift Fund Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami Foundation The Boston Foundation Boston Private Bank & Trust Company Lynde and Harry Bradley Foundation, Inc. Gregory E. Bulger Foundation Burns & Levinson LLP The Catherine and Paul Buttenwieser Foundation Cabot Family Charitable Trust Cambridge Community Foundation Cambridge Trust Company Cedar Tree Foundation Cembaloworks of Washington City of Cambridge The Columbus Foundation Community Foundation of Western MA Connecticut Community Foundation Constellation Charitable Foundation The Fannie Cox Foundation The Crawford Foundation CRB Classical 99.5, a GBH station The Dusky Fund at Essex County Community Foundation Eastern Bank Charitable Foundation Fidelity Charitable Fiduciary Trust Charitable French Cultural Center / Alliance Française of Boston Ann and Gordon Getty Foundation

Boston Early Music Festival

GlaxoSmithKline Foundation Goethe-Institut Boston The Goldman Sachs Philanthropy Fund The Florence Gould Foundation GTC Law Group Haber Family Charitable Foundation Hausman Family Charitable Trust The High Meadow Foundation Houghton Mifflin Harcourt The Isaacson-Draper Foundation The Richard and Natalie Jacoff Foundation, Inc. Jewish Communal Fund Key Biscayne Community Foundation Konstantin Family Foundation Maine Community Foundation Makromed, Inc. Massachusetts Cultural Council Mastwood Foundation Morgan Stanley National Endowment for the Arts Newstead Foundation Barbro Osher Pro Suecia Foundation The Packard Humanities Institute The Mattina R. Proctor Foundation REALOGY Corporation The Saffeir Family Fund of the Maine Community Foundation Scofield Auctions, Inc.

2021–2022 Season

Schwab Charitable The Seattle Foundation Shalon Fund TIAA Charitable Giving Fund Program The Trust for Mutual Understanding The Tzedekah Fund at Combined Jewish Philanthropies The Upland Farm Fund U.S. Small Business Administration U.S. Trust/Bank of America Private Wealth Management Vanguard Charitable Walker Family Trust at Fidelity Charitable Marian M. Warden Fund of The Foundation for Enhancing Communities The Windover Foundation MATCHING CORPORATIONS 21st Century Fox Allegro MicroSystems Amazon Smile AmFam Analog Devices Aspect Global Automatic Data Processing, Inc. Biogen Carrier Global

Dell, Inc. Exelon Foundation FleetBoston Financial Corporation Genentech, Inc. Google Grantham, Mayo, van Otterloo & Co. LLC John Hancock Financial Services, Inc. Community Gifts Through Harvard University Houghton Mifflin Harcourt IBM Corporation Intel Foundation Investment Technology Group, Inc. (ITG) Microsoft Corporation MLE Foundation, Inc. Natixis Global Asset Management Novartis US Foundation NVIDIA Pfizer Pitney Bowes Salesforce.org Silicon Valley Community Foundation Takeda Tetra Tech United Technologies Corporation Verizon Foundation Xerox Foundation

Photo: Rolf Schoellkopf

f o t r o h s g n i h t o “N

” . y r o t a l e v e r —Gramop

hone

Chri stop h G r au pne r

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Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

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Boston Early Music Festival

Boson Early Music Fesival Opera • Concerts • Exhibition June 4–11, 2023 in Boston Our 22nd biennial extravaganza is a

CELEBRATION OF WOMEN CENTERPIECE OPERA: Circé

Music by Henry Desmarest (1661–1741) Libretto by Louise-Geneviève Gillot de Saintonge (1650–1718)

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Boston Early Music Festival 2021–2022 Season: Piffaro

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