Folger consort wonder of will program by Peter Eramo

FOLGER CONSORT 2015/16 SEASON OF EARLY MUSIC

THE WONDER OF WILL

Early and New Music Celebrating Shakespeare

JANUARY 22-23 At Washington National Cathedral

FOLGER SHAKESPEARE LIBRARY Michael Witmore, Director

SENIOR DIRECTORS Daniel De Simone, Eric Weinmann Librarian Melody Fetske, Director of Finance and Administration Janet Alexander Griffin, Director of Public Programs Eric M. Johnson, Director of Digital Access Kathleen Lynch, Executive Director, Folger Institute Essence Newhoff, Director of Development Peggy Oâ&#x20AC;&#x2122;Brien, Director of Education DIVISION OF PUBLIC PROGRAMS Janet Alexander Griffin, Director of Public Programs/Artistic Producer Beth Emelson, Assistant Artistic Producer Emily Tartanella, Public Programs Assistant Maegan Clearwood, Public Programs Assistant Charles Flye, Production Manager Rebekah Sheffer, Assistant Technical Director Brandon Roe, Sound Engineer FOLGER CONSORT Jennifer Bowman, Manager PUBLIC RELATIONS/MARKETING Garland Scott, Head of External Affairs Peter Eramo, Events Publicity and Marketing Manager Esther French, Communications Associate Jane Pisano, Publications Consultant SPECIAL TO FOLGER CONSORT Robert Aubry Davis, Host, Pre-Concert Discussions Krohn Design, Graphic Design Benjamin Honeycutt, Stage Manager Mark Huffman, Sound Engineer

BOARD OF GOVERNORS Louis R. Cohen, Chair Philip Deutch, Vice-Chair Simon Russell Beale The Lord Browne of Madingley Peter Edwards Susan Sachs Goldman Wyatt R. Haskell Deneen C. Howell Maxine Isaacs Edward R. Leahy May Liang Carol L. Ludwig Ken Ludwig Roger Millay Louisa Newlin Andrew J. Nussbaum Andrew Oliver Gail Kern Paster Stuart Rose Loren Rothschild James Shapiro Lady Westmacott Laura J. Yerkovich Ex Officio Michael Witmore

Welcome to members of the Amherst College Board of Trustees.

DOCENTS AND VOLUNTEERS are vitally important to our success. Heartfelt thanks to these generous donors of time and talent.

These concerts are presented in conjunction with the exhibition

Shakespeare, Life of an Icon, on display at the Folger Shakespeare Library January 20 through March 27.

THESE PERFORMANCES ARE GENEROUSLY SPONSORED BY D. JAMES AND EMILY LIND BAKER

FOLGER CONSORT

THE WONDER OF WILL Robert Eisenstein Christopher Kendall Artistic Directors

Early and New Music Celebrating Shakespeare with Arcadia Viols and Stile Antico O Lord, make thy servant Lachrimae Antique Say, Love if ever thou didst find

William Byrd John Dowland Dowland

Lachrimae Antique Novae Why do I use my paper, ink and pen

Dowland Byrd

Lachrimae Gementes Exsurge

Dowland Byrd

Lachrimae Tristes The Phoenix and the Turtle

Dowland Huw Watkins (2014) INTERMISSION

Lachrimae Fantasy Be Strong and of a Good Courage

Will Ayton (2015) Thomas Tomkins

Lachrimae Coactae Full Fathom Five The Tempest, Act 1

Dowland Robert Johnson

Lachrimae Amantis Gentle Sleep Henry IV Part II, Act 3 Lachrimae Verae Draw On, Sweet Night

Dowland Nico Muhly (2015) Dowland John Wilbye

Please hold applause until the end of sets, and turn off cellular phones and electronic devices. Please refrain from the use of photography or any type of recording device during these performances. 3

FOLGER CONSORT

Engaging Washington-area audiences since 1977, Folger Consort is the early music ensemble-in-residence at the Folger Shakespeare Library. Founding Artistic Directors Robert Eisenstein and Christopher Kendall create programs that offer opportunities to discover and enjoy music from the medieval, Renaissance, and Baroque periods. Whether presenting concerts in the ensemble’s intimate home, the Folger’s Elizabethan-styled theater, or in the splendid reaches of Washington National Cathedral, the Folger Consort continues its tradition of bringing internationally noted guest artists to Washington, DC to join in its “early music chamber society.” Beyond its concert series, Folger Consort strives to deepen audiences’ understanding and appreciation of early music through seminars, discussions, recordings, radio programs, and unique collaborations with other programs of the Folger Shakespeare Library. Folger Consort has received five awards for Best Classical Chamber Ensemble by the Washington Area Music Awards. For more information, visit folger.edu/consort. Robert Eisenstein—bass viol—is a founding member and program director of the Folger Consort. In addition to his work with the Consort, he is the director of the Five College Early Music Program in Massachusetts, where he teaches music history, performs regularly on viola da gamba, violin, and medieval fiddle, and coordinates and directs student performances of medieval, Renaissance, and Baroque music. He is an active participant in Five College Medieval Studies and served as Music Director for the Five College Opera Project production of Francesca Caccini’s La Liberazione di Ruggiero. He has a particular interest in the use of computer technology in the service of music and enjoys teaching at Mount Holyoke College a course called Fun with Music and Technology. Mr. Eisenstein is the recipient of Early Music America's Thomas Binkley Award for outstanding achievement in performance and scholarship by the director of a college early music ensemble. Christopher Kendall—lute—is founder of the Folger Consort. He served from 2005-2015 as dean of the University of Michigan School of Music, Theatre & Dance, where he was responsible for establishing the University of Michigan Gershwin Initiative, for re-instituting international touring, for the funding and design of a $30M expansion/renovation of the music building, and for launching the interdisciplinary enterprise ArtsEngine and its national initiative a2ru (Alliance for the Arts at Research Universities). In Washington, DC, in addition to his work with Folger Consort, since 1975 he has been Artistic Director and conductor of the 21st Century Consort, new music ensemble-in-residence at the Smithsonian Institution. Mr. Kendall 4

served as Director of the University of Maryland School of Music from 1996 to 2005, and was Director of the Music Division and Tanglewood Institute of the Boston University School for the Arts from 1993 to 1996. Associate Conductor of the Seattle Symphony from 1987 to 1992, Mr. Kendall has guest conducted many orchestras and ensembles in repertoire from the 18th to the 21st centuries. His recordings can be heard on the Arabesque, ASV, Bard, Bridge, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

GUEST ARTISTS Arcadia Viols—viol consort—has been associated with Arcadia Players of Western Massachusetts since its founding in 2009. The ensemble has performed around New England, mostly in private venues. In 2011, the consort performed at the Boston Early Music Festival Fringe Festival. Its members are active performers in other ensembles as well, performing medieval, Renaissance, and Baroque music with groups such as the Folger Consort, Carthage Consort, Washington Bach Consort, and many others. In addition to being active freelancers, Arcadia Viols members are teachers and are variously on the faculties of the Five Colleges of Western Massachusetts, Tufts University, and the Longy School of Music. Robert Eisenstein, bass viol Jane Hershey, treble viol Douglas Kelly, bass viol

Anne Legêne, tenor viol Alice Robbins, alto viol

Stile Antico—vocal ensemble—burst onto the musical scene in July 2005 with competition success at the York Early Music Festival, and in a single decade has established itself as one of the world’s most accomplished and innovative vocal ensembles. The group marks its tenth anniversary with celebratory projects and performances throughout the 2015-16 season. Highlights include a birthday concert at the Wigmore Hall, where the group premiered a new work by Nico Muhly, landmark European appearances at the BBC Proms and the Antwerp, Bruges, and Utrecht Early Music Festivals, a collaboration with the Folger Consort in Washington, DC and New York, and a bursary for young singers in association with the Stile Antico Foundation and the University of York. Harmonia Mundi honors this milestone with the launch of a tenth anniversary compilation album, Sing with the Voice of Melody, the reissue of the group’s debut, Music for Compline, and the release of its tenth disc, A Wondrous Mystery. Its twelve members, who work without a conductor, have thrilled audiences throughout Europe and North America with their fresh, vibrant, and moving performances of Renaissance polyphony. Its bestselling recordings on the Harmonia Mundi label have earned accolades including the Gramophone Award for Early Music, the Diapason d’or de l’année, the Edison Klassiek Award, and the Preis der deutschen Schallplattenkritik, and have twice received Grammy® nominations. Stile Antico has performed at 5

many of the world’s most prestigious venues including Amsterdam Concertgebouw, Cité de la Musique, Palais des Beaux Arts, and Luxembourg Philharmonie. The group is regularly engaged by Europe’s leading festivals, frequently tours to the US and Canada, and has appeared in Mexico and Lebanon. The group has premiered works by John McCabe and Huw Watkins, and collaborated with performers as diverse as Fretwork, B’Rock, Marino Formenti, and Sting. Soprano Molly Alexander Kate Ashby Rebecca Hickey

Tenor Andrew Griffiths Matthew Howard Thomas Kelly

Alto Emma Ashby Eleanor Harries Katie Schofield

Bass James Arthur Will Dawes Tom Flint

NOTES

The immediate impulse for this collaboration among Folger Consort, Stile Antico, and Arcadia Viols was the beginning of the commemoration of the 400th anniversary of Shakespeare’s death in 1616. The Folger Consort’s commemoration is a year-long one, with upcoming concerts featuring “groundling music,” Purcell’s The Fairy Queen, and the music of Twelfth Night. But for this program, we primarily honor Shakespeare with music by his two most illustrious musical contemporaries, William Byrd and John Dowland. These early works are complemented by settings of Shakespeare’s words from leading contemporary composers Nico Muhly and Huw Watkins commissioned especially for Stile Antico, and there are a few other works related to Shakespeare, Dowland, and Shakespeare’s two royal patrons. We begin with William Byrd’s anthem for Queen Elizabeth I. Byrd (15431623) was unquestionably the greatest English musician of his time. His versatility as a composer and the sheer excellence of his pieces place him far above most of his contemporaries. It was said by one of his peers that Byrd “was bred up to music under Tallis.” Byrd and Tallis shared the position of organist to the Chapel Royal (Byrd joining the elder musician in 1570-2). They also shared until Tallis’ death a monopoly on music printing in England. Byrd, a Catholic throughout his life, was the last great figure in a long line of English composers of Latin church music. His Catholic liturgical music is a wonderful synthesis of the English tradition and the contrapuntal styles of the Netherlands and Italy. Byrd also composed music for the Anglican service and devotional songs in English. The other pieces by Byrd included here are among his most Catholic—a polemic on the martyrdom of the Jesuit Edmund Campion, hanged at Tyburn in 1581, and an anguished motet which speaks directly to the persecution and tribulations experienced by Catholics in Anglican England. We continue with the first of seven pavans by Shakespeare’s contemporary John Dowland (1563-1626). We know quite a bit about Dowland’s life because, as his biographer Diana Poulton says, he was “far from reticent about his own affairs.” In the preface to The First Booke of Songes, Dowland 6

writes about “the ingenuous profession of Musicke, which from my childhood I have ever aymed at, sundry times leaving my native country, the better to attain so excellent a science.” In 1580 the young Dowland went to Paris as a servant to the English Ambassador to France. It was there that he converted to Catholicism. By 1588 Dowland was back in England and earned a Bachelor of Music from Christ Church, Oxford. He applied for a post as one of the Queen’s lutenists in 1594 but was turned down. In a mood of bitterness he went abroad, wishing to meet the Italian Janssen Portrait of Shakespeare, madrigalist Luca Marenzio, whose work he early 1610s, Folger Shakespeare admired. He continued his travels in Italy, Library collection winding up in Florence where he became entangled with a group of English Catholics plotting the overthrow of Queen Elizabeth. Presumably he came to his senses or became frightened; in 1595 he wrote a long letter to England disclosing all he knew of the plot. Having heard from his friend and patron Henry Noel that the Queen had asked for him, Dowland returned to England in 1596 or 1597. Although still unable to secure a position as court lutenist, Dowland continued to write and publish successfully. The First Booke of Ayres was reprinted four or five times. Yet in the preface to the magnificent collection A Pilgrim’s Solace, he complained of neglect and criticism from “younger professors of the Lute.” There has been much said about Dowland’s gloomy temperament. It is true that Elizabethans in general were capable of cultivating a fashionably melancholic demeanor, but in Dowland’s case it does not seem calculated. He seems to have been a man of contradictory and powerful emotions so tremendously affected by his early failure to achieve a court appointment that he was not able to enjoy his great successes. It is probably fitting that the air Flow my teares, on which the Lachrimae pavans are based, was his most popular piece in his own time. The seven pavans we perform here are from Dowland’s 1605 masterful collection for lute and five viols or violins titled Lachrimae or Seaven Teares figured in Seaven Passionate Pavans, with divers other Pavans, Galliards, and Allemands. We conclude the first half of the program with Huw Watkins’ setting of Shakespeare’s enigmatic poem The Phoenix and the Turtle, which has been read, among other interpretations, as a Catholic allegory. If so, the “bird of loudest lay” in the first line of the poem is probably Byrd. Following intermission we perform Will Ayton’s fantasia on Dowland’s famous song in various transformations. Arcadia Viols has previously performed Ayton’s Flow my tears, a fantasy on the famous lute air by Dowland, the first of the seven Lachrimae performed here. That piece was scored for four viols. When we planned this program, we asked the composer if he might consider doing a version in the same scoring as the Dowland, for five viols and lute. He agreed, but when the new version arrived we found to our delight that it is really an almost completely new composition. Mr. Ayton had this comment to offer: Written for Arcadia Viols, this Lachrimae Fantasy for viols and lute is, as it were, a musical reflection on Dowland’s famous Lachrimae 7

theme. Gestures and phrases are used as references and are paraphrased along with less direct musical extemporizing. We continue with an anthem by Thomas Tomkins written for the coronation of James I, the patron of Shakespeare’s company The King’s Men. Tomkins, born in 1572, was the son of a chorister at St David’s Cathedral in Pembrokeshire. He studied with Byrd, and we know from his annotations in his copy of Thomas Morley’s A Plaine and Easy Introduction to Practicall Musicke that he studied carefully. Morley, who was Shakespeare’s London neighbor, included a madrigal by Tomkins in his famous collection The Triumphs of Oriana in 1611. By 1620 Tomkins was a member of the Chapel Royal, where his colleagues included Orlando Gibbons. He finished his career at Worchester Cathedral and died there in 1656. There are very few settings of Shakespeare by his contemporaries, but we include one of them here: Robert Johnson’s version of Ariel’s song Full Fathom Five from The Tempest. Johnson’s patron, Sir George Carey, was also a patron of The King’s Men, and Johnson composed many songs for court masques as well as plays at the Globe and Blackfriars theaters. It seems likely that this version of the song is the one used in the original production of The Tempest. Nico Muhly’s Gentle Sleep had its world premiere at London’s Wigmore Hall in November. The composer writes: Setting Shakespeare is, for me, near impossible; the language is already so rhythmically precise and suggestive that it feels almost like an act of vandalism to try to imitate that with singing. When Stile Antico asked me to set this text from Henry IV, I immediately decided to fragment the text so that specific lines emerge from a soporific texture of repeated phrases. A trio of women will pop out, declare a line, and then trade off with a solo tenor, repeating a single syllable. Halfway through the piece, the texture thins, and the voices intone in unison the line “under the canopies of costly state,” over which long solo lines unfold. We end with John Wilbye’s wonderful madrigal Draw On, Sweet Night from his Second Set of Madrigals, printed in 1609. This intensely expressive and skillfully crafted work seems to us to complement the verses in Muhly’s piece. —Robert Eisenstein

In 2016, the Folger Shakespeare Library is marking the 400th anniversary of Shakespeare’s death and celebrating his extraordinary legacy with exhibitions and performances, lectures and special events—at the Folger, on the road, and online. Join us! Shakespeare belongs to you. His world is vast. Come explore. 8

EXHIBITION SHAKESPEARE, LIFE OF AN ICON JAN 20 MAR 27

FAMILY EVENT LIVING THE SHAKESPEARE LIFE FEB 6

FOLGER THEATRE A MIDSUMMER NIGHT’S DREAM JAN 26 MAR 6 CURATOR TALK with GEORGIANNA ZIEGLER FEB 17

POETRY WILLIAM ARCHILA & REGINALD DWAYNE BETTS FEB 8 LECTURE DIG FOR SHAKESPEARE: NEW PLACE REVEALED

in conjunc on with SHAKESPEARE BIRTHPLACE TRUST, STRATFORD

FEB 22

SCREENING THE WINTER’S TALE FEB 29 SOLD OUT FEB 16 JUST ADDED

202.544.7077 | WWW.FOLGER.EDU

TEXTS

Texts are provided for your enjoyment; occasionally verses are omitted in performance.

O Lord, make thy servant O Lord, make thy servant Elizabeth our Queen to rejoice in thy strength: Give her her heart’s desire and deny not the request of her lips; But prevent her with thine everlasting blessing. And give her a long life, even for ever and ever. Amen.

Say, Love if ever thou didst find Say, Love if ever thou didst find, A woman with a constant mind, None but one, And what should that rare mirror be? Some goddess or some queen is she, She and only she, She only queen of love and beauty. But could thy fiery poison’d dart At no time touch her spotless heart Nor come near? She is not subject to Love’s bow, Her eye commands, her heart saith “No” No and only no, One no, another still doth follow. How might I that fair wonder know That mocks desire with endless no? See the moon That ever in one change doth grow Yet still the same, and she is so So and only so, From heav’n her virtues she doth borrow. To her then yield thy shafts and bow, That can command affections so. Love is free, So are her thoughts that vanquish thee, There is no queen of love but she, She and only she, She only queen of love and beauty.

Why do I use my paper, ink and pen Why do I use my paper, ink and pen, And call my wits to counsel what to say? Such memories were made for mortal men. I speak of saints whose names cannot decay. An angel’s trump were fitter for to sound Their glorious death, if such on earth were found. Attrib. Henry Walpole (1558-95)

Exsurge Exsurge, quare obdormis Domine? Exsurge, et ne repellas me in finem. Quare faciem tuam avertis? Oblivisceris in opiae nostrae et tribulationis nostrae? Exsurge, Domine. 10

Arise, why sleepest thou, O Lord? Arise and cast me not off to the end. Why turnest thou thy face away and forgettest our want and our trouble? Arise, O Lord.

The Phoenix and the Turtle Let the bird of loudest lay, On the sole Arabian tree, Herald sad and trumpet be, To whose sound chaste wings obey. But thou shrieking harbinger, Foul procurer of the fiend, Augur of the fever’s end, To this troop come thou not near. From this session interdict Every fowl of tyrant wing, Save the eagle, feather’d King: Keep the obsequy so strict. Let the priest in surplice white, That defunctive music can, Be the death-divining swan, Lest the requiem lack his right. And thou, treble-dated crow That thy sable gender makest With the breath thou givest and takest, ‘Mongst our mourners shalt thou go. Here the anthem doth commence: Love and constancy is dead; Phoenix and the turtle fled In a mutual flame from hence. So they loved, as love in twain Had the essence but in one; Two distincts, division none: Number there in love was slain. Hearts remote, yet not asunder; Distance, and no space was seen ‘Twixt the turtle and his queen: But in them it were a wonder. So between them love did shine, That the turtle saw his right Flaming in the phoenix’s sight; Either was the other’s mine. Property was thus appalled, That the self was not the same; Single nature’s double name Neither two nor one was called. Reason, in itself confounded, Saw division grow together, To themselves yet either neither, Simple were so well compounded, That it cried, How true a twain Seemeth this concordant one! Love hath reason, reason none, If what parts can so remain.

Whereupon it made this threne To the phoenix and the dove, Co-supremes and stars of love, As chorus to their tragic scene. Threnos Beauty, truth, and rarity, Grace in all simplicity, Here enclosed in cinders lie. Death is now the phoenix’s nest; And the turtle’s loyal breast To eternity doth rest, Leaving no posterity: ‘Twas not their infirmity, It was married chastity. Truth may seem, but cannot be; Beauty brag, but ‘tis not she; Truth and beauty buried be. To this urn let those repair That are either true or fair; For these dead birds sigh a prayer. Shakespeare

Be Strong and of a Good Courage Be strong and of a good courage, and observe the commandments of our God, to walk in his ways, and keep his ceremonies, testimonies, and judgements, and Almighty God prosper thee whithersoever thou goest. The Lord is thy ruler, therefore thou shalt want nothing. after Deuteronomy 31:6 and Joshua 1:7

Full Fathom Five Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Hark! Now I hear them, Ding-dong bell. Shakespeare, from The Tempest, Act 1, scene 2

Folger Shakespeare Library, the world’s largest Shakespeare collection, is actively seeking new volunteer docents to work with visitors. The Folger is particularly interested in individuals who have knowledge of and experience with different cultures and languages. Training provided. Contact Carol Ann Lloyd-Stanger, Manager of Visitor Education, at cstanger@folger.edu or 202.675.0316. 12

Gentle Sleep O sleep! O gentle sleep! Nature’s soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down And steep my senses in forgetfulness? Why rather, sleep, liest thou in smoky cribs, Upon uneasy pallets stretching thee, And hush’d with buzzing night-flies to thy slumber, Than in the perfum’d chambers of the great, Under the canopies of costly state, And lull’d with sound of sweetest melody? Shakespeare, from Henry IV Part II, Act 3, scene 1

Draw On, Sweet Night Draw on, Sweet Night, friend unto those cares that do arise from painful melancholy. My life so ill through want of comfort fares, that unto thee I consecrate it wholly. Sweet Night, draw on. My griefs when they be told to shades and darkness find some ease from paining. And while thou all in silence dost enfold, I then shall have best time for my complaining.

Thank you to the sponsors of FOLGER CONSORT’s 2015/16 Season D. James Baker & Emily Lind Baker Andrea Kasarsky Karl K. & Carrol Benner Kindel Gail Orgelfinger & Charles C. Hanna Robert J. & Tina M. Tallaksen To learn more about sponsorship, please call 202.548.8777.

Additional Support for the Folger Consort comes from Early Music Endowment Fund Eunice & Mones E. Hawley Early Music Endowment Fund The Estate of Pamela L. Kopp

Corporate, Foundation, and Government Support to Folger Shakespeare Library The list below includes gifts of $1,000 or more received between Dec. 1, 2014 and Nov. 30, 2015.

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Humanities Council of Washington, D.C. Mark & Carol Hyman Fund Lannan Foundation MARPAT Foundation The Nancy Peery Marriott Foundation Mars Foundation Merck Partnership for Giving The Mosaic Foundation (of R. & P. Heydon) National Capital Arts and Cultural Affairs Program and the U.S. Commission of Fine Arts National Endowment for the Arts National Endowment for the Humanities National Recreation Foundation Overseas Hardwoods Company Pine Tree Foundation of New York The C.B. Ramsay Foundation The Nora Roberts Foundation Shakespeare in American Communities Share Fund The Shubert Foundation United Technologies Weissberg Foundation

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Individual Donors to Folger Shakespeare Library The list below includes gifts and pledges of $250 or more received between Dec. 1, 2014 and Nov. 30, 2015.

$25,000+

The Lord Browne of Madingley Louis & Bonnie Cohen Helen & David Kenney and Family The Honorable John D. Macomber John & Connie McGuire Ann K. Morales Mr. & Mrs. B. Francis Saul, II Neal T. Turtell

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Charles Hanna & Gail Orgelfinger © Ruth Hansen & Lawrence Plotkin Catherine Held Ms. Deidre Holmes DuBois & Mr. Christopher E. DuBois William L. Hopkins Ms. Andrea Kasarsky © Rick Kasten Professor John N. & Pauline King Mr. Arthur Koenig Mr. Thomas G. MacCracken © Julianna Mahley Drs. Daniel & Susan Mareck Mark McConnell & Leslie Delagran Mr. & Mrs. Leander McCormick-Goodhart Pam McFarland & Brian Hagenbuch Peter & Mary Jay Michel Martin & Elaine Miller Jane & Paul Molloy Hazel C. Moore Cullen & Anna Marie Murphy Carl & Undine Nash Melanie & Larry Nussdorf Carolyn & Mark Olshaker Gail Orgelfinger & Charles C. Hanna Mr. & Mrs. Trip Reid Dr. Lois Green Schwoerer Craig Pascal & Victor Shargai Robert J. & Tina M. Tallaksen © Ayanna & Derek Thompson Mr. James Timberlake & Ms. Marquerite Rodger Toby & Stacie Webb Professor R L Widmann Nyla & Gerry Witmore

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$500-$999 Anonymous Dr. Robert S. Adelstein & Mrs. Miriam A. Adelstein Dr. Peter J. Albert & Ms. Charlotte Mahoney Mrs. Jo Ellen Allen © Mrs. Janet Baran & Mr. Mark LeVota Ms. Lisa U. Baskin Ms. Kyle Z. Bell & Mr. Alan G.R. Bell Mr. Brent James Bennett Mr. D. Jeffrey Benoliel & Mrs. Amy Branch Benoliel Drs. Robin & Clare Biswas © Dr. Jean C. Bolan Mr. & Mrs. Richard Bott Dr. Mary H. Branton © Mrs. Adrianne Brooks Kathleen Burger & Glen Gerada Ms. Maria Alexia Burke © John Byrd & Lina Watson Mr. & Mrs. Lewis R. Cabe Ms. Diana Carl Mr. Wallace W. Chandler Mr. Todd Christofaro Mr. Charles W. Clark

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The list below includes all friends who have included the Folger Shakespeare Library in their estate plans through a will commitment, a life income gift, or a beneficiary designation in a life insurance policy or retirement plan. Anonymous (2) Professor Judith H. Anderson Ms. Doris E. Austin

Dr. Carol Barton Ms. Mary Cole The Honorable Esther Coopersmith Dr. Elizabeth L. Eisenstein Wendy Frieman & David Johnson Dr. Elise Goodman (bequest will be in memory of Elise Goodman & Rolf Soellner) Mrs. Karen Gundersheimer Dr. Werner L. Gundersheimer Dr. Elizabeth H. Hageman Dr. Jay L. Halio Catherine Held Eric H. Hertting Mr. Michael J. Hirrel Dr. Dee Ann Holisky Ms. Deidre Holmes DuBois & Mr. Christopher E. DuBois Ms. Elizabeth J. Hunt Maxine Isaacs Mrs. Robert J.T. Joy Dr. Elizabeth T. Kennan Karl K. & Carrol Benner Kindel Professor John N. King Pauline G. King Merwin Kliman Professor Barbara Kreps Dr. Carole Levin Lilly S. Lievsay Dr. Nancy Klein Maguire Pam McFarland & Brian Hagenbuch Mr. Gene B. Mercer

Professor H. C. Erik Midelfort & Ms. Anne L. McKeithen Roger & Robin Millay Dr. Barbara A. Mowat Ms. Sheila A. Murphy Herman J. Obermayer Gail Kern Paster Linda Levy Peck Dr. Sylvia Holton Peterson Professor Kristen Poole Professor Anne Lake Prescott Dr. Mark Rankin Dr. Markley Roberts Dr. Richard Schoch Mrs. S. Schoenbaum Lisa Schroeter Dr. Lois Green Schwoerer Mr. Theodore Sedgwick Albert H. Small Drs. Alden & Virginia Vaughan Barbara Wainscott Dr. Barbara A. Wanchisen Dr. Richard M. Waugaman, M.D. & Elisabeth P. Waugaman, Ph.D. Professor R L Widmann The Honorable Karen Hastie Williams Dr. Georgianna Ziegler Every effort has been made to ensure that this list of donors is correct. If your name is misspelled or omitted, please accept our sincere apologies and inform the Development Office at 202.675.0321.

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Enjoy the benefits of membership—exclusive programs, behind-the-scenes events and discounts—by giving to the Folger in one of these three ways: FRIENDS OF FOLGER CONSORT with a gift of $75 THE RENAISSANCE CIRCLES with a gift of $1,500 FIRST FOLIO SOCIETY with a legacy gift

For more information, call 202.675.0359 or visit folger.edu/members Folger SHAKESPEARE LIBRARY

FOLGER SHAKESPEARE LIBRARY

Home to the world’s largest Shakespeare collection, the Folger Shakespeare Library is a worldrenowned center for scholarship, learning, culture, and the arts. The library—a gift to the American people from industrialist Henry Clay Folger and his wife Emily Jordan Folger— opened in 1932. Inspired by an Emerson lecture, Mr. Folger bought his first work by Shakespeare while a student at Amherst College. Mrs. Folger shared his passion, and the couple devoted themselves and their means to gathering thousands of books about Shakespeare and his times. They chose to build their library in the nation’s capital, as Mrs. Folger explained, because Shakespeare is “one of the wells from which we Americans draw our national thought, our faith, and our hope.” The building, designed by Paul Phillipe Cret with consulting architect Alexander Trowbridge, is on the National Register of Historic Places. The exterior is strikingly Art Deco with bas-reliefs depicting scenes from favorite Shakespearean plays. The interior is appropriately Tudor-Stuart in flavor, from the majestic Exhibition Hall to the intimate 250-seat Elizabethan Theatre. Through its extraordinary collection, which extends beyond Shakespeare to include the whole of

the early modern period (1500– 1750), the Folger Shakespeare Library is an internationally recognized research library offering advanced scholarly programs in the humanities; an innovator in the conservation of rare materials; a national leader in humanities education for grades K– 12; and an award-winning producer of cultural and arts programs—Folger Theatre, Folger Consort, O.B. Hardison Poetry Series, PEN/Faulkner fiction series—which connect broader audiences to its collections and support the living legacy of Shakespeare in contemporary life.

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AT THE FOLGER

March 18-20

PLAYING WITH FIRE

Virtuoso Instrumental Music of the Renaissance

Remarkable fantasias, dances, and

virtuoso diminutions from Renaissance Italy, Spain, France, and England— plus, lively country dances and tunes from Shakespeare’s plays.

April 8-10

SHAKESPEARE AND PURCELL Music of The Fairy Queen and Other Works

Songs, choruses, and instrumental music from the composer’s monumental setting of A Midsummer Night’s Dream and other works.

folger.edu/consort 202.544.7077 See wonderofwill.folger.edu

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