Paul O’Dette & Stephen Stubbs, Artistic Directors
Vox Luminis
LIONEL MEUNIER, Artistic Director
SATURDAY, OCTOBER 26, 2024
8PM | NEC’s Jordan Hall, Boston, MA
J O HANN CHRISTIAN B A CH
Operas and Dramatic orks
Lucio Silla
Edited by Paul Corneilson
ISBN 978-1-938325-63-2 (2024; lx, 392 pp.) $75
Published by The Packard Humanities Institute jcbach.org
CELEBRATING MUSIC & PLACE
Martin Randall Festivals bring together world-class musicians for a sequence of private concerts in Europe’s most glorious buildings, many of which are not normally accessible. We take care of all logistics, from flights and hotels to pre-concert talks.
MUSIC ALONG THE RHINE | 8–15 May 2025
COTSWOLDS CHORAL FESTIVAL | 16–20 June 2025
MUSIC ALONG THE SEINE | 16–23 July 2025
HANDEL IN VALLETTA | November 2025
The Morgan Library & Museum
Exhibitions
Belle da Costa Greene: A Librarian’s Legacy
October 25, 2024 May 4, 2025
Franz Kafka
November 22, 2024 April 13, 2025
Music at the Morgan
Candice Hoyes: Belle Canto
Candice Hoyes, soprano Wednesday, January 22, 2025, 7-8:30 PM
Philip Glass’s “Metamorphosis”
Jenny Lin, piano
Saroi Tsukada, narrator
Lindsay Rosenberg, bassist Thursday, March 6, 2024, 7-8:30 PM
Film Screening and Concert: Fanny: The Other Mendelssohn
Lydia Artymiw, piano
Sheila Hayman, filmaker Thursday, May 23, 2024, 7:30-9:30 PM
For information visit themorgan.org/programs
The Morgan Library & Museum 225 Madison Avenue at 36th Street
New York, NY 10016
The concert program is supported by the Cynthia Hazen Polsky and Leon B. Polsky Fund for Concerts and Lectures, the Celia Ascher Endowment Fund, the Esther Simon Charitable Trust, the Theodore H. Barth Foundation, and the Witherspoon Fund of the New York Community Trust.
St. Luke’s Chamber Ensemble
Upper: Mr. Morgan’s Library; photography by Graham S. Haber. Lower: Philip Glass; photography by Danny Clinch.
Dear Friends,
We are delighted to welcome you to the first two events of our 35th Anniversary Season: Vox Luminis on Saturday, October 26, and Venice Baroque Orchestra on Saturday, November 2, both presented against the backdrop of NEC’s magnificent Jordan Hall.
The outstanding singers and instrumentalists of Belgium’s Vox Luminis return for their fourth performance on the annual BEMF concert series, following their two concert programs at the 2023 Festival. This luminous, Gramophone Award–winning ensemble, founded in 2004 by Lionel Meunier, has been universally praised for its distinctive sound and dynamic interpretive approach to the English, Italian, and German repertoire of the 17th and 18th centuries, breathing fresh life and feeling into the great masterworks as well as illuminating lesser-known gems of the period. In celebration of their 20th anniversary, they return with a program titled “Ein Deutsches Barockrequiem,” which takes inspiration from Johannes Brahms’s beloved masterpiece, and combines various Baroque settings of the Lutheran biblical texts he chose to create unique and deeply emotional German Requiem.
We are also celebrating the much-anticipated return of the acclaimed Venice Baroque Orchestra, directed by Andrea Marcon, in their first BEMF appearance since February 2020. Admired the world over for exceptional artistry and a steadfast commitment to the rediscovery and performance of Venetian masterworks, they will be joined by astonishing violin virtuoso Chouchane Siranossian in a dazzling “battle of the bows,” featuring music by some of the greatest composer-violinists of the Venetian Baroque: Vivaldi, Tartini, Veracini, and Locatelli. Prepare yourself for an evening of fireworks and theatricality from this spectacular collaboration between star soloist and illustrious ensemble.
We hope you enjoy these performances, and that you will return to Jordan Hall over Thanksgiving Weekend for BEMF’s delightful new Chamber Opera Series production of Georg Philipp Telemann’s Don Quichotte
Thank you for joining us for tonight’s performance, whether live or virtually, and as always, please accept our heartfelt thanks for your continued enthusiastic support of the Boston Early Music Festival.
Boston Early Music Festival
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
Julia McKenzie, Director of the BEMF Youth Ensemble
Nina Stern, Director of Community Engagement
ARTISTIC LEADERSHIP
Paul O’Dette and Stephen Stubbs, Artistic Directors
Gilbert Blin, Opera Director
Robert Mealy, Orchestra Director
BOARD OF DIRECTORS
Bernice K. Chen, Chairman | David Halstead, President
Brit d’Arbeloff, Vice President | Susan L. Robinson, Vice President
Adrian C. Touw, Treasurer | Peter L. Faber, Clerk
Michael Ellmann | George L. Hardman | Ellen T. Harris | Glenn A. KnicKrehm
Robert E. Kulp, Jr. | Miles Morgan† | Bettina A. Norton
Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff
BOARD OF OVERSEERS
Diane Britton | Gregory E. Bulger | Amanda Pond
Robert Strassler | Donald E. Vaughan
BOARD OF TRUSTEES
Marty Gottron & John Felton, Co-Chairs
Deborah Ferro Burke | Mary Deissler | James A. Glazier
Douglas M. Robbe | Jacob Skowronek † deceased
BOSTON EARLY MUSIC FESTIVAL, INC.
43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764
Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org
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
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
Kathleen Fay
Lori Fay
John Felton
Frances C. Fitch
Claire Fontijn
James A. Glazier
Marty Gottron
Carol A. Haber
David Halstead
George L. Hardman
Ellen T. Harris
Rebecca Harris-Warrick
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
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
Ellen Rosand
Valerie Sarles
David W. Scudder
Andrew Sigel
Jacob Skowronek
Arlene Snyder
Jon Solins
Robert Strassler
Ganesh Sundaram
Adrian C. Touw
Peggy Ueda
Donald E. Vaughan
Nikolaus von Huene
Howard J. Wagner
Benjamin D. Weiss
Ruth S. Westheimer
Allan Winkler
Hal Winslow
Christoph Wolff
Arnold B. Zetcher
Ellen Zetcher
† deceased
Paul O’Dette & Stephen Stubbs, Artistic Directors
n SATURDAY, OCTOBER 26 | 8PM
VIRTUAL AVAILABILITY: NOVEMBER 9 – NOVEMBER 23
Vox Luminis
LIONEL MEUNIER, Artistic Director
EIN DEUTSCHES BAROCKREQUIEM:
Texts from the Brahms Requiem set by German Baroque masters
n SATURDAY, NOVEMBER 2 | 8PM
VIRTUAL AVAILABILITY: NOVEMBER 15 – NOVEMBER 29
Venice Baroque Orchestra
ANDREA MARCON, Conductor | CHOUCHANE SIRANOSSIAN, violin
A VENETIAN DUEL OF BOWS: Music of Vivaldi, Tartini, Veracini, and Locatelli
Cervantes’s wayward knight is brought to life through the irresistible music of Georg Philipp Telemann!
n SATURDAY, NOVEMBER 30 | 8PM
n SUNDAY, DECEMBER 1 | 3PM
VIRTUAL AVAILABILITY: DECEMBER 15 – DECEMBER 29
n FRIDAY, DECEMBER 6 | 8PM
VIRTUAL AVAILABILITY: DECEMBER 13 – DECEMBER 27
The Tallis Scholars
PETER PHILLIPS, Director
IN DULCI JUBILO: Music of Praetorius, von Bingen, Lassus, Victoria, and others
n SATURDAY, FEBRUARY 8 | 8PM
VIRTUAL AVAILABILITY: FEBRUARY 22 – MARCH 8
Francesco Corti,
harpsichord & organ with the BEMF Chamber Ensemble
ROBERT MEALY, Director
KEYBOARD MASTERPIECES BY HANDEL
n FRIDAY, FEBRUARY 14 | 8PM
VIRTUAL AVAILABILITY: FEBRUARY 28 – MARCH 14
Agave
REGINALD MOBLEY, countertenor
RUM AND REBELLION
n FRIDAY, MARCH 28 | 8PM
VIRTUAL AVAILABILITY: APRIL 11 – APRIL 25
Stile Antico
THE GOLDEN RENAISSANCE: A journey through Stile Antico’s favorite music
n FRIDAY, APRIL 4 | 8PM
VIRTUAL AVAILABILITY: APRIL 18 – MAY 2
Les Arts Florissants
THÉOTIME LANGLOIS DE SWARTE, violin
VIVALDI’S FOUR SEASONS AT 300
n SUNDAY, APRIL 13 | 3PM
VIRTUAL AVAILABILITY: APRIL 27 – MAY 11
Jordi Savall & Hespèrion XXI
MUSIC OF FIRE AND LOVE: An eclectic program of folías, variations, and improvisations
Boston Early Music Festival
24/25 NAMED GIFT SPONSORSHIPS
Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2024/25 Season:
Andrew Sigel
Sponsor of Christian Immler, Don Quichotte, Emily Siar, Quiteria, Richard Pittsinger, Grisostomo, and Julian Donahue, dancer, for their November 2024 Chamber Opera Series performances in Telemann’s Don Quichotte Sponsor of the virtual presentations of Vox Luminis and The Tallis Scholars
David Halstead and Jay Santos
Sponsors of the October 2024 performance by Vox Luminis
Lorna E. Oleck
Sponsor of the BEMF Dance Company for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Sponsor of the virtual presentation of Francesco Corti, keyboard, with the BEMF Chamber Ensemble
George L. Hardman
Sponsor of the virtual presentation of Agave with Reginald Mobley, countertenor Sponsor of Jordi Savall, Director & viol, for his April 2025 appearance with Hespèrion XXI
Diane and John Paul Britton
Sponsors of Gwen van den Eijnde, Costume Designer, for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Bernice K. Chen
Sponsor of Gilbert Blin, Stage Director, for our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Michael and Marie-Pierre Ellmann
Sponsors of Jason McStoots, Sancho Pansa, for his November 2024 Chamber Opera Series performance in Telemann’s Don Quichotte
Harold I. Pratt
Sponsor of Sarah Darling, violin, for her February 2025 appearance with the BEMF Chamber Ensemble
Joanne Zervas Sattley
Sponsor of Sarah Darling, viola, for her appearance with the BEMF Chamber Ensemble in our November 2024 Chamber Opera Series production of Telemann’s Don Quichotte
Donald E. Vaughan and Lee S. Ridgway
Sponsors of Reginald Mobley, countertenor, for his February 2025 performance with Agave
Jean Fuller Farrington
Sponsor of the virtual presentation of Stile Antico
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.
Boston Early Music Festival PRESENTS Vox Luminis
LIONEL MEUNIER, Artistic Director
Ein Deutsches Barockrequiem
Trauer-Klag (Gedenke, Herr, wie es uns gehet) Andreas Scharmann (fl. 1663)
Und da der Sabbath vergangen war: Sinfonia Thomas Selle (1599–1663)
Selig sind, die da geistlich arm sind Johann Hermann Schein (1586–1630)
Die mit Tränen säen Christian Geist (ca. 1650–1711)
Die Erlöseten des Herren Tobias Michael (1592–1657)
Ach, Herr, lehre doch mich Wolfgang Carl Briegel (1626–1712)
Ach wie gar nichts
Andreas Hammerschmidt (1611/12–1675)
Der Gerechten Seelen Heinrich Schwemmer (1621–1696)
Wie lieblich sind deine Wohnungen
Ich will schweigen
Schein
Schein
Der Tod ist verschlungen in den Sieg Hammerschmidt
Selig sind die Toten Johann Philipp Förtsch (1652–1732)
The Boston Early Music Festival thanks DAVID HALSTEAD and JAY SANTOS for their leadership support of tonight’s performance by Vox Luminis and
ANDREW SIGEL for his support of the virtual presentation of Vox Luminis
Continuo organ by Bennett & Giuttari, Rehoboth, Massachusetts, provided by New England Conservatory.
LIVE CONCERT
Saturday, October 26, 2024 at 8pm
New England Conservatory’s Jordan Hall 30 Gainsborough Street, Boston, Massachusetts
VIRTUAL CONCERT
Saturday, November 9, 2024 – Saturday, November 23, 2024 BEMF.org
VOX LUMINIS
Viola Blache & Erika Tandiono, soprano
Sophia Faltas & Tessa Roos, mezzo-soprano
Jan Kullmann, countertenor
Vojtěch Semerád, haute-contre
Philippe Froeliger, Christopher Fischer & João Moreira, tenor
Olivier Berten, baritone
Sebastian Myrus, bass
Lionel Meunier, Artistic Director & bass
Tuomo Suni, concertmaster
Antina Hugosson, violin
Lies Wyers & Ricardo Rodriguez Miranda, viola da gamba
Isaline Leloup, violone
Elina Albach, organ
Program subject to change.
Ball Square Films & Kathy Wittman, Video Production
Antonio Oliart Ros, Recording Engineer
Vox Luminis is represented exclusively in North America by Alliance Artists Management.
PROGRAM NOTES
DELIBERATIONS ON DEATH
Concerning the title, I would willingly replace “German” with “Human.”
This statement by Brahms about his Deutsches Requiem is often quoted and gives a clear idea of his thought processes as he composed this musical monument of the Romantic period; he took his inspiration from Biblical texts—and I say Biblical rather than liturgical, as this score was clearly intended for concert performance rather than liturgical use. Above all else, Ein Deutsches Requiem is a deliberation on death.
Brahms was still a young man when two deaths in particular moved him deeply: his friend and advisor Robert Schumann died in 1856, when Brahms was twenty-three years old; the death of his mother followed in 1865. The analogy between Brahms’s “human” masterpiece and Heinrich Schütz’s Musicalische Exequien has often been made. This idea of a composition that is spiritual in character and based on a selection of texts from the Bible is common to both works, as is their theme: the contemplation of death. We do, however, know that Schütz’s music was linked to a carefully organized funeral service.
This is how I began the introduction to the Vox Luminis edition of Schütz’s Musicalische
Exequien in 2010—a recording that was to make a considerable contribution to the ensemble’s international reputation. Why did I mention Brahms’s Deutsches Requiem? Quite simply because this monument of German Romanticism has a very special place in the hearts of many of those who have had the privilege to perform its choruses—as I too have done, many years ago.
For Lionel Meunier and myself, this relation between the two masterpieces has been continuously on our minds since 2010. The two works are separated by a little more than two centuries: might it not be possible to compile a work similar to the Deutsches Requiem from German compositions of the seventeenth century? An outline of this was suggested in the boxed set Eine Feste Burg that we released as part of the Luther Year in 2017, in which we brought together compositions by Selle, Hammerschmidt, and Schütz on three of the most frequently set texts in the early repertoire: Die mit Tränen säen, Wie lieblich sind deine Wohnungen, and Selig sind die Toten. Time has passed since then, and the period of the Covid-19 pandemic gave us even more time to explore the catalogues of German composers of the seventeenth century and to search for missing pieces to insert into our projected Deutsches Barockrequiem.
JOHANNES BRAHMS Photograph, 1866
The title Johannes Brahms gave his composition is actually rather strange, as the term Requiem is not used in the Lutheran liturgy. In contrast to the Requiem of the Roman Catholic liturgy, the Lutheran Begräbnis Missa does not call for a specific choice of texts. By using the term Requiem, Brahms—who, it should be remembered, was Lutheran—was endeavoring to place his work in the series of Requiems that, given the legendary fate of Mozart’s Requiem, have more often become concert works than true compositions for liturgical use.
We therefore embarked on a long search for compositions that used the same texts that Brahms had selected. For some of them we were spoilt for choice, but for others no compositions from the period could be found. However, basing ourselves on the feelings that guided Brahms in his selection of texts (he explored a great many sources, including the Gospels, the Epistles, numerous Old Testament texts, and the Psalms), we have completed this reconstitution with a work of great quality whose text was related to the meditations on death that had inspired him. This work, the Trauer-Klag by Andreas Scharmann, serves as the introduction to this concert. The text of the Trauer-Klag is taken from verses 15 and 16 of the fifth chapter of Lamentations; nothing, however, is known of its composer, a certain Andreas Scharmann: the only indication given on the manuscript is “Altdorf, 1663”.
The program of our Deutsches Barockrequiem follows the order of the texts in Brahms’s model. In the first number, Selig sind, die da Leid tragen, Brahms combined the second verse of the Beatitudes from the Gospel of Matthew with verses from Psalm 126 Die mit Tränen säen. As we have not been able to find a work based on this specific verse from the Beatitudes, we open this reconstitution with a motet in madrigal style for five voices by Johann Hermann Schein that sets the complete text of the Beatitudes (Matthew 5:3–12). This motet is part of the third section of the Opella Nova (1626), a particularly varied collection of compositions for a wide range of voices and instruments. Since this motet provides
colla-parte indications for the tutti, we have used the same string formation for the sinfonia that precedes it, borrowed from a Geistliches Konzert by Thomas Selle, Und da der Sabbath vergangen war.
Die mit Tränen säen is an extended composition by Christian Geist (ca. 1650–1711). It too foreshadows Brahms’s selection of different texts in a way, as it contains a verse from Psalm 126 (126:5), a verse from the Book of Wisdom (3:1), and a few verses attributed to Samuel Geist, the composer’s brother. The instrumental ensemble consists of three violas da gamba. The piece itself can be likened to the emerging genre of the cantata, with an opening chorus, several arias separated by ritornelli, and a concluding chorus. The work was apparently composed for the funeral of a certain Anna Margareta Wrangel in 1673, at which time Geist was attached to the Stockholm court.
Die Erlöseten des Herren is a seventeenthcentury musical setting of only the final section of the text (Isaiah 35:10) of the second number of Brahms’s Requiem. This motet comes from the collection Musicalischer Seelenlust published in 1634 by Tobias Michael, a native of Dresden and the successor of Johann Hermann Schein as Cantor of the Thomaskirche in Leipzig. The title page of the collection emphasizes the expressive character of the works it contains “auf sonderbare liebliche Madrigalische Art”.
Three works are used to represent the third movement of the Deutsches Requiem: Herr, lehre doch mich (baritone solo in dialogue with the choir), Ach wie gar nichts sind doch alle Menschen, and Die Gerechten Seelen sind in Gottes Hand, the text that Brahms used for the monumental concluding fugue.
The first two sections are based on verses 4 to 8 of Psalm 39, and the last on the first verse of Chapter 3 of the Book of Wisdom. Ach, Herr, lehre doch mich by Wolfgang Carl Briegel (1626–1712) comes from a collection entitled Zwölff Madrigalische Trost Gesänge published in 1671, at the time when the composer was Kapellmeister of the Darmstadt court.
Ach wie gar nichts comes from the fourth part of the Musicalischer Andachten (1646) by Andreas Hammerschmidt (1611/12–1675), a particularly prolific composer who was primarily based in Zittau.
These two polyphonic works with obvious madrigalistic aspects are followed by a composition with instruments by Heinrich Schwemmer (1621–1696). A native of Franconia, he spent most of his career in Nuremberg, where he was school cantor at Saint-Sebald, a Lutheran enclave in that predominantly Catholic city; he also had an excellent reputation as both theorist and pedagogue, particularly in the field of singing.
He composed not only various sacred works for the great religious festivals but also a number of strophic lieder for celebrations such as weddings and funerals. The separate parts of this composition are taken from a collection that the Stockholm organist Gustav Düben assembled towards the end of the seventeenth century. The work is dated 1669 and is said to have been composed for the funeral of a certain J. M. Dilherr. Again, the text of this Geistliches Konzert has been assembled from several sources: the first two sections were taken from the Book of Wisdom (3:1) and the Book of Daniel (12:3). The text appears to have been written as a tribute to the deceased at the same time at the piece itself. The work allots a very important role to the strings, which are reserved for purely instrumental passages as well as entering into dialogue with the singers or accompanying them. The work’s final section, “Wir warten in Gedult auf dieses unser Heil bis wir auch gleich wie du die Augen selig schließen,” is extremely moving.
There were several possibilities for the fourth part of our reconstitution of Brahms’s template, with its text from Psalm 84. We finally chose another work by Johann Hermann Schein, Wie lieblich sind deine Wohnungen, this time taken from his Cantional oder Gesangbuch (1627). Schein chose to set verses 1, 2, and 4 of the psalm, while Brahms had set verses 1, 2, and 5.
Despite all our research, it was impossible to find any composition that used the text of the fifth movement of the Deutsches Requiem. We were therefore compelled to choose a text that Brahms had not used, one set by Johann Hermann Schein in his funeral motet Ich will schweigen (1617). The text of this motet is taken from verses 10 to 12 of Psalm 39 and describes the ephemeral character of human life. It ends in this setting with the invocation “Ach wie gar nichts sind alle Menschen”— which is also to be found in the second movement of Ein Deutsches Requiem.
For Der Tod ist verschlungen in den Sieg, Brahms’s text for his sixth movement that he set in heroic fashion before the movement’s concluding fugue, we have found a particularly glorious motet. The text for this evocation of the Last Judgment is taken from St. Paul’s First Epistle to the Corinthians (15:51–55). Victorious injunctions of “Victoria, Alleluia” and “Gott sey Dank, der uns den Sieg gibt” bring the text to an end in Andreas Hammerschmidt’s setting. The work is scored for double choir and continuo with two violins reinforcing the cries of victory proclaimed by the first choir.
Our final work, Selig sind die Toten, was composed by Johann Philipp Förtsch (1652–1732) to a text from the Revelation of St. John (14:13) that was also used by Brahms for the final movement of his Deutsches Requiem. Förtsch was a talented composer and renowned singer who was active mainly in Hamburg, although he alternated his musical career with his practice as a doctor and finally renounced music in favor of medicine. His setting is dated around 1700 and the original manuscript is kept in the Berlin Staatsbibliothek. This, like Geist’s composition, is an archaic model of a cantata in three parts: a choral section for four voices and strings, a series of arias for each voice as well as a quartet with interposed ritornelli, and a repeat of the first section. The verses of the arias (1635) are by the poet and hymnist Simon Dach (1605–1659). n
—Jérôme Lejeune
Translation by Peter Lockwood
ARTIST PROFILES
From its very first notes in 2004, early music ensemble Vox Luminis has claimed the international spotlight with its unique sound. Founder, artistic director, and bass Lionel Meunier composed the ensemble in such a way that each voice can shine solo as well as merge into a luminous fabric of sound.
Depending on the repertoire, this core of vocalists is flanked by an extensive continuo, solo instruments, or its full orchestra. That repertoire comprises mainly English, Italian, and German music from the 17th and early 18th century, from virtuoso masterpieces to yet untouched gems that are given full scope both at some seventy concerts a year and in recordings.
Vox Luminis’s mission is clear: to bring vocal music to a wide audience, with excellence as its guiding principle and touchstone. Concerts, recordings, workshops with audiences around the world, and a rigorous working method are means to this end.
The magic of Vox Luminis has not escaped the international music scene and press. In 2012, the ensemble won the Baroque Vocal Award and the prestigious Recording of the Year at the Gramophone Classical Music Awards for Schütz’s Musicalische Exequien. Seven years later, the Choral Award from the same professional magazine for the recording
Buxtehude: Abendmusiken followed. Meanwhile, the trophy cabinet filled up with awards such as “Klara Ensemble of the Year 2018,” a 2018 BBC Music Magazine Award in the Choral category, numerous Diapasons d’Or, the 2020 Caecilia Prize, and the Preis der Deutschen Schalplattenkritik, the last one being awarded several times.
Vox Luminis is artist in residence at Concertgebouw Brugge and at the Abbaye Musicale de Malonne in Namur. In 2021, it started a structural and lasting partnership with the prestigious Freiburger Barockorchester and the Freiburger BarockConsort for several projects per year. The ensemble is also a welcome guest at major concert halls and festivals worldwide, including Bozar and Flagey in Brussels, De Singel Antwerp, Auditorio Nacional en Teatro Real Madrid, L’Auditori and Palau de la Musica Barcelona, Salle Gaveau and Auditorium de Radio France in Paris, Wigmore Hall London, Philharmonie Berlin and Cologne, Laeiszhalle and Elbphilharmonie Hamburg, Konzerthaus Dortmund, Lincoln Center New York, Jordan Hall Boston, Zaryadye Hall Moscow, Festival van Vlaanderen, Festival de Wallonie, Festival de Saintes, Festival Oude Muziek Utrecht, Musikfest Bremen, Bachfest Leipzig, Klangvokal Dortmund, the Salzburger Festspiele, Aldeburgh Festival, and Boston Early Music Festival, among others.
Vox Luminis celebrated its 20th anniversary in 2024. To mark the occasion, the ensemble created a program entitled Et resurrexit, which toured internationally, and released an anniversary CD box set with Ricercar.
Vox Luminis moreover collaborated with American composer Caroline Shaw, winner of the Pulitzer Prize for Music and several Grammys, to perform a creation in the context of the Thüringer Bachwochen. A world premiere!
During the 2024–2025 season, Vox Luminis is maintaining its collaborations with the Freiburger Barockorchester and the Freiburger BarockConsort, and will present varied repertoires in various formats such as Vox Luminis XL or with its own orchestra—which celebrates its 10th anniversary in 2024.
Vox Luminis enjoys the valued support of the Fédération Wallonie-Bruxelles (FWB) and Wallonie-Bruxelles International (WBI). n
Internationally renowned as the founder and artistic director of the award-winning Belgian vocal ensemble Vox Luminis, French conductor and bass Lionel Meunier is widely regarded as one of the most dynamic and highly acclaimed artistic leaders in the fields of historical performance and choral music active today. Praised for his detailed yet spirited interpretative approach, he is now increasingly in demand as a guest conductor and artistic director with choirs, ensembles, and orchestras worldwide.
Lionel’s international breakthrough came in 2012 with Vox Luminis’s Gramophone Recording of Year award for their recording of Heinrich Schütz’s Musicalische Exequien.
Under his leadership, Vox Luminis has since embarked on extensive concert tours throughout Europe, North America, and Asia; established multi-season artistic residencies at Wigmore Hall, Aldeburgh Festival, Festival Oude Muziek Utrecht, and Concertgebouw Brugge; and recorded about twenty critically acclaimed albums. The recording of Buxtehude won them their second Gramophone Award, for 2019 Choral Recording of the Year.
As a guest conductor, Lionel has worked with Netherlands Bach Society, Danish National Vocal Ensemble, Netherlands Chamber Choir, Salzburg Bach Choir, and the Boston Early Music Festival Collegium, and has led projects with Vox Luminis in collaboration with Orchestra B’Rock, Philharmonia Baroque Orchestra, and L’Achéron, among many others. Lionel maintains a close relationship with the Freiburg Barockorchester and BarockConsort, returning regularly to lead collaborative projects with Vox Luminis that cover a wide repertoire.
Highlights of the 2022–2023 season included a residency at Juilliard culminating in a highly acclaimed performance of Purcell’s King Arthur in Alice Tully Hall, and a three-week European tour with Vox Luminis and Freiburg Barockorchester with Bach’s St. Matthew Passion to major venues including Berlin Philharmonie, Hamburg Elbphilharmonie, and Palau de la Musica, Barcelona. The 2023–2024 season included performances all over Europe and North America with Vox Luminis and a residency at CNSMD Paris where Lionel conducted performances of Bach’s Christmas Oratorio and St. John Passion. He was also guest conductor at the Conservatorium Amsterdam for a series of concerts around Henry Purcell’s Ode to St. Cecilia.
Born in France, Lionel was trained as a singer and recorder player and began his career as a bass in renowned ensembles such as Collegium Vocale Gent, Amsterdam Baroque Choir, and Cappella Pratensis. In 2013, he was awarded the title of Namurois de l’Année (Namur Citizen of the Year) for culture in the Belgian town of Namur, where he lives with his family. n
TEXTS AND TRANSLATIONS
Trauer-Klag — Andreas Scharmann
Gedenke, Herr, wie es uns gehet.
Unsers Herzens Freude hat nun ein Ende. Unser Reigen ist in Wehklagen verkehret.
Gedenke, Herr, wie es uns gehet, Die Kron’ unsers Haupts ist abgefallen.
O weh, O weh, daß wir so gesündiget haben.
—Lamentations 5:1,15,16
Consider, Lord, our condition.
Our heart’s joy is now ended, Our dances have turned to lamentation.
Consider, Lord, our condition.
The crown has fallen from our head. Alas, that we have sinned so greatly.
Selig sind, die da geistlich arm sind — Johann Hermann Schein
Selig sind, die da geistlich arm sind; denn das Himmelreich ist ihr.
Selig sind, die da Leid tragen; denn sie sollen getröstet werden.
Selig sind die Sanftmütigen; denn sie werden das Erdreich besitzen.
Selig sind, die da hungert und dürstet nach der Gerechtigkeit; denn sie sollen satt werden.
Selig sind die Barmherzigen; denn sie werden Baumherzigheit erlangen.
Selid sind die reines Herzens sind; denn sie werden Gott schauen.
Selig sind die Friedfertigen; denn sie werden Gottes Kinder heißen.
Selig sind, die um Gerechtigkeit willen verfolgt werden; denn das Himmelreich ist ihr.
Selig seid ihr, wenn euch die Menschen um meinetwillen schmähen und verfolgen, und reden allerlei Übels wider euch, so sie daran lügen.
Seid fröhlich und getrost; es wird euch im Himmel wohl belohnt werden.
—Matthew 5:3–12
Die mit Tränen säen — Christian Geist
Die mit Tränen säen, werden mit Freuden ernten.
Die Seelen der Gerechten, Sind in Gottes Hand
Und keine Qual rühret sie an.
Die klare Himmelspracht
Kann nicht so helle glänzen
Nicht leuchtet so von Ferne
Das große Heer der Sterne,
Blessed are the meek, for theirs is the kingdom of heaven.
Blessed are those who mourn, for they shall be comforted.
Blessed are the meek, for they shall inherit the earth.
Blessed are those who hunger and thirst for what is right, for they shall be satisfied.
Blessed are the merciful, for they shall obtain mercy.
Blessed are the pure in heart, for they shall see God.
Blessed are the peacemakers, for they shall be called sons of God.
Blessed are those who are persecuted for what is right, for theirs is the kingdom of heaven.
Blessed are you, when men revile you, persecute you, and accuse you wrongly of all kinds of evil in my name.
Rejoice and be glad, for your reward will be great in heaven.
Those who sow with tears Shall reap in joy. The souls of the righteous Are in God’s hand And no torment shall touch them. The clear light of heaven Cannot make then shine so brightly; The sun, the great master of the stars Cannot shine so from afar
Als wie sie strahlen dort
In grossen Freudenlenzen.
So gehe nun aufhin mit lebendiger Wonne
Die engelreine Seel’, Empfah von jener Sonne
Den wahren Himmelsglantz
Und das gerechte Leben, Das dir will itzo selbst der Überwinder geben.
Du hast auf Erden viel der Tränen ausgestreuet
Drum dich Gott wiederum mit Himmelslust erfreuet,
Du musst in Sternenpracht für Gottes Throne stehen, Du musst was du gehofft von nun an ewig sehen.
Auf dem du stets geruht,
Dein brunstiges Verlangen den du geduldig suchts, Den kannst du jetzt empfangen mit ganzer Seelenlust, Dir wird nun von dem Sohne, Dem Heiland beigelegt das Erbteil und die Krone.
Wir warten in Geduld auf dieser schnöden Erden, Bis wir auch alle gleich hinaufgenommen werden, Wir warten auf das Heil, obgleich die Augen fliessen Von bitt’ren Tränen oft, bis wir selig schliessen.
Die Erlöseten des Herren — Tobias Michael
Die Erlöseten des Herren werden wieder kommen, Und gen Zion kommen mit Jauchzen; Ewige Freude wird über ihren Häuptern sein; Freude und Wonne werden sie ergreifen Und Schmerzen und Seufzen werden weg müssen.
—Isaiah 35:10
As do those who there blaze forth
In great rays of joyfulness.
May the angelically pure soul
Rise with eager delight;
May you receive The true glory of heaven And the life of righteousness
That the victor himself will grant you. You have shed many tears on earth, So God once again delights you with heavenly joy; You shall stand before God’s throne in starry splendor, And gaze forever on what you had hoped for. Your fervent desire that you patiently seek And on which you rest, You may now receive with happiness in your soul;
The Son and Savior has laid out Your inheritance and crown ready for you.
Until we are all raised up together, We wait upon our salvation, Though our eyes often flow with bitter tears
Until we may close them in bliss.
The ransomed of the Lord shall return, And come to Zion with singing; Everlasting joy shall be upon their heads; They shall gain joy and gladness, And sorrow and sighing shall flee away.
Ach, Herr, lehre doch mich — Wolfgang Carl Briegel
Ach, Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit bey dir, und mein Leben ist wie nichts für dir. Wie gar nichts sind alle Menschen, die doch so sicher leben. Sela.
—Psalm 39:5,6
Oh, Lord, teach me
That my days must come to an end, And my life has a meaning And I must accept this.
Behold, my days are As a hand’s breadth, And my life is as nothing to you. Those who live so securely Are as nothing. Selah.
Boson Early Music Fesival Boston Early Music Fesival
Paul O’Dette & Stephen Stubbs, Artistic Directors
Ach wie gar nichts — Andreas Hammerschmidt
Ach wie gar nichts sind alle Menschen, die doch so sicher leben.
Sela.
Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe;
Ach wie gar nichts sind alle Menschen, die doch so sicher leben.
Sela.
Sie sammeln und wissen nicht wer es kriegen wird.
Ach wie gar nichts sind alle Menschen, die doch so sicher leben.
Sela.
Ah, how inconsequential
Is mankind.
Selah.
They go about like shadows
And cause much vain turmoil for themselves; Ah, how inconsequential Is mankind.
Selah.
They come together and do not know Who will be taken.
Ah, how inconsequential Is mankind.
Selah.
—Psalm 39:6,7
Der Gerechten Seelen — Heinrich Schwemmer
Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.
Die Lehrer aber werden leuchten wie des Himmels Glantz, Und die so viele zur Gerechtigkeit weisen, wie die Sterne immer und ewiglich.
So gehe nun auch hin du Theurer Gottes Mann empfahe deinen Glantz von jener grossen Sonne
Die dir Gerechtigkeit und Leben geben kann geniesse für und für der Himmel Freund und Wonne.
Du hast auf Erden viel selbst zu Gerechtigkeit gewiesen
Daß sie nun für Gott mit Freuden stehen
Und leuchten neben dir in ihrem Sternenkleid Jetzt wirst du was du hier gelehrt mit Augen sehen.
Gott ist nun selbst dein Lohn und deines Erbes Theil
Auf den du deine Schaf getreulich angewiesen.
Wir warten in Gedult auf dieses unser Heil
Bis wir auch gleich wie du die Augen selig schießen.
The souls of the righteous are in God’s hand
And no torment shall touch them.
But the wise shall shine like the brightness of heaven, And those who turn so many to righteousness Will shine as the stars for ever and ever.
Go there now also, beloved man of God, Take your brightness from that great sun
That can give you righteousness and life; Enjoy the delights and joys of heaven forever.
On earth you have shown, and righteously, That they now stand for God with joy And shine next to you in their starry raiment. Now you will yourself behold what you have learnt here.
God himself is your reward and part of your inheritance,
On whom you faithfully rely for your slumber. We wait patiently for our salvation,
Until we, like you, can close our eyes in bliss.
Wie lieblich sind deine Wohnungen — Johann Hermann Schein
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herren; mein Leib und Seele freuen sich in dem lebendigen Gott.
Denn der Vogel hat ein Haus funden
Und die Schwalbe ihr Nest, da sie Junge hecken; Nämlich deine Altäre, Herre Zebaoth, Mein König und mein Gott.
—Psalm 84:2–4
Ich will schweigen — Johann Hermann Schein
Ich will schweigen und meinen Mund nicht auftun; Herr, du wirst’s wohl machen. Wende deine Plage von mir; denn ich bin verschmachtet von der Strafe deiner Hand.
Wenn du einen züchtigest um der Sünde willen, so wird seine Schöne verzehrt wie von Motten.
Ach wie gar nichts sind doch alle Menschen! Sela.
—Psalm 39:10–12
How lovely are your dwellings, Lord of hosts!
My soul pines and longs for The courts of the Lord: My body and soul rejoice In the living God.
For the birds have found a home And the swallow her nest for her brood; For these are your altars, Lord of hosts, My king and my God.
I will remain silent and keep my mouth closed, Lord, this is your doing. Cease your tormenting of me, For I am weary of your hand’s punishment. If you flog a man for his sins, It is as if moths consume all that is good in him. Ah, how inconsequential is mankind! Selah.
Der Tod ist verschlungen in den Sieg — Andreas Hammerschmidt
Der Tod ist verschlungen in den Sieg. Victoria, Alleluia.
Tod, wo ist dein Stachel?
Helle, wo ist dein Sieg?
Danck, der uns Sieg gibt, Gott sey Danck, der uns den Sieg gibt, Durch unsern Herren Jesum Christum. Victoria, Alleluia.
Gott sey Danck, der uns den Sieg gibt, Durch unsern Herren Jesum Christum. Alleluia.
—1 Corinthians 15:55,57
Death has been swallowed up in victory. Victoria, Alleluia.
Death, where is your sting?
Hell, where is your victory?
Thanks be to him who gives us the victory. Thanks be to God, who gives us the victory Through Jesus Christ our Lord. Victoria, Alleluia.
Thanks be to God, who gives us the victory Through Jesus Christ our Lord. Alleluia.
Selig sind die Toten — Johann Philipp Förtsch
Selig sind die Toten, die in dem Herrn sterben, von nun an; Ja der Geist spricht, dass sie ruhen von ihrer Arbeit; Denn ihre Werke folgen ihnen nach.
O wie selig seid ihr doch ihr Frommen
Die durch den Tod zu Gott gekommen. Ihr seid entgangen aller Not die uns noch hält gefangen.
Muss man hier doch wie im Kerker leben Da nur Sorge, Furcht und Schrecken schweben Was wir hier kennen ist nur Müh und Herzeleid zu nennen.
Ihr hingegen ruht in eurer Kammer Sicher und befreit von allem Jammer; Kein Kreuz und Leiden ist euch hinderlich in euren Freuden.
Christus wischet ab euch alle Tränen, Ihr habt schon, wonach wir uns erst sehnen
Euch wird gesungen was durch keines Ohr allhier gedrungen.
Auf! Auf! wer wollte denn nicht gerne sterben
Und den Himmel für die Welt ererben? Wer wollt hier bleiben sich den Jammer länger lassen treiben?
Komm, o Christe, komm, uns auszuspannen, Lös uns auf und führ uns bald von dannen. Bei dir, o Sonne, ist der frommen Seelen Freud und Wonne.
Selig sind die Toten…
—Revelation 14:13; verses by Simon Dach
Blessed are the dead Who die in the Lord From now onwards; For the Holy Spirit says That they shall rest from their labors, For their works shall live after them.
How blessed are you pious ones Who come to God after death. You have escaped All the pain that still imprisons us.
Here we live as if imprisoned, Where care, fear and horror reign; Here we suffer trouble And heartfelt sorrow.
You, however, rest in your dwellings In safety and free from all woe; No cross or suffering Hinders your joys.
Christ wipes all your tears away, You already have what we long for; What you have been granted, None here will ever have.
Arise! Who then would not gladly die And inherit heaven instead of the world? Who would remain here And still suffer such woe?
Come, O Christ, come loosen our bonds, Release us and lead us quickly away. With you, O sun, There is joy and delight for the pious soul.
Blessed are the dead…
—Translations by Peter Lockwood
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BEMF’S 2023 PRODUCTION OF DESMAREST’S CIRCÉ
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. Biennial centerpiece productions feature both the Boston Early Music Festival Orchestra and the Boston Early Music Festival Dance Company.
The twenty-second biennial Boston Early Music Festival, A Celebration of Women, was held in June 2023 and featured Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge. The twenty-third Festival, in June 2025, will have as its centerpiece Reinhard Keiser’s 1705 opera Octavia.
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 features the artists of the Boston Early Music Festival Vocal and Chamber Ensembles and focuses on the wealth of chamber operas composed during the Baroque period, while providing an
International Baroque Opera • Celebrated Concerts • World-Famous Exhibition
PHOTO: KATHY WITTMAN
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, 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 Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, and most recently John Frederick Lampe’s The Dragon of Wantley. 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; 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
SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY
PHOTO: KATHY WITTMAN
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 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. BEMF’s recording of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere, Pergolesi’s La serva padrona and Livietta e Tracollo was released in December 2023, and the newest recording, Telemann’s Ino and opera arias for soprano featuring Amanda Forsythe, was released in October 2024.
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-in-a-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. n
THE BEMF ORCHESTRA AT THE JUNE 2023 FESTIVAL PHOTO: KATHY WITTMAN
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Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.
Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.
PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL BY DONATING AT ONE OF SEVERAL LEVELS:
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Morton Abromson & Joan Nissman
Eric Hall Anderson
Tom & Judy Anderson Allen
Susan Bromley
Frederick Byron
John Campbell & Susanna Peyton
Mary Chamberlain
David J. Chavolla
Joseph Connors
Geoffrey Craddock
Richard & Constance Culley
Kathryn Disney
John W. Ehrlich
Mary Fillman & Mary Otis Stevens
Martin & Kathleen Fogle
Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin
Bruce A. Garetz
Alexander Garthwaite
Sarah M. Gates
George & Marla Gearhart
David & Harriet Griesinger
James & Ina Heup
Phyllis Hoffman
Thomas M. Hout & Sonja Ellingson Hout
Jean Jackson, in memory of Louis Kampf
Paul & Alice Johnson
Robin Johnson
Barry Kernfeld & Sally McMurry
Fran & Tom Knight
Neal & Catherine Konstantin
Kathryn Mary Kucharski
Robert & Mary La Porte
Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence
Catherine Liddell
Lawrence & Susan Liden
Annmarie Linnane & Richard Johnson
Roger & Susan Lipsey
James Liu & Alexandra Bowers
Marietta Marchitelli
Carol Marsh
Amy & Brian McCreath
Marilyn Miller
Alan & Kathy Muirhead
Robert Neer & Ann Eldridge
Louise Oremland
Clara M. & John S. O’Shea
Richard† & Lois Pace, in honor of Peter Faber
William J. Pananos
Henry Paulus
Phillip Petree
Hon. W. Glen Pierson & Hon. Charles P. Reed
Gene & Margaret Pokorny
Martha J. Radford
Arthur & Elaine Robins
Ellen Rosand
Cheryl K. Ryder
Richard Schroeder & Dr. Jane Burns
Wendy Shattuck & Sam Plimpton
Kathy & Alexander Silbiger Fund
Harvey A. Silverglate, in memory of Elsa Dorfman
Elizabeth Snow
Lynne Spencer
Louisa C. Spottswood
Catherine & Keith Stevenson
Ann Stewart
Theresa & Charles Stone
David & Jean Stout, in honor of Kathy Fay
Carl Swanson
Ralph & Jeanine Swick, in memory of Alan & Judie Kotok
Ken & Margo Taylor
Douglas L. Teich, M.D.
Reed & Peggy Ueda
Richard Urena
Patrick Wallace & Laurie McNeil
Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP
Polly Wheat & John Cole
Kathleen Wittman & Melanie Andrade, in memory of John Wittman
ASSOCIATES
($250 or more)
Anonymous (8)
Anonymous, in honor of Nancy Olson
Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier
Elizabeth Alexander
Nicholas Altenbernd
Brian P. & Debra K. S. Anderson
Julie Andrijeski & J. Tracy Mortimore
Louise Basbas
William & Ann Bein
Noel & Paula Berggren
Michael & Sheila Berke
James Bowman
David Breitman & Kathryn Stuart
David C. Brown
David L. Brown
Robert Burger
Darcy Lynn Campbell
Joseph Cantey
Anne Chalmers & Holly Gunner
Peter Charig & Amy Briemer
JoAnne Chernow
Sherryl & Gerard Cohen
Derek Cottier & Lauren Tilly
Warren R. Cutler
Eric & Margaret Darling
Leigh Deacon
Ellen Dokton & Stephen Schmidt
Charles & Sheila Donahue
Alan Durfee†
The Rev’d Richard Fabian
Charles Fisk
Elizabeth French
Jonathan Friedes & Qian Huang
Fred & Barbara Gable
Sandy Gadsby & Nancy Brown
The Graver Family
Laury Gutierrez & Elsa Gelin
Dr. Joanna Haas
Eric & Dee Hansen
Joan E. Hartman
Rebecca & Richard Hawkins
Diane Hellens
Katherine A. Hesse
David Hoglund
Amy & Seamus Hourihan
Wayne & Laurell Huber
Charles Bowditch Hunter
Patrick G. Jordan
David P. Kiaunis
Robert L. Kleinberg
Forrest Knowles
Jasper Lawson
David A. Leach & Laurie J. LaChapelle
William Leitch
Rob & Mary Joan Leith
Susan Lewinnek
William Loutrel & Thomas Fynan
Mary Maarbjerg
Quinn MacKenzie
Anne H. Matthews
June Matthews
Sally Mayer
Donna McCampbell
Ray Mitzel
Stephen Moody
Nancy Nuzzo
Eugene Papa
John Parisi
David & Beth Pendery
Joseph L. Pennacchio
Susan Pettee & Michael Wise
Stephen Poteet
Anne & François Poulet
Lawrence Pratt & Rosalind Forber
Michael Rogan & Hugh Wilburn
Rusty Russell, in honor of Kathy Fay
Susan Sargent
David Schneider & Klára Móricz
Charles & Mary Ann Schultz
Laila Awar Shouhayib
Jacob & Lisa Skowronek
Mark Slotkin
David Snead & Kate Prescott
Jeffrey Soucy
Ronald W. Stoia
Jonathan Swartz
Mark S. Thurber & Susan M. Galli
John & Dorothy Truman
Robert Viarengo
Robert & Therese Wagenknecht
Robert Warren
Thomas & LeRose Weikert
Scott & Barbara Winkler
Beverly Woodward & Paul Monsky
PARTNERS
($100 or more)
Anonymous (12)
Anonymous, in memory of Dorothy Ryan Fay
Anonymous, in memory of Thomas Roney
Vilde Aaslid
Anne Acker
Joseph Aieta III
Joanne Algarin
Druid Errant D.T. Allan-Gorey
Ken Allen
Neil R. Ayer, Jr. & Linda Ayer
Carl Baker & Susan Haynes
Eric & Rebecca Bank
Dr. David Barnert & Julie Raskin
Rev. & Mrs. Joseph Bassett
Alan Bates & Michele Mandrioli
Lawrence Bell
Alan Benenfeld
Helen Benham
Susan Benua
Judith Bergson
Larry & Sara Mae Berman
John Birks
Sarah Bixler & Christopher Tonkin
Moisha Blechman
Wes Bockley & Amy Markus
Deborah Boldin & Gabriel Rice
Sally & Charlie Boynton
Joel Bresler
Catherine & Hillel Shahan Bromberg
Lawrence Brown
Margaret H. Brown
John H. Burkhalter III
Judi Burten, in memory of Phoebe Larkey
William Carroll
Bonnie & Walter Carter
Floyd & Aleeta Christian
Robert B. Christian
Daniel Church & Roger Cuevas
John K. Clark & Judith M. Stoughton
Deborah J. Cohen
Carol & Alex Collier
Anne Conner
David Cooke
Robert B. Crane
Elizabeth & David Cregger
Martina Crocker
Katherine Crosier, in memory of Carl C. Crosier
Gray F. Crouse
Donna Cubit-Swoyer
Alicia Curtis & Kathy Pratt
Ruta Daugela
Carl & May Daw
William Depeter
Jim Diamond
Michael DiSabatino, in honor of Nancy Olson
Tamar & Jeremy Kaim Doniger
John Dunton & Carol McKeen
Peter A. Durfee & Peter G. Manson
Jane Edwards
Mark Elenko
David English
Chuck Epstein & Melia Bensussen
Jake Esher
Lila M. Farrar
Marilyn Farwell
Margot Fassler
Gregg, Abby & Max Feigelson
Ellen Feingold
Grace A. Feldman, in honor of Bernice Chen
Carol L. Fishman
Dr. Jonathan Florman
Howard C. Floyd
Marica & Jeff Freyman
Friends
Thomas Fynan
Michael Gannon
Gisela & Ronald Geiger
Stephen L. Gencarello
Monica & David Gerber
William Glenn
The Goldsmith Family
Lisa Goldstein
Lorraine & William Graves
Winifred Gray
Judith Green & James Kurtz
Mary Greer
Thomas H. & Lori B. Griswold
Deborah Grose
John Gruver & Lynn Tilley
Peter F. Gustafson
Sonia Guterman
Eric Haas, in memory of Janet Haas
Judy & Wayne Hall
Suzanne & Easley Hamner
David J. Harris, MD
Sam & Barbara Hayes
Marie C. Henderson, in memory of A. Brandt Henderson
Rebecca Henderson
Catherine & John Henn
Roderick J. Holland
Jackie Horne
Valerie Horst & Benjamin Peck
John Hsia
Constance Huff
Keith L. & Catherine B. Hughes
Joe Hunter & Esther Schlorholtz
Brian Hussey
Francesco Iachello
Susan L. Jackson
Chris & Klavs Jensen
Michele Jerison
Karen Johansen & Gardner Hendrie
Robert & Selina Johnson
Tim Johnson, in memory of Bill Gasperini
David K. Jordan
Marietta B. Joseph
David Keating
Kathleen Kelly
Mr. & Mrs. Seamus C. Kelly
Joseph J. Kesselman, Jr.
Holly Ketron
Leslie & Kimberly King
Maryanne King
Pat Kline
Valerie & Karl KnicKrehm
George Kocur
Leslie Kooyman
Valerie Krall
Barbara & Paul Krieger
Jay Carlton Kuhn, Jr.
Peter A. Lans
Claire Laporte
Bruce Larkin & Donna Jarlenski
Diana Larsen
Joanne & Carl Leaman
Alison Leslie
Drs. Sidney & Lynne Levitsky
Ellen R. Lewis
Robert & Janice Locke
Laura Loehr
Sandra & David Lyons
Desmarest Lloyd MacDonald, in memory of Ned Kellogg
Dr. Bruce C. MacIntyre
Louise Malcolm, in memory of W. David Malcolm, Jr.
Jeffrey & Barbara Mandula
Timothy Masters
Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D.
Mary McCallum
Anne McCants
Lee McClelland
Heidi & George McEvoy
Dave & Jeannette McLellan
Cynthia Merritt
Eiji Miki†
Marg Miller
Nicolas Minutillo
Gene Murrow
Rodney & Barbara Myrvaagnes
Arthur & Charlotte Ness
Nancy Nicholson
Jeffrey Nicolich
Lee Nunley
Leslie Nyman
Michael & Jan Orlansky
Patricia T. Owen
David & Claire Oxtoby
John R. Palys
Jane P. Papa
Ruth & Ted Parent
Susan Patrick, in memory of Don Partridge
Jonah Pearl
Elizabeth Pearson-Griffiths
John Petrowsky
Bici Pettit-Barron
Elizabeth V. Phillips
Susan Porter & Robert Kauffman
George Raff
Rodney J. Regier
Deborah M. Reisman
Melissa Rice
Marge Roberts
Dennis & Anne Rogers
Sherry & William Rogers
Stephanie L. Rosenbaum
Peter & Linda Rubenstein
Paul Rutz
Patricia & Roger Samuel
Mike Scanlon
Richard L. Schmeidler
Robert & Barbara Schneider
Lynn & Mary Schultz
Alison M. Scott
David Sears
Jean Seiler
David Seitz & Katie Manty
Mr. Terry Shea & Dr. Seigo Nakao
Aaron Sheehan & Adam Pearl
Michael Sherer
Kathy Sherrick
Susan Shimp
Rena & Michael Silevitch
Richard Snow
Jon Solins
Scott Sprinzen
Gail St. Onge
Esther & Daniel Steinhauer
Barbara Strizhak, in memory of Elliott Strizhak
Victoria Sujata
Robert G. Sullivan & Meriem Pages
Richard Tarrant
Lisa Terry Meghan K. Titzer
Janet Todaro
Edward P. Todd
Peter Townsend
Pierre Trepagnier & Louise Mundinger
Donald & Elizabeth Trumpler
Konstantin & Kirsten Tyurin
Barbara & John VanScoyoc
Richard & Virginia von Rueden
Cheryl S. Weinstein
The Westner Family
Juanita H. Wetherell
The Rev. Roger B. White, in memory of Joseph P. Hough
Susan & Thomas Wilkes
David L. Williamson
Phyllis S. Wilner
John Wolff & Helen Berger
Susan Wyatt
Jerome Yavarkovsky & Catherine Lowe
Paulette York & Richard Borts
David Yutzler
Ellen L. Ziskind
The Zucker Family
Lawrence Zukof & Pamela Carley
FRIENDS
($45 or more)
Anonymous (3)
Anonymous, in memory of Cheryl Parkhurst
Mr. Neale Ainsfield & Dr. Donna Sieckmann
Gene Arnould
Antonia L. Banducci
Lois Banta
Iris Bass
J. Robert Beatty
Leslie Becker & William Loomis
Elaine Beilin
Lawrence Berman
Martha Birnbaum
Katharine C. Black
Judith Mary Bloomgarden
Dr. Emile L. Boulpaep, in memory of Elisabeth Boulpaep
Louise Bourgault
Rhys Bowen & Rebecca Snow
Andrew Brethauer
Margaret Brewer
Edgar Bridwell
Carolyn Bryant-Sarles
John Caldwell
Shannon Canavin & Kevin Goodrich
Nancy L. Cantelmo
R. Cassels-Brown
Joan Christison-Lagay
Walter Collins
Virginia Hammond Conmy & Family, in memory of Thomas Kemper Roney
Jeanne Conner
Jane Connolly
Peter B. Cook
Marjorie & Andrew Cooke
Steve & Suzanne Cooper
Francine Crawford
Mary & Jeremy Curtis
William David Curtis
Robert Dennis
Deborah & Forrest Dillon
Sarah Dillon & Peter Kantor
Paul Doerr
David Doolittle
Diane L. Droste
Ben Dunham & Wendy Rolfe-Dunham
Michael Durgin, in honor of Dorothy, Lori & Kathy Fay
Anne Engelhart & Douglas Durant
Jane & Robert Evans
Noel, in honor of Amy Fagan
Martha Ferko
Helaine Fingold
Janet G. Fink
Frances Conover Fitch
Louise Forrest-Bowes
Edward W. Freedman
Robert Freeman
Cameron Freer
Joseph Gaken
R. Andrew Garthwaite
Hans Gesell
Joseph Grafwallner
Nancy L. Graham
Richard & Les Hadsell
Margaret Hanley
Judith & Patrick Hanlon
Laurence Hannan
Charles Haverty & Alexandra Glucksmann
Donatus Hayes
Marie C. Henson
Martin Herbordt
Carole Hilton
Kalon Ho
Patricia G. Hoffman
Margaret Hornick
Judith & Alan Hudson
Dian Kahn
Lynn Kearny
Kevin Kellogg
Suzanne Berger Keniston
David & Alice Kidder
Jim & Claudette Klimes, in memory of Tom Roney
Betty Landesman
Jane Lappin
Charles E. Larmore
Fred Lemmons
Liz Loveland
Ky Lowenhaupt & Daniel Sullivan
Elizabeth McNab
Gerald & Susan Metz
Andrew Modest & Beth Arndtsen
Rosalind Mohnsen
Kathleen Moore
Michael J. Moran, in memory of Francis D. & Marcella A. Moran
Stefanie Moritz
Martha Morton
Peter & Mary Muncie
Prof. Myrna Nachman
Jennie Needleman
John & Marianne Nelson
Paul Neuhauser
Ruth Nisse
Gene & Cheryl Pace
Dr. Lewis J. Patsavos
Ruth Peacock
Rebecca Pechefsky & Erik Ryding
Andrea Phan
Virginia Raguin
Marian Rambelle
Professor Julia Williams Robinson
Gregory Salzman
Peter Schulz
Kathryn Scott
Deborah Shulman
Susan & Joseph Silverman
John & Carolyn Skelton
Elliott Smith & Wendy Gilmore
Jennifer Farley Smith & Sam Rubin
William & Barbara Sommerfield
Katie Stewart, in memory of Thomas K. Roney
Rita Teusch
Michael Thompson
JoAnn Udovich
Sonia Wallenberg
John Wand
Kincade & Elizabeth Webb
Bob & Binney Wells
Sarah Whittaker
Joe Winn
Mary Beth Winn
Robin Zora
† 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
Combined Jewish Philanthropies
Community Foundation of Western Massachusetts
Connecticut Community Foundation
Constellation Charitable Foundation
The Fannie Cox Foundation
The Crawford Foundation
CRB Classical 99.5, a GBH station
Daffy Charitable Fund
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
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
Plimpton-Shattuck Fund at The Boston Foundation
The Mattina R. Proctor Foundation
REALOGY Corporation
Renaissance Charitable
The Saffeir Family Fund of the Maine Community Foundation
David Schneider & Klára Móricz Fund at Community Foundation of Western Massachusetts
Schwab Charitable
Scofield Auctions, Inc.
The Seattle Foundation
Shalon Fund
Kathy & Alexander Silbiger Fund of the Triangle Community Foundation
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
Archie D. & Bertha H. Walker Foundation
Marian M. Warden Fund of The Foundation for Enhancing Communities
The Windover Foundation
Women On The Move LLC
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.
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
Vertex Pharmaceuticals
Xerox Foundation
