Boston Early Music Festival | Bach Collegium Japan

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“The style of each composer may be more or less original; there is only one Bach, whose style is utterly original and utterly his own.”

—Johann Friedrich Reichardt on C. P. E. Bach in 1774

Published by The Packard Humanities Institute cpebach.org

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

Enjoy a weeklong Festival with dazzling OPERA, celebrated CONCERTS, the world-famous EXHIBITION, and so much more!

FESTIVAL CONCERTS FEATURING: The all-star BEMF Orchestra

Maxine Eilander, harp & Tekla Cunningham, violin

Les Délices | Vox Luminis | La Donna Musicale & Rumbarroco

The Newberry Consort | Orlando Consort | Sollazzo Ensemble

The Organ & Keyboard Mini-Festival | Doulce Mémoire

Hamburger Ratsmusik | Tiburtina Ensemble

Stile Antico | Ricercar Consort | ACRONYM

Amanda Forsythe, Lucile Richardot & Dorothee Mields

Erik Bosgraaf, recorder & Franceso Corti, harpsichord

TICKETS ARE NOW ON SALE!

Visit BEMF.org for the complete schedule.

Boson Early Music Fesival Boson Early Music Fesival

FRIDAY, MARCH 10, 2023

8PM | First Church in Cambridge, Congregational

QUICKSILVER

Robert Mealy & Julie Andrijeski, Directors

THE (VERY) FIRST VIENNESE SCHOOL

SATURDAY, MARCH 25, 2023

8PM | NEC’s Jordan Hall, Boston

CHIAROSCURO QUARTET

SHADES OF MINOR: BEETHOVEN, SCHUBERT, AND MENDELSSOHN

SATURDAY, APRIL 22, 2023

8PM | First Church in Cambridge, Congregational

ENSEMBLE CASTOR

MIREILLE LEBEL, mezzo-soprano

Rodolfo Richter, Leader

VIVALDI: FORCES OF NATURE—LOVE OF NATURE

FRIDAY, APRIL 28, 2023

8PM | St. Paul Church, Cambridge

STILE ANTICO

ENGLAND’S NIGHTINGALE: MUSIC OF WILLIAM BYRD

ENJOY

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Paul O’Dette & Stephen Stubbs, Artistic Directors

Dear Friends,

It is a great privilege to welcome back the magnificent Bach Collegium Japan and founding director Masaaki Suzuki in their first BEMF appearance since the 2005–2006 concert season. Founded in 1990 and now firmly established as among the world’s most illustrious period instrument ensembles, Bach Collegium Japan is returning to Boston as part of their eighth North American tour. They reunite with celebrated British baritone Roderick Williams to present a program of exquisite solo cantatas and instrumental works by Georg Philipp Telemann, Johann Gottlieb Janitsch, and Johann Sebastian Bach, including that composer’s transcendent cantata Ich habe genug.

We hope you will join us as our 2022–2023 Season continues a month from now with the return of Quicksilver, directed by Robert Mealy and Julie Andrijeski, in a program of Viennese Baroque masterworks titled “Early Moderns: The (Very) First Viennese School,” on Friday, March 10, at First Church in Cambridge. Two weekends later, we present the celebrated Chiaroscuro Quartet in their eagerly anticipated BEMF début on Saturday, March 25, in NEC’s Jordan Hall.

We are very pleased to share the enclosed early announcement of our 22nd biennial Boston Early Music Festival—A Celebration of Women—which takes place June 4 to 11, 2023. Please join us for what promises to be an inspiring week honoring the work of women musicians, librettists, poets, painters, and scholars from the present day and past centuries. Subscriptions and single tickets are now on sale, and a full brochure with in-depth descriptions of the week’s operas, concerts, and other events will follow in early March. Please visit  BEMF.org  for the latest updates and information.

Thank you for attending tonight’s performance by Bach Collegium Japan and Masaaki Suzuki, and please accept our best wishes for a music-filled 2023!

Kathleen Fay Executive Director

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

Conor Faherty Flynn, Box Office Associate & Advertising Coordinator

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

BOARD OF DIRECTORS

Bernice K. Chen, Chairman | David Halstead, President

Brit d’Arbeloff, Vice President | Lois A. Lampson, 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

Miles Morgan | Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram

BOARD OF OVERSEERS

Diane Britton | Gregory E. Bulger | Robert E. Kulp, Jr. | James S. Nicolson

Amanda Pond | Robert Strassler | Donald E. Vaughan

BOARD OF TRUSTEES

Marty Gottron & John Felton, Co-Chairs

Mary Briggs | Deborah Ferro Burke | Mary Deissler | James A. Glazier

Edward B. Kellogg | John Krzywicki | Douglas M. Robbe | Jacob Skowronek

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

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

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

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 †

Boson Early Music Fesival

2022–2023 NAMED GIFT SPONSORSHIPS

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2022–2023 Season:

David Halstead and Jay Santos

Sponsors of the October 2022 performance by Philippe Jaroussky, countertenor, and Ensemble Artaserse

Joan Margot Smith

Sponsor of the November 2022 performance by Vox Luminis and Lionel Meunier, Artistic Director

Two Local Fans

Sponsors of the February 2022 performance by Bach Collegium Japan with Masaaki Suzuki, director, and Roderick Williams OBE, baritone

Lorna E. Oleck

Sponsor of the March 2023 performance by Quicksilver

Partial Sponsor of BEMF’s Community Engagement Program and the June 2023 début of the BEMF Youth Ensemble

Peter L. and Joan S. Faber

Partial Sponsors of BEMF’s Community Engagement Program and the June 2023 début of the BEMF Youth Ensemble

David M. Kozak and Anne Pistell

Sponsors of the December 2022 performance by The Tallis Scholars and Peter Phillips, director in memory of their parents

Diane and John Paul Britton

Sponsors of Robert Mealy, violin and director, for his March 2023 performance with Quicksilver

Donald E. Vaughan and Lee S. Ridgway

Sponsors of Philippe Jaroussky, countertenor, for his October 2022 performance

Joanne Zervas Sattley

Partial Sponsor of the March 2023 performance by Chiaroscuro Quartet

Amanda and Melvyn Pond

Partial Sponsors of BEMF’s Community Engagement Program and the June 2023 début of the BEMF Youth Ensemble

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.

Boson Early Music Fesival PRESENTS

Bach Collegium Japan

Masaaki Suzuki, Director & harpsichord

with Roderick Williams OBE, baritone

Ich habe genug

Orchestral Suite No. 2 in B minor, BWV 1067 (1738–1739)

Johann Sebastian Bach

Ouverture — Rondeau — Sarabande — Bourrées I & II — (1685–1750)

Polonaise & Double — Menuet — Badinerie

Sonata da Camera in G minor, “O Haupt voll Blut und Wunden”

Johann Gottlieb Janitsch

Largo e mestoso — Allegretto — Adagio ma non troppo — Vivace (1708–1762)

Der am Ölberg zagende Jesus, TWV 1:364 (1741)

Georg Philipp Telemann

Arioso: Die stille Nacht umschloß den Kreiss der Erden (1681–1767)

Aria: Ich bin betrübt bis in den Tod

Recitativo: Er rung die heilgen Hände aus überhäuftem Schmerz

Aria: Mein Vater!

Recitativo: Allein, die Angst nahm jeden Nu mit Haufen zu

Aria: Kommet her, ihr Menschenkinder

Roderick Williams OBE, baritone

m BRIEF PAUSE (Kindly Remain Seated) n

New Paris Quartet No. 1 in D major, TWV 43:D3 (1738 or before) Telemann

Prélude: Vivement — Tendrement — Vite — Gaiment —

Modérément — Vite

Ich habe genug, BWV 82 (1727 with revisions) Bach

Aria: Ich habe genug

Recitativo: Ich habe genug

Aria: Schlummert ein, ihr matten Augen

Recitativo: Mein Gott! wann kömmt das schöne: Nun!

Aria: Ich freue mich auf meinen Tod

Roderick Williams OBE, baritone

The Boston Early Music Festival thanks TWO LOCAL FANS

for their leadership support of tonight’s performance

Double-manual French harpsichord by Allan Winkler, Medford, Massachusetts, 1991, after Donzelague, property of the Boston Early Music Festival.

LIVE CONCERT

Friday, February 10, 2023 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts

VIRTUAL CONCERT

Friday, February 24, 2023 – Saturday, March 11, 2023 BEMF.org

BACH COLLEGIUM JAPAN

Masaaki Suzuki, Director & harpsichord

Roderick Williams OBE, baritone

Ryo Terakado, violin

Mika Akiha, violin

Stephen Goist, viola

Emmanuel Balssa, violoncello

Robert Franenberg, violone

Masamitsu San’nomiya, oboe & oboe d’amore

Liliko Maeda, flauto traverso

Hisato Iwasaki, Stage Manager

Akiko Sugiyama, Orchestra and Tour Manager

Program subject to change.

Ball Square Films & Kathy Wittman, Video Production

Antonio Oliart Ros, Recording Engineer

Bach Collegium Japan is managed worldwide (excluding North America) by HarrisonParrott (harrisonparrott.com)

Bach Collegium Japan is managed in North America by International Arts Foundation

Masaaki Suzuki is managed worldwide by HarrisonParrott

Roderick Williams is managed worldwide by Groves Artists Limited (grovesartists.com)

Bach Collegium Japan records for BIS

Bach Collegium Japan tours in North America are arranged by International Arts Foundation; 16 West 36th Street, Suite 1205, New York, NY 10018 internationalartsfoundation.org

Boson Early Music Fesival

2022 CHAMBER OPERA SERIES NAMED GIFT SPONSORSHIPS

Boston Early Music Festival extends sincere thanks to the following individuals and organizations for their leadership support of the November 2022 BEMF Chamber Opera Series performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil:

Constellation Charitable Foundation

Sponsor of the Production

Joan Margot Smith

Sponsor of Melinda Sullivan, Choreographer

Sponsor of Phoebe Carrai, violoncello, and Laura Jeppesen, viola, BEMF Chamber Ensemble

Andrew Sigel

Sponsor of Mireille Lebel, mezzo-soprano, Jason McStoots, tenor, and John Taylor Ward, bass-baritone, BEMF Vocal Ensemble

David Halstead and Jay Santos

Sponsors of Teresa Wakim, soprano, and Aaron Sheehan, tenor, BEMF Vocal Ensemble

Lorna E. Oleck

Sponsor of Robert Mealy, Concertmaster

Sponsor of Danielle Reutter-Harrah, soprano, BEMF Vocal Ensemble

Bernice K. Chen

Sponsor of Gilbert Blin, Stage Director

Elizabeth Davidson

Sponsor of David Morris, viola da gamba

PROGRAM NOTES

BACH: Orchestral Suite No. 2 in B minor, BWV 1067

Johann Sebastian Bach (1685–1750) composed the Orchestral Suite No. 2 in B minor between 1738 and 1739 while residing in Leipzig, where he served as Cantor—or music director—at the choir school at St. Thomas Church. These years also coincided with Bach’s directorship of the city’s Collegium Musicum, a prominent music society for which Bach may have composed, or at least reworked, the suite. (“Reworked” because the suite is likely an arrangement of an earlier composition.) Bach referred to this and his three other orchestral suites as ouvertures, after their first movements: dramatic French overtures marked by regal, extravagant first halves and more sprightly, imitative second halves. The following six movements cover a vast musical terrain, from the noble and ponderous to the frivolous and virtuosic. The fifth movement is a polonaise, a stately Polish dance much in fashion in eighteenth-century Saxony. Its melody may derive from the Polish love song Wezmę ja kontusz (“Let me don my robe”), which circulated widely in central Europe during Bach’s lifetime. The final movement’s title, “Badinerie,” is French for “jest” and so homonymous with the more common term scherzo. But though the movement is certainly up-tempo and jocular, it is no joke for the flutist, whose part here (and to a degree elsewhere in the suite) is extravagantly virtuosic. It remains the Baroque flute showpiece par excellence.

JANITSCH: Sonata da Camera in G minor, “O Haupt voll Blut und Wunden”

Twenty-three years Bach’s junior, Johann Gottlieb Janitsch (1708–1762) composed in a style nearer to the empfindsamer stil (“sensitive style”), a midcentury idiom that rejected the

more cerebral and contrapuntal music of Bach’s generation and emphasized simplicity, naturalness, and emotional expression. He was born in Schweidnitz in the region of Silesia (located in modern-day Poland) but moved to Berlin as a young violinist to serve Frederick the Great, the King of Prussia and enlightened patron of artists and composers (including both Johann Sebastian and Carl Philipp Emanuel Bach). His surviving instrumental output is dominated by sonatas, including about forty for four instruments. These works further divide into two groups: sonatas da chiesa (church sonatas), which were thought suitable for church service, and sonatas da camera (chamber sonatas), which were more appropriate for secular performance. Janitsch’s Sonata da Camera in G minor is labeled a chamber sonata, but that does not mean it shuns the sacred. Indeed, the third movement’s melody is based on a seventeenthcentury German chorale, O Haupt voll Blut und Wunden (“O head covered in blood and wounds, full of pain and full of scorn…”), an association that lends the minor-mode sonata an almost painful intensity (though the third movement itself is quite serene). Scored for oboe, violin, viola, and continuo, Janitsch’s writing is expressive throughout, with piquant dissonances and unexpected contrasts accentuating the work’s unsettling effect.

TELEMANN: Der am Ölberg zagende Jesus, TWV 1:364

As both friends and colleagues, the musical lives of Georg Philipp Telemann (1681–1767) and Bach intertwined in many ways. While a student at Leipzig University, Telemann founded the Collegium Musicum there, the same institution Bach would later lead and that may have performed his Orchestral Suite No. 2 in B minor. Bach was selected for the position in Leipzig only after Telemann (the institution’s first choice) declined their offer. And Bach was among the first to purchase Telemann’s collection of Paris quartets, which includes this program’s next selection. They both also composed large numbers of cantatas— multi-movement works for voice(s) and instruments—for civic and sacred ceremonies.

JOHANN SEBASTIAN BACH

Der am Ölberg zagende Jesus dates from 1741 and, like Bach’s Ich habe genug, is composed for solo bass (perhaps first sung by Telemann himself, an active singer). The cantata’s text relates Jesus’ Agony on the Mount of Olives, when following the Last Supper Jesus prayed to God and reconciled himself to crucifixion. Telemann’s setting dramatically portrays these feelings of dread and anxiety, but it concludes with a major-mode chaconne calling upon the “stubborn sinners” of the world to contemplate that which Jesus has done for them.

tunes throughout its six movements. No one instrument dominates the musical texture, which instead resembles a witty conversation between a group of evenly matched friends.

BACH: Ich habe genug, BWV 82

TELEMANN: New Paris Quartet No. 1 in D major, TWV 43:D3

By the 1730s, Telemann’s fame had spread throughout the continent, driven in large part by published examples of his chamber music— his quartets especially. In 1730 he received an invitation to Paris from four French musicians: Michel Blavet, a virtuoso flutist; Jean-Pierre Guignon, nicknamed the “Roy des violonistes”; Jean-Baptiste Forqueray, France’s leading gambist (along with his father, Antoine); and a certain Prince Édouard, a cellist and harpsichordist. Later that year, and with the four French musicians in mind, Telemann composed and published in Hamburg the first set of the so-called Paris Quartets (an appellation given to the works only in the twentieth century), scored for flute, violin, viola da gamba or violoncello, and continuo. Telemann would finally make the trip to Paris in 1737, when the quartets were performed to great acclaim. The next year Telemann published a second set of “Paris” quartets for the same collection of instruments, from which the current example is drawn. Musically the Paris quartets are an inventive mix of French elegance and Italian derring-do. Telemann would later write that he prized the “easy cheerfulness” of French melodies, and the first quartet in D major abounds with graceful

As Cantor at the School of St. Thomas in Leipzig, Bach had many duties: to teach his young pupils music and Latin; to rehearse the choir and orchestra; and, as his work contract stipulates, to “promote the honor and reputation” of the city council. But his most pressing duty was to provide music for the city’s four churches, in particular cantatas for all Sunday services and feast days. Bach composed over three hundred such works for performance in Leipzig, a herculean accomplishment in light of their quality and Bach’s many other responsibilities. Ich habe genug, one of his most popular cantatas, was first performed February 2, 1727, for the feast of Purification of Mary. Also known as the Feast of the Presentation of the Lord, this day celebrates the infant Jesus’ redemption at the Temple of Jerusalem and Mary’s ritual purification forty days after giving birth. The cantata’s libretto—perhaps written by one of Bach’s pupils, Christoph Birkmann—draws upon the Song of Simeon from chapter two of the Gospel of Luke. Simeon, who held Christ after his presentation at the Temple, is said to have claimed that belief in Jesus banishes all fear of death, a sentiment expressed throughout the cantata’s five movements. Composed for solo bass, which likely represents the voice of the elderly Simeon, the cantata features three of Bach’s most celebrated arias. “Ich habe genug” (“I have enough”) beautifully expresses Simeon’s profound reverence for the child, and though the obbligato oboe lends the piece a mournful air, it is really a statement of deep happiness. “Schlummert ein, ihr matten Augen” (“Rest in sleep, you weary eyes”) likens sleep to the sweet release of death, while “Ich freue mich auf meinen Tod” (“I greet death with joy”) concludes the cantata, and tonight’s program, with an exuberant dance celebrating the end of earthly suffering and the passing from this life to the next. n

—Michael Bane

GEORG PHILIPP TELEMANN

ARTIST PROFILES

– based on Masato Suzuki’s completion on Joseph Eybler’s first and Süßmayr’s subsequent work, and builds on Suzuki’s continuing wish to explore the tradition and line of Christian music. In 2020 the group celebrated their 30th anniversary with their second Gramophone Award in the Choral category for St. Matthew Passion.

Bach Collegium Japan was founded in 1990 by Masaaki Suzuki, its inspirational Music Director, with the aim of introducing Japanese audiences to period instrument performances of great works from the baroque period. Comprised of both baroque orchestra and chorus with soloists, their activities include an annual concert series of Bach’s cantatas and a number of instrumental programs. Masato Suzuki, the son of Masaaki Suzuki, serves as Principal Conductor of this world-renowned group.

The ensemble has acquired a formidable international reputation through their acclaimed recordings of the major choral works of Johann Sebastian Bach for the BIS label. One of their most recognized accomplishments is the complete cycle of Church Cantatas, a huge undertaking consisting of recording over fifty CDs, that commenced in 1995 and finished in 2014; this major achievement was recognized with a 2014 ECHO Klassick ‘Editorial Achievement of the Year’ award. Other recognitions include the Bach Motets that was honored with a German Record Critics’ Award (Preis der Deutschen Schallplattenkritik), Diapason d’Or de l’Année 2010, and with a BBC Music Magazine Award in 2011. The ensemble furthered their expertise in the classical repertoire, releasing a recording of Mozart’s Requiem in November 2014, which they followed with the release of Mozart’s Great Mass in C Minor. The recording won the Choral category in the 2017 Gramophone Awards and BBC Music Magazine again recognized Masaaki Suzuki and Bach Collegium Japan as the “Recording of the Month”. The disc follows their first recording of Mozart released in 2015 – the Requiem

Bach Collegium Japan and Masaaki Suzuki have shared their interpretations across the international music scene with performances in venues as far afield as Amsterdam, Berlin, Vienna, Paris, Hong Kong, London, Dublin, Los Angeles, Melbourne, New York, and Seoul, and at major festivals such as the BBC Proms, the Edinburgh International Festival, the Hong Kong Arts Festival, New Zealand International Arts Festival, Ghent’s Festival of Flanders, Festival Cervantino in Mexico, Prague Spring Festival, Leipzig Bachfest, Thüringer Bachwochen, and Fribourg International Festival of Sacred Music. They have also collaborated with other globally recognized ensembles such as their invitation to the New York’s Lincoln Center where Masaaki Suzuki and the choir performed with the New York Philharmonic Orchestra to open its Bach Variations Festival in 2013.

The ensemble’s previous North American tour took place in the 2018–2019 season, including performances at Carnegie Hall, Montreal’s Bach Festival, Armstrong Auditorium and for early music presenters in Seattle and Vancouver. The full ensemble successfully concluded a much-anticipated European tour last fall that began in Wroclaw, continuing to Cologne, Vienna, Dusseldorf, Lausanne, Paris, Antwerp, Madrid, and ended in The Hague, presenting two different programs, Bach’s B Minor Mass and a selection of cantatas. It was a particularly important event that marked the revival of the ensemble’s international activities, as their last European tour was abruptly interrupted by the pandemic in March 2020.

This occasion celebrates the ensemble’s ninth North American tour. Members of the Bach

Collegium Japan orchestra, with Masaaki Suzuki leading from the harpsichord, reunite with baritone Roderick Williams OBE for their February 2023 tour that includes returns to Yale University’s School of Music, Library of Congress in Washington, D.C., the Boston Early Music Festival, Toronto’s Royal Conservatory, and Kansas City Friends of Chamber Music, and their debut with a performance at New York’s 92NY and two performances at the Ordway Theatre for the Schubert Club in Saint Paul. n

spiritual vigour”. In 2018, Bach Collegium Japan marked the culmination of their epic recording of the complete sacred and secular cantatas initiated in 1995 and comprising sixty-five volumes. The ensemble has recently recorded the Gramophone-awarded Bach St. John Passion and St. Matthew Passion.

Bach Collegium Japan was invited in a previous season to participate, as one of three ensembles, in the cantata cycle at Bachfest Leipzig, where they also gave a critically acclaimed performance of Mendelssohn’s Elias; their busy touring schedule also took them to the U.S. performing at venues including the Alice Tully Hall in New York and San Francisco’s Davies Symphony Hall. This autumn, they completed a European tour with concerts in Wroclaw, Cologne, Vienna, Dusseldorf, Lausanne, Paris, Antwerp, Madrid, and The Hague. The ensemble is also visiting the United States and Canada during the winter.

Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the U.S. and building up an outstanding reputation for the expressive refinement and truth of his performances.

In addition to working with renowned period ensembles, such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra, Suzuki is invited to conduct repertoire as diverse as Brahms, Britten, Fauré, Mahler, Mendelssohn, and Stravinsky, with orchestras such as the Bavarian Radio, Danish National Radio, Gothenburg Symphony, Orchestre Philharmonique de Radio France, and Yomiuri Nippon Symphony Orchestras. This season he visited the Montreal Bach Festival, the New York Philharmonic, the San Francisco Symphony, the Mozarteumorchester Salzburg, and the Lahti Symphony Orchestra.

Suzuki’s impressive discography on the BIS label, featuring all of Bach’s major choral works as well as the complete works for harpsichord, has brought him many critical plaudits; the Times has written: “it would take an iron bar not to be moved by his crispness, sobriety and

Suzuki combines his conducting career with his work as an organist and harpsichordist; he recently recorded Bach’s solo works for these instruments. Born in Kobe, he graduated from the Tokyo University of Fine Arts and Music with a degree in composition and organ performance and went on to study at the Sweelinck Conservatory in Amsterdam under Ton Koopman and Piet Kee. Founder and Professor Emeritus of the early music department at the Tokyo University of the Arts, he was on the choral conducting faculty at the Yale School of Music and Yale Institute of Sacred Music from 2009 until 2013, where he remains affiliated as the principal guest conductor of Yale Schola Cantorum.

In 2012 Suzuki was awarded with the Leipzig Bach Medal and in 2013 the Royal Academy of Music Bach Prize. In April 2001, he was decorated with “Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik” from Germany. n

Roderick Williams OBE is one of the most sought-after baritones of his generation and performs a wide repertoire from Baroque to contemporary music in the opera house, on the concert platform, and in recital.

He enjoys relationships with all the major UK opera houses and has sung world premieres of operas by, among others, David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton, and Alexander Knaifel.

He performs regularly with all the BBC orchestras, and many other ensembles including the Royal Scottish National Orchestra, the Philharmonia, London Sinfonietta, Royal Liverpool Philharmonic Orchestra, the Hallé, Britten Sinfonia, Bournemouth Symphony, and Scottish Chamber Orchestra. Abroad, Roderick has worked with the Berlin Philharmonic, New York Philharmonic, Deutsches SymphonieOrchester Berlin, Russian National Orchestra, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Accademia Nazionale di Santa Cecilia in Rome, and Bach Collegium Japan, among others. His many festival appearances include the BBC Proms (including the Last Night in 2014), Edinburgh, Cheltenham, Bath, Aldeburgh, and Melbourne Festivals.

Recent and future opera engagements include Oronte in Charpentier’s Médée, Don Alfonso in Così fan Tutte, Pollux in Castor et Pollux, Sharpless in Madama Butterfly, and baritone soloist in the new production of Britten’s War Requiem, all for English National Opera; Toby Kramer in Van der Aa’s Sunken Garden in the Netherlands, Lyon, and London; Van der Aa’s After Life at Melbourne State Theatre; Sharpless for the Nederlandse Reisopera; the title roles of Eugene Onegin for Garsington Opera and Billy Budd for Opera North; Van der Aa’s Upload for Netherlands Opera, Oper Koln, Park Avenue Armory in New York, and the Bregenz Festival; and Papageno in Die Zauberflöte as well as the title role in Il ritorno d’Ulisse in patria for the Royal Opera House. Recent and future concert engagements include

concerts with the New York Philharmonic, Rias Kammerchor, Singapore Symphony, Gabrieli Consort, Sao Paolo Symphony, London Philharmonic Orchestra, Philharmonia Baroque, City of Birmingham Symphony Orchestra, Cincinnati Symphony, Music of the Baroque Chicago, Berlin Philharmonic, the Hallé, London Symphony Orchestra, Royal Liverpool Philharmonic, BBC Proms, Bayerische Rundfunk, Melbourne Symphony Orchestra, Bergen Philharmonic Orchestra, and the Orchestra of the Age of Enlightenment.

He is also an accomplished recital artist who can be heard at venues and festivals including Wigmore Hall where he recently performed all three Schubert cycles in one season, Kings Place, LSO St Luke’s, the Perth Concert Hall, Oxford Lieder Festival, London Song Festival, Beethovenhaus, Snape Maltings, Edinburgh Festival, Liverpool Philharmonic Hall, Concertgebouw, and the Musikverein in Vienna. He appears regularly on BBC Radio 3 both as a performer and a presenter.

His numerous recordings include Vaughan Williams, Berkeley, and Britten operas for Chandos and an extensive repertoire of English song with pianist Iain Burnside for Naxos. Most recently he has recorded the three Schubert cycles for Chandos and an award-winning disc of French song with Roger Vignoles for Champs Hill.

Roderick Williams is also a composer and has had works premiered at the Wigmore and Barbican Halls, the Purcell Room, with the Rias Kammerchor, and live on national radio. As of the 2022–2023 season, he takes the position of Composer in Association of the BBC Singers.

He will be the Artist in Residence at the 2023 Aldeburgh Festival and is currently “singer-inresidence” for Music in the Round in Sheffield, presenting concerts and leading on dynamic and innovative learning and participation projects that introduce amateur singers, young and old, to performing classical song repertoire. He was Artist in Residence for the Royal Liverpool Philharmonic Orchestra between 2020 and 2022. He was awarded an OBE for services to music in June 2017. n

TEXTS AND TRANSLATIONS

Der am Ölberg zagende Jesus — Telemann

Arioso

Die stille Nacht umschloß den Kreis der Erden, Die Nacht, die sonst der Müden Labsal ist, Wenn sie die täglichen Beschwerden Durch angenehme Ruh versüsst. Jedoch, (o schreckenvolle Nacht, Die meinen Geist vor Angst verschmachten heisst.)

Denn Jesus, als das Abendmahl vollbracht, Nimmt seinen Weg zum Hof Gethsemane, Da überfällt ihn solch ein Weh, Voll Zittern, Angst und Zagen, Dass er vor Schmerzen kaum So viel kann sagen:

Aria

Ich bin betrübt bis in den Tod. Meine Seele will verzagen, Die Gebeine sind zuschlagen, Mich umringet Höllennot.

Recitativo

Er rung die heilgen Hände Aus überhäuftem Schmerz. Die Augen schlug er himmelwärts, Und dass der Vater ihm nur etwas Labsal sende, So hub er seine Stimm empor, Und bracht ihm dies Gebet Mit heissen Seufzern vor:

Aria

Mein Vater! wenn dirs wohlgefällt, So lass den Kelch jetzt von mir gehen. Mein Schmerz ist unerträglich gross, Drum reiss mich von demselben los. Jedoch, dir sei es heimgestellt. Dein Wille soll allein geschehen.

The Distressed Jesus on the Mount of Olives

Arioso

The silent night encompassed the earth’s horizon, The night, which otherwise is the relief of the weary When it, by dint of pleasant rest, Softens their everyday burdens. But… (oh terrorful night That bids my spirit faint for fear!)

For Jesus, when the Last Supper has been accomplished, Takes his path to the villa Gethsemane, Where such a woe falls upon him— Full of trepidation, fear, and distress— That, for sorrows, he is scarcely able To say this much:

Aria

I am grieved to the point of death. My soul will lose heart, Limb and bone are stricken, Hell’s direness besets me.

Recitativo

He wrung his saintly hands, Out of heaped-up sorrow. His eyes he cast heavenward; And so that [God] the Father might only send him some relief, He lifted up his voice, And offered him this prayer, With ardent sighs:

Aria

My Father!, if it well-pleases you, Then let the cup [of suffering] now pass from me. My sorrow is unbearably great; Therefore wrest me free from that. But let it be up to you. Your will alone shall be done.

Recitativo

Allein, die Angst nahm jeden Nu mit Haufen zu, Bis er zuletzt gar mit dem Todte rang, Und durch der Marter heisse Glut, Das klare Blut aus dem hochteuren Leibe drang.

Aria

Kommet her, ihr Menschenkinder, Kommet her, verstockte Sünder, Seht, was Jesus für euch tut. Ach! ich stelle mich mit ein, Und will gern der grösste sein.

Doch, da mich die Schulden reuen, Muss mich auch dein Schmerz befreien Von der heissen Höllenglut.

Ich habe genug — Bach

Aria

Ich habe genug, Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Arme genommen, Ich hab ihn erblickt,

Mein Glaube hat Jesum ans Herze gedrückt; Nun wünsch ich noch heute mit Freuden Von hinnen zu scheiden: Ich habe genug.

Recitativo

Ich habe genug.

Mein Trost ist nur allein, Dass Jesus mein und ich sein eigen möchte sein. Im Glauben halt ich ihn, Da seh ich auch mit Simeon

Die Freude jenes Lebens schon.

Lasst uns mit diesem Manne ziehn!

Ach! möchte mich von meines Leibes Ketten Der Herr erretten;

Ach! wäre doch mein Abschied hier, Mit Freuden sagt ich, Welt, zu dir: Ich habe genug.

Aria

Schlummert ein, ihr matten Augen, Fallet sanft und selig zu!

Recitativo

[Jesus being] alone, his fear grew in heaps every instant, Until in the end he even wrestled with [the figure of] Death, And by dint of torment’s hot embers, The unblemished blood thrust out of his highly precious body.

Aria

Come here, you children of humankind, Come here, hardened sinners; Behold what Jesus does for you. Ah! I place myself in with [them] And will gladly be [reckoned as] the greatest [sinner].

Yet, because I repent of my transgressions, Your sorrow must also exempt me

From the hot embers of hell.

—Translation by Michael Marissen

I have enough

Aria

I have enough,

I have taken the savior, the hope of the pious, Into my eager arms; I have beheld him;

My faith has pressed Jesus to my heart; Now I wish, with joy, this very day To depart from here: I have enough.

Recitativo

I have enough. My one and only consolation is That Jesus would be my own and I his. I hold him in faith; Thus, with Simeon, I, too, already see The joy of that life [in heaven].

Let us go with this man [Jesus, to die].

Ah, that from my body’s chains

The Lord would rescue me;

Ah, were indeed my leave-taking here, I would say with joy to you, world: I have enough.

Aria

Fall into [death’s] slumber, you languid eyes, Droop gently and blissfully shut.

Welt, ich bleibe nicht mehr hier, Hab ich doch kein Teil an dir, Das der Seele könnte taugen. Hier muss ich das Elend bauen, Aber dort, dort werd ich schauen Süssen Frieden, stille Ruh.

Recitativo

Mein Gott! wenn kömmt das schöne: Nun!, Da ich im Friede fahren werde Und in dem Sande kühler Erde Und dort bei dir im Schosse ruhn?

Der Abschied ist gemacht: Welt, gute Nacht!

Aria

Ich freue mich auf meinen Tod, Ach! hätt er sich schon eingefunden. Da entkomm ich aller Not, Die mich noch auf der Welt gebunden.

World, I will remain here no longer; I have indeed no share in you That could be fit for my soul. Here [on earth] I must build up misery, But there [in heaven], there I will look upon Sweet peace, quiet rest.

Recitativo

My God, when will the beautiful “Now” come, When I will go in peace, And rest [here] in the sand of the cold earth And there with you in the bosom [of Abraham—heaven]? I have taken my leave: World, good night.

Aria

I look forward to my death; Ah, had it already come about. Then I will escape all the distress That [had] bound me yet in the world.

—Translation by Michael Marissen and Daniel R. Melamed; annotated version available at bachcantatatexts.org/BWV82.htm

Make a Difference Boson Early Music Fesival

Boson Early Music Fesival

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 presentation of André Campra’s extraordinary  Le 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 LouiseGeneviève 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

InternatIonal Baroque opera • CeleBrated ConCerts • World-Famous exhIBItIon

AMANDA FORSYTHE IN BEMF’S 2013 PRODUCTION OF HANDEL’S ALMIRA

PHOTO: KATHY WITTMAN

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine 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, 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, and most recently joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil. 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, fourcountry 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

SCENE FROM BEMF’S 2022 PRODUCTION OF LULLY’S IDYLLE SUR LA PAIX

PHOTO: KATHY WITTMAN

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 sixcity 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, oncein-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 earlymusic 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

A STANDING OVATION FOR LA STORIA DI ORFEO IN NOVEMBER 2019

PHOTO: KATHY WITTMAN

BECOME A FRIEND OF THE

Boson Early Music Fesival

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:

• Friend $45

• Partner $100

• Associate $250

• Patron $500

• Guarantor $1,000

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THREE WAYS TO GIVE:

• Visit BEMF.org and click on “Give Now”.

• Call BEMF at 617-661-1812 to donate by telephone using your credit card

• Mail your credit card information or a check (payable to BEMF) to Boston Early Music Festival, 43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764

OTHER WAYS TO SHOW YOUR SUPPORT:

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QUESTIONS? Please e-mail Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Thank you for your support!

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Tom & Judy Anderson Allen, in honor of Kathy & Maria

William Ames

Cathy & William Anderson

Julie Andrijeski & J. Tracy Mortimore

Renee Ashley

Carl Baker

Peter Bals

Antonia L. Banducci

Lois Banta

Dr. David Barnert & Julie A. Raskin

Rev. Joseph & Nancy Bassett

Alan H. Bates & Michele Mandrioli

Trevor & Dax Bayard-Murray, in memory of Roger Lakins

Elaine Beilin

Lawrence Bell

Alan Benenfeld

Helen Benham

Susan Benua

Noel & Paula Berggren

Judith Bergson

Larry & Sara Mae Berman

Ann & Richard Bingham, in honor of Kathy Udall

Barbara R. Bishop

Thomas N. Bisson, in memory of Carroll Bisson

Wes Bockley & Amy Markus

Deborah Boldin & Gabriel Rice

Richard Borts

Sally & Charlie Boynton

Todd A. Breitbart

David Breitman & Kathryn Stuart

Joel Bresler

Andrew Brethauer

Laura Brewer & Neil Gershenfeld

Derick & Jennifer Brinkerhoff

Catherine & Hillel Shahan Bromberg

David C. Brown

Robert Brown

Susan Bryant

Andrew J. Buckler

Russell & Dee Burgett

Jean C. Burke

John H. Burkhalter III

Judi Burten, in honor of Phoebe Larkey

Kevin J. Bylsma

Pamela Carley & Lawrence Zukof

Richard & Lois Case

Peter Charig & Amy Briemer

Robert B. Christian

Daniel Church & Roger Cuevas

Edward Clark & Joan Pritchard

John Clark

Joel I. Cohen, in honor of Anne Azéma

Dr. Martin Cohen & Dr. Rae Jacobs Cohen

Saul B. & Naomi R. Cohen

Carol & Alex Collier

Mary C. Coward & John Empey

Robert B. Crane

Dan & Sidnie Crawford

Martina Crocker, in memory of William T. Crocker

Matthew & Ellen Cron

Gray F. Crouse

Christopher Curdo

James Cyphers

Ruta Daugela

Steven Davis

Mr. & Mrs. Patrick J. Day

Kate Delaney

Richard DesRosiers

Mr. & Mrs. Dennis Dewitt

Deborah & Forrest Dillon

Kathryn Disney

Priscilla Drucker

Laura Duffy

John W. Ehrlich

Karen M. El-Chaar, Esq.

Anne Engelhart & Douglas Durant

Jane Epstein

Paula Erikson

Jake Esher

Richard Fabian

Lila M. Farrar

Marilyn Farwell

Grace A. Feldman, in honor of Bernice Chen

Kevin Feltz

Annette Fern

Janet G. Fink

Carol L. Fishman

Dr. Jonathan Florman

Deborah Fox & Ron Epstein

Patrick Joseph Fox, in honor of Dr. Nancy Olson

Gary Freeman

Robert Freeman

Peter Frick

Friends

Ronald & Gisela Geiger

Stephen L. Gencarello

Monica & David Gerber

David & Susan Gerstein

Hans Gesell

Rebecca Gifford

Barbara Godard

Michael Goldberg

Diane Goldsmith

Jeffrey Goldsmith

Lisa Goldstein

Joseph Grafwallner

Kim T. Grant

Lorraine & William Graves

Winifred Gray

Thomas H. & Lori B. Griswold

John Gruver & Lynn Tilley

Peter F. Gustafson

Richard & Les Hadsell

Suzanne & Easley Hamner

Barbara & Markos Hankin

Elizabeth Harris

Barbara & Samuel L. Hayes III

Donatus Hayes

Elwood Headley

Karin Hemmingsen

Catherine & John Henn

Katherine A. Hesse

Peter & Peg Hewitt

Raymond Hirschkop

John & Olivann Hobbie

Sterling & Margaret Hopkins

Valerie Horst & Benjamin Peck

Beth F. Houston

David Howlett

Wayne & Laurell Huber

Judith & Alan Hudson

Joe Hunter & Esther Schlorholtz

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Deborah L. Jameson

Donna Jeker

Gayle Johnson

Robert & Mary Johnson

Robert & Selina Johnson

Robin Johnson

David K. Jordan

Marietta B. Joseph

June Kagdis

Lorraine Kaimal, in memory of Jagadish C. Kaimal

David Keating

Seamus & Marjorie Kelly

Roger & Mary Jane Kelsey

Joseph J. Kesselman, Jr.

David P. Kiaunis

John N. Kirk

Rebecca Klein

Pat Kline

Kathryn Kling

Sara M. Knight

George Kocur

Christine Kodis

Crystal Komm & Christopher Potter

Ellen Kranzer

Benjamin Krepp & Virginia Webb

Lisa Kugelman

Bob Kunzendorf & Liz Ritvo

Carol LaFontaine

Peter A. Lans

Tom Law

David A. Leach & Laurie J. LaChapelle

William Lebow

Alison Leslie

Ricardo & Marla Lewitus

Rebecca Lightcap

Laura Loehr

Sandra & David Lyons

Dr. Arnold Matlin & Dr. Margaret Matlin, Ph.D.

Lee McClelland

George McKee

Mr. Daniel P. Melish, in memory of William Paul Melish

Gerald & Susan Metz

Amy Meyer

Margo Miller

Nathaniel & Judith Mishkin

Richard Molitor

Jennifer Moxley & Steve Evans

Rodney & Barbara Myrvaagnes

Myrna Nachman

Debra Nagy, in honor of Robert Mealy

Paul & Rebecca Nemser

Nancy Nicholson

Jeffrey Nicolich

Caroline Niemira

Lyle & Patricia Nordstrom

Nancy Nuzzo

Karen Oakley & John Merrick

Nancy Olson & Charles Di Sabatino

Patricia Owen

David & Claire Oxtoby

Cosmo & Jane Papa

Faith Parker

Susan Patrick, in memory of Don Partridge

Pauline & Mark Peters

Phillip Petree

John Petrowsky

Bici Pettit-Barron

Susan Porter

Charles & Elizabeth Possidente

David Posson

Stephen Poteet & Anne Kao

Christa Rakich & Janis Milroy

Marian Rambelle

Sandra Ray

Sheila Reese

Norm Rehn

Susan Reutter-Harrah

Julia & Stephen Roberts

Liz & David Robertson

Julia W. Robinson

Randy Robinson

Sue Robinson

Sue Robinson

Dennis & Anne Rogers

Philip W. Rosenkranz

Lois Rosow

Peter & Linda Rubenstein, in memory Malcolm Cole

Cheryl K. Ryder

Gregory Salzman

R.F. Scholz & M.B. Kempers

Lynn & Mary Schultz

Joyce Schwartz

Melbert Schwartz

Jean Seiler

Miriam N. Seltzer

Terry Shea & Seigo Nakao

Aaron Sheehan & Adam Pearl

Chuck Sheehan

Michael Sherer

Alexander & Kathy Silbiger

Elizabeth Wade Smith

Jennifer Farley Smith & Samuel Rubin

David Snead & Kate Prescott

Richard Snow

Jon Solins

Joseph Spector & Dale Mayer

Scott Sprinzen

Kathryn Steely

John Strasswimmer

Elliott & Barbara Strizhak

Imogene A. Stulken & Bruce Brolsma

Richard Stultz

Richard Stumpf

Elizabeth C. Sulak

Nancy Rutledge Swan

Jonathan Swartz

Lois Swirnoff

Elizabeth Sylvester

Jeffrey & Boryana Tacconi, in memory of Nikolay Tonev

Pierre Trepagnier & Louise Mundinger

Lynette Tsiang

John & Anne Turtle

Dr. Tyler J. Vanderweele

Barbara & John VanScoyoc

Judy von Loewe

Richard & Virginia von Rueden

Lee Vorderer & Robert Bass

Robert & Therese Wagenknecht

John Wand

Hilary & John Ward

Robert Warren

Prof. Eldon L. Wegner

Cheryl S. Weinstein

Esther Weinstein

Mary E. Wheat

Barbara K. Wheaton

The Rev. Roger B. White, in memory of Joseph P. Hough

Susan & Charles Wilkes

Robert Williams, in honor of Annette Fern

David L. Williamson

Phyllis S. Wilner

Scott Winkler & Barbara Slover

Charlotte Winslow

Mr. & Mrs. Dwayne Wrightsman

FRIENDS ($45 or more)

Anonymous (9)

Anonymous, in memory of Dorothy Ryan Fay

Lynn Abell

Mr. Neale Ainsfield & Dr. Donna Sieckmann

Barbara Allen

Kimberly Anderson

Nancy Angney

Morgana Asselin

Iris Bass

George Beach

Elliot Beraha

Nadine Berenguier & Bernd Widdig

John C. Berg & Martha E. Richmond

Elaine Bianco

Keith Binka

Meredith Birdsall

Fred Blair

Matthew Bliziotes

Dr. Emile L. Boulpaep, in memory of Elisabeth Boulpaep

Dr. Edmund A. Bowles

Katherine Bracher, in memory of Margriet Tindemans

Jill Brand

Peter Brase

Stuart & Nina Brown

Sally & Harold Burman

Pauline Ho Bynum

John Caldwell

Pamela Cameron

Nancy L. Cantelmo

Marie M. Carter

R. Cassels-Brown

Maria A. Cervone

Cynthia Cetlin

Antonia H. Chayes

Jeanne Conner

Marjorie & Andrew Cooke

Steve & Suzanne Cooper

Frank Cunningham & Anne Black

William David Curtis

Ms. Ann Daiber

Dan Danielsen

William Depeter

Jim Diamond

Paul Doerr

Peter A. Douglas

Duane R. Downey

Ben Dunham & Wendy Rolfe-Dunham

John Dunton & Carol McKeen

Jane Edwards

Susan Elgie

Jan Elliott

Janet Fagan

Noel & Amy Fagan

Ellen Feingold

M. Russel Feldman

Suzanne Ferguson

Robert & Janeth Filgate

Paul Finnegan

Carlos Fittante

Virginia Fitzgerald

Tamzen Flanders

Christopher Fox

Denise Fox-Barber

Donald Franklin

Elizabeth Fraser

Marica & Jeff Freyman

Carole Friedman

Edward Ginsberg & Alice Adler

Dr. Paul Goldberg

Robert & Day Gotschall

Deborah Grose

Gregory Hagan & Leslie Brayton

Jimmy Hamamoto

John & Nancy Hammond

Patrick & Judith Hanlon

Laurence Hannan

Joseph & Elizabeth Hare

Charles Haverty & Alexandra Glucksmann

Rebecca Hecht

Joseph Heise

Paula Henderson

Carole Hilton

Diane Hobbs

Patricia G. Hoffman

David Hoglund

Kay Holloway

Ellsworth Hood, in memory of Margaret Hood

Margaret Hornick

Connie Huff

DeeAnne Hunstein

Robert Hunt & Irene Winter

Rt. Rev. & Mrs. Ihloff

Harold & Elaine Isaacson

Checker Ives

Michele Jerison

Carol Kalinoski

Rosemary S. Kean

Joanne Keesey

Martha Keith

Kathleen Kelly

Sharon Kennedy

Leslie & Kimberly King

Maryanne King

Gerhart & Brigitte Klein

Nancy Koch

Beatrice Kovasznay

Betty Landesman

Charles E. Larmore

Susan Larsen & James Haber

Alan LaRue, Pam Wolfson & Therese LaRue

Stephen J. Leahy

Donna Letteriello

Jo-Lin Liang

Diane Luchese

Edward & Carol Lundergan

Daniel Lynch & Elaine Dow

Ted MacDonald & Yuan Wang

Peter Marton

Jameson & Maria Marvin

Heidi & George McEvoy

Barbara McGuire

Jeffrey Meese

Heidi Meyer

Dennis Lee Milford

Mary Lou Miller

Robert Milne

Dr. E. F. Milone

Susan Miron & Burton D. Fine

Kathleen Moore

Randall E. & Karen Moore

Dr. John D. Moores

Michael J. Moran

Timothy Moran

Stefanie Moritz

Holly & Jimmy Morris

Martha Morton

Herbert Motley

Peter & Mary Muncie

Elizabeth Murray

Roger E. Nelson

Howard Nenner & Pamela White

Barbara Noble

Charlotte Nolan

Laurie Nussdorfer

Ms. Florence Nye-Clement

Patricia O’Brien

Clifford & Frances Olsen

Michael Orlansky

John & Sandra Owens

Gene & Cheryl Pace

Dr. Lewis J. Patsavos

Carol Patterson

Karen Payton

Jonah Pearl

Andrea Phan

Giacomo Ponzetto

Larry Pratt & Rosalind Forber

Virginia Raguin

Marjorie Randell-Silver

Dave Regan

John Regier

Nancy Roberts

Michael Rogan & Hugh Wilburn

Paul Rosenberg & Harriet Moss

Barbara Roth

Brian Sands, in honor of James Glazier

Susan Sargent & Tom Peters

David Schneider & Klára Móricz

Raymond Schneider

Elin Schran

Michael Schreiner

Judith Arlene Schwantes

Kathryn Scott

Annette Seidenglanz

David Seitz & Katie Manty

Maria T. Sensale

Craig D. Shaw

Michael & Rena Silevitch

Susan & Joseph Silverman

John & Carolyn Skelton

Karen P. Smith

Ruth L. Smith

William & Barbara Sommerfield

Douglas H. Steely & Palma A. Bickford

David Stein

Esther & Daniel Steinhauer

Joseph Steinkrauss

Mary Stevens

William Stewart

Martin Sullivan

Robert G. Sullivan & Meriem Pages

Paul Sweeny & Barbara Kaufman

Rick Tagliaferri

Roy W. & Ute Tellini

Rita Teusch

Meghan K. Titzer

Troy Tomilonus

J.S. Tulchin, in memory of Kate Heery Tulchin

Neil Umbreit

Nathaniel Wallace

Sonia Wallenberg

Phil & Mary Warbasse

Tracy & Rich Weeks, in honor of Kathy Udall

Fred Weihs

The Westner Family

Karen Wilkin

Renate M. Winter

Jan Wojcik

Daniel Wright

G. Mead Wyman

John & Emily Zimmatore

† 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 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

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

Scofield Auctions, Inc.

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

Archie D. & Bertha H. Walker Foundation

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

Boson Early Music Fesival

AMHERST EARLY MUSIC 2023

Workshops n Festival

Winter Weekend Workshop

January 2023, Hybrid or Online

Spring Break Workshop

April 22-23, 2023, Arlington, VA

Memorial Day Weekend Workshop

May 26-29, 2023, Litchfield, CT

AMHERST EARLY MUSIC FESTIVAL

July 2-9 and 9-16, 2023

Two weeks of classes on the campus of Muhlenberg College in Allentown, PA

Baroque Opera, Choral Workshop, Ensemble

Singing Intensive, and more!

AEM ONLINE New classes each month!

Publications AEM publishes four player-friendly, modern editions:

Ottaviano Pettruci's Odhecaton, Canti B, Music for the Duke of Lerma, and Music from the Regensburg Partbooks 1579

See website for the latest details on all of AEM's programs!

We hope you'll join us!

Detail from Guillaume Machaut's Remede de Fortune

Paul O’Dette & Stephen Stubbs, Artistic Directors

“This

That Feeling You Get

Boson Early Music Fesival

HENRY DESMAREST’S

After the divine sorceress Circé welcomes Ulisse and his weary companions to her island home, the forces of love, magic, and fate clash and threaten to ensnare them all.

CENTERPIECE OPERA

n JUNE 4, 7, 9 & 11, 2023 | Boston, MA

CHAMBER OPERA

n JUNE 10, 2023 | Boston, MA

n JUNE 23 & 24, 2023 | The Berkshires, MA

OPERA • CONCERTS • EXHIBITION

A weeklong celebration of Early Music with Opera, Concerts, the world-famous Exhibition, and so much more.