Ovids Vineyard Program

FOLGER CONSORT 2017/18 season of early music

Ovid’s Vineyard Music of the French Baroque April 27-29, 2018

FOLGER SHAKESPEARE LIBRARY BOARD OF GOVERNORS Louis R. Cohen, Chair Susan Sachs Goldman, Vice-Chair Roger Millay, Vice-Chair Andy Altman D. Jarrett Arp Simon Russell Beale The Lord Browne of Madingley Rebecca Bushnell Vinton Cerf Florence Cohen Lady Darroch Philip Deutch Wyatt R. Haskell Deneen C. Howell Maxine Isaacs May Liang Carol L. Ludwig Ken Ludwig Gail Kern Paster Stuart Rose Loren Rothschild Paul M. Smith Laura J. Yerkovich Ex Officio Michael Witmore

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THESE PERFORMANCES ARE GENEROUSLY SPONSORED BY ROBERT J. AND TINA M. TALLAKSEN

FOLGER CONSORT Robert Eisenstein Christopher Kendall Artistic Directors

Ovid’s Vineyard with Krista Bennion Feeney, Joseph Gascho, Rosa Lamoreaux, and Rodrigo Tarraza Trio Sonata in G, BWV 1039 Adagio Allegro ma non presto Adagio e piano Presto

Johann Sebastian Bach

Phèdre et Hippolyte Thomas-Louis Bourgeois Gravement Récit: Sur les bords de la mer Aegée Air: Dépit, affreux, vengeance Récit: Tandis que pour venger sa flame rebutée Air tendre: Suspendez vostre course, impatientes ondes Récit: Mais un vain retour de tendresse Air gai et modéré: Autheur de nos mortelles peines Cinquième Concert from the Pièces de Clavecin en Concert La Forqueray La Cupis La Marais

Jean-Philippe Rameau

INTERMISSION

Quatuor VI in E Minor from the Nouveaux Quatuors Prélude à discrétion/Très vite Gai Vite Gracieusement Distrait Modéré

Georg Philipp Telemann

Orphée Jean-Philippe Rameau Récit: Par le charme vainquer d’un chant harmonieux Air très gai: Que du bruit de tes hauts exploits Récit: Mais son âme sensible à la seule Eurydice Air gracieux: J’ai pour témoin de ma victoire Récit accompagné: A ce penser flatteur Air: Amour, Amour, c’est toi qui fais mon crime Récit: Inutiles regrets Air gai: En amour, il est un moment 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-style theater, or in the splendid reaches of Washington National Cathedral, the Folger Consort continues its tradition of bringing renowned guest artists to Washington, DC to join in its “early music chamber society.” Learn more at folger.edu/consort.

Robert Eisenstein—viola da gamba—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 a course called Fun with Music and Technology at Mount Holyoke College. 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—theorbo—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 reinstituting 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-inresidence at the Smithsonian Institution. Kendall 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, 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, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

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GUEST ARTISTS Krista Bennion Feeney—violin—is founding first violinist of the DNA Quintet, Ridge String Quartet, and the Loma Mar Quartet.

With pianist Rudolf Firkusny, the Ridge won the Diapason d’Or and a Grammy nomination in 1992 for their RCA recording of Dvorak’s Piano Quintets. The Loma Mar Quartet recorded original works written for them by Paul McCartney for EMI, and the DNA Quintet has released two highly acclaimed world premiere recordings of chamber music by Domenico Dragonetti, the manuscripts of which had been hidden for over 150 years in the British Library. Feeney is also a founding member of the Serenade Orchestra and Serenade Quartet which perform a wide variety of music with a special emphasis on the social music of the late 18th and early 19th centuries by Mozart, Haydn, Sperger, Schubert, Strauss family, Lanner, and others. Feeney has served as a concertmaster of the Orchestra of St. Luke’s and is a member of the St. Luke’s Chamber Ensemble.

From 1999-2006, she was the music director of the New Century Chamber Orchestra based in California. Feeney frequently performs as a soloist, including performances with the symphonies of San Francisco, St. Louis, Elgin, American Classical Orchestra, and the Orchestra of St. Luke’s.

Joseph Gascho—harpsichord—has performed for audiences across the world, from Carnegie Hall and the Kennedy Center to Paris, Tokyo, and Taipei. Trained under Webb Wiggins and Arthur Haas, Gascho has garnered multiple awards for his playing, including first prize in the Jurow International Harpsichord Competition and the prestigious Pomeroy Prize for Early Music.

He has guest-conducted and performed concerti with Apollo’s Fire and served as conductor with Opera Vivente, the Maryland Opera Studio, and the Peabody Institute. He is also an accomplished recording producer and has produced recordings for many celebrated artists and ensembles, including Pomerium, Folger Consort, Trio Pardessus, 21st Century Consort, Ensemble Gaudior, Three Notch’d Road, pianist/composer Haskell Small, Cantate Chamber Singers, and the Washington Master Chorale. Gascho serves on the faculty at the University of Michigan School of Music, Theatre & Dance and at the Twin Cities Early Music Festival’s Baroque Instrumental Program. He has spent years mentoring students at the Baroque Performance Institute at Oberlin College, where he teaches basso continuo, coaches chamber music, and conducts the student orchestra. Gascho holds a master’s and doctoral degree in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross.

Rosa Lamoreaux—soprano—is known for her flawless sense of style and incandescent presence, charming audiences and earning accolades from critics. She has appeared at Carnegie Hall, the Royal Albert Hall, the Leipzig Gewandhaus, and the Kennedy Center, in opera, oratorio, chamber music, and as a recitalist. Recent highlights include Handel’s Messiah with the Rogue Symphony Orchestra, operas by Rameau and Lully with Opera Lafayette, J.S. Bach’s St. John Passion at the Music Center at Strathmore, French Baroque cantatas with Tempesta di Mare, live scores for Hollywood’s silent movies for Early Music Columbus, Ohio, and performances with OpenPageEnsemble, which commissions and performs works by contemporary composers. Lamoreaux has performed with the Atlanta, Dallas, and Cincinnati Symphony Orchestras, the National Philharmonic Orchestra, the Smithsonian Chamber Orchestra, the Washington Chamber Orchestra, and the Northwest Chamber Orchestra. Opera roles include Venus in Cavalli’s Didone; Cleopatra in Giulio Cesare, Galatea in Acis and Galatea, Belinda and Dido in Dido and Aeneas; and most recently, the Mother in the premiere of Janice Hamer’s Lost Childhood with the National Philharmonic Orchestra. In demand as a chamber music performer, she has toured with Musicians from Marlboro and 5

performs with Four Nations Ensemble, ArcoVoce, and Musica Aperta. She is the recipient of numerous Washington Area Music Awards. Her recordings, available for sale at the Folger Gift Shop, include Bach Among Friends, beloved arias and duets with baritone William Sharp; Oh, So Nice, songs from the Great American Songbook in her own imaginative arrangements; and Evening Serenade, a mix of songs for voice, guitar, and strings.

Rodrigo Tarraza—traverso—is an internationally renowned flautist and one of the few musicians worldwide specializing in Baroque transverse flute. He studied with Barthold Kuijken at the Royal Conservatory, The Hague, and has performed throughout North America, South America, and Europe as both a soloist and chamber musician. When he is not playing Baroque flute, you might find him playing the bansuri, or Indian flute, for which he studied with Hari Prasad Chaurasia. He also has played the flute, saxophone, and EWI (Electric Wind Instrument) in the internationally acclaimed jazz-fusion band Unfulfilled Desires.

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NOTES For these concerts of mostly French music, we have assembled a choice collection of pieces from the early 18th century, featuring two secular cantatas that evoke the amorous and pastoral groves of antiquity. Both Phèdre et Hippolyte and Orphée are retellings of stories from Ovid’s Metamorphoses, and hence our program title. The cantata was the most important form of chamber music for voice during the 17th and 18th centuries and was cultivated in every Italian city and court. Traveling Italian musicians brought a taste for them to the rest of Europe, including France. Cantatas started out as substantial, multi-section songs. By the time of our selections, the cantata had fully developed into a multi-movement work, with da capo arias separated by recitatives. In this sense, one can think of them as little chamber opera scenes, although the cantatas for one singer are not usually overly dramatic. Early cantatas were written for solo voice and continuo. However, by the 18th century many cantatas included parts for one or more obbligato instruments, and later examples even made use of orchestral accompaniment.

Our instrumental pieces, like the cantatas, are examples of the music we now call “Baroque.” The term as applied to music has always been something of a misnomer. Originally, the word was applied to irregularly-shaped pearls, and it carried implications of grotesque or bizarre over-ornamentation. While it is true that much of the music performed here is highly decorated and complex, nothing on this program could be considered grotesque. In fact, all the musicians and commentators who wrote about music during this period insist on the importance of good taste in composition and performance, and there is a yearning for a graceful simplicity and a natural singing style. These features shine through much of the artifice of French music of this time and, along with virtuosity, always seem to be a feature of Italianate music. The splendidly idiomatic and richly embellished music heard here is certainly full of ornamentation, but it is always appropriate to the affect of each movement and to the instruments playing.

Johann Sebastian Bach (1685-1750) was, of course, a rare genius whose art summed up and surpassed the achievements of his age. Famous in his own day as a great performer (Telemann and Handel were regarded as far better composers), we see today in his music a perfect balance of intellect, beauty, and emotion rare in any art. Bach was not an innovator. He drew upon the techniques of his predecessors and contemporaries to forge his own unique and supremely powerful style, but he never entirely embraced the simpler, lighter textures of the galant precursors to the emerging classical style. It is well known that Bach was above all a church musician and a religious man. For him even secular music was composed for the glory of God. We need to remember, and perhaps marvel at, the fact that in spite of the transcendent nature of Bach’s art, he was a practical craftsman, producing music at the bequest of his employers, be they civic or church administrators or as in his earlier days at the court of Cöthen, princes. His complete mastery is obvious in the great Passions, cantatas, organ works, and late abstract works like The Art of the Fugue, but is no less present in his relatively few concerti, secular cantatas, and chamber music works, like our Sonata BWV 1039. This wonderful and interesting piece is one of only two trio sonatas with continuo

by Bach to survive. It is sort of a bridge between the traditional trio sonata texture of basso continuo and two treble instruments and the new type that Bach favored that features obbligato harpsichord and a melody instrument.

The first time we hear of Thomas-Louis Bourgeois (1676-1750 or 1751) is in 1701 when the Parisian printer Ballard published two volumes of his 7

instrumental music. He served as maître de musique at Strasbourg Cathedral from 1703 to 1706 and sang at the Paris Opéra from 1708 to 1711, where his countertenor voice was highly praised. His last major appointment was surintendant de la musique under the Duke of Bourbon. Bourgeois was a significant composer of French cantatas. Phèdre et Hippolyte is scored exactly for our forces this evening, with airs that include obbligato parts for flute, violin, and viola da gamba. It is from his second book of cantatas and demonstrates his lyricism, imagination, and ability to capture a wide variety of affects.

Jean-Philippe Rameau (1683-1764) is one of those rare figures in music history equally important as a composer and as a theorist. Not only was he one of the leading French composers of his time, but his theories of music formed a basis for the investigation of harmony for the next 200 years. Rameau’s physical appearance was compared by contemporaries to that of Voltaire. A contemporary description of Rameau noted that “he had a sharp chin, no stomach, with flutes for legs.” He was extremely tall and thin, “more like a ghost than a man.”

Rameau seems to have had no friends. It was said that “the emptiness he found in society made him avoid it,” and he so rarely spoke about himself that even his wife knew little about the first half of his life. Only when discussing music theory did he open up. Truly a product of the Age of Reason, Rameau sought to reduce music to a science and to deduce harmonic principles from natural causes. Yet in his writings he often resorted to “the judgment of the ear” and “good taste” in solving difficult problems. Rameau, born in Dijon, settled in Paris in 1722 or 1723. By then he had already published his famous Treatise on Harmony. Although his reputation as a philosopher-pedant and his provincial background were initially held against him, he was eventually employed by a wealthy financial official of the court named La Poupelinière, who made Rameau his music director. From this favored position, he was able to write operas and ballets. His life was not without controversy. In 1733 the performance of his first opera gave rise to a long-running dispute between the conservative Lullistes (so named for their preference for the music of Jean-Baptiste Lully), who found Rameau’s music far too ornate, virtuosic, harmonically challenging, and Italianate, and the Ramistes, who loved all of these qualities of his music.

Pièces de Clavecin en Concert was published in 1741 and is the last of his many publications for keyboard. The texture of these pieces is an unusual one for music from the first half of the 18th century, when the typical chamber music texture has the keyboard in the supporting role providing a harmonic bass for the melody instruments. Here, the harpsichord is definitely the star, with the violin and viola da gamba providing texture and variety. In this respect Rameau’s music seems to prefigure Mozart’s sonatas for keyboard and violin, as well as similar pieces from later in the century.

Georg Philipp Telemann (1681-1767) is a name that has become familiar to modern audiences. For many years, Telemann’s music was considered far inferior to the lofty and timeless art of J.S. Bach, his contemporary. Yet in their day, it was Telemann who was seen as the more important and forward-looking musician. He was certainly the most prolific composer of his time and in many ways a link between the Baroque and the new classical fashion.

His industriousness extended to other areas: he was an active educator, theorist, and impresario.

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Telemann was born to a family of solid middle-class professionals, and his parents actively discouraged him from being a musician. At the age of ten, when he began composing an opera, his mother took away all of his musical instruments and forbade him any more involvement with music. When he went to Leipzig for university in 1701, it was with the intention of studying law. But Telemann’s musical gifts and enthusiasm soon got the better of him, and by 1702 he had founded a student collegium musicum. Student musicmaking at the time was a fairly casual affair, but Telemann had other ideas, and initiated a regular series of public concerts. Telemann also became music director of the Leipzig Opera around this time and was able to offer employment to many of his student musicians at the opera house. When he became organist for the Neukirche (then the university church), he supplemented the performances of sacred music there with his collegium players. In 1705 he became Kapellmeister to the court of Count Erdmann II of Promnitz, in what is now Zary, Poland. There he provided music in the French style for the cosmopolitan Count, and he also acquired his life-long infatuation with Polish folk music, whose influence is obvious in his music.

Unlike Bach, Telemann was a composer very much taken with modern developments, and he was instrumental in advancing the new galant style with its rejection of Baroque complexities. Galant style includes a simpler melodic line, a much more transparent texture with the bass and inner parts subservient to the melody, and balanced, regular phrasing. All of these elements were to become part of the emerging classical style. When Telemann’s successful integration of elements of Polish and other folk music is combined with the grace and lightness of galant style, it is easy to see why his music was seen as a breath of fresh air in the north German home of the learned Bach and indeed all over Europe.

In 1737 Telemann went to Paris for a stay of eight months, and it was there that he published the Nouveaux Quatuors from which our Quartet is taken.

This was a fairly popular publication for the time; the print initially attracted 237 orders. The fact that 138 of the orders were from France demonstrates how well Telemann had absorbed the most up-to-date Parisian style. These quartets, like much of his instrumental output, show his contribution to the formation of galant style. They are charming, sophisticated conversations among four civilized voices, and yet they are not without profundity. The last one of the set, in E minor (“the most tragic of keys” according to Telemann’s colleague Johann Mattheson) is a powerful example and ranks among the great pieces of Baroque chamber music.

We return to Rameau’s music to conclude our concerts with perhaps the best of his cantatas, Orphée. All of his chamber cantatas, except for one later work, were probably written in the ten years before he moved to Paris. In spite of the fact that French chamber cantatas tended to be decorative pieces without much power and drama, Orphée is an exception and gives a taste of the expressive power of the operas for which he was soon to become famous. As one might expect, the harmonic language is rather more adventurous than that of most contemporary cantatas, and he frequently features very demanding and inventive obbligato parts for the instruments.

—Robert Eisenstein

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

Phèdre et Hippolyte The story is from Hippolytus by Euripides and Phaedra by Seneca. It is also recounted in Ovid’s Metamorphoses. Hippolytus, the son of Theseus, has rejected the advances of his stepmother Phaedra. Furious, Phaedra tells Theseus that his son has raped her. Theseus uses one of the three wishes granted to him by Neptune to chasten his son. Neptune sends a sea monster to frighten Hippolytus’ horses, who drag him to his death. Seized by guilt, Phaedra kills herself.

Récitatif Sur les bords de la mer Aegée, En proie aux rigueurs de l’amour, La triste épouse de Thésée Renonçait pour jamais à la clarté du jour.

On the shores of the Aegean Sea, Fallen prey to the rigors of love, The sad wife of Theseus Renounces forever the light of day.

Le refus d’un ingrat qui méprise sa flame Lui fait souffrir des maux plus cruels que la mort Et prête de céder aux rigueurs de son sort, Elle exprime en ces mots le courroux qui l’enflamme:

The rejection of an ingrate who scorns her desire Has made her suffer pains more cruel than death, And, ready to yield to the miseries of her fate, She voices thus the wrath that enflames her:

Air Dépit, affreux, vengeance, haine, Quittez le ténébreux séjour!

Venez romper l’indigne chaîne Où m’asservit un criminal amour!

Spite, horrors, vengeance, hatred, Come out of the darkness!

Come destroy the shameful chain That enslaves me to a guilty love!

Mon cœur cède à l’affreux supplice De voir par un ingrat mépriser ses ardeurs.

D’un si funeste sort, réparer le caprice Et lavez dans son sang, ma honte et mes malheurs!

My heart yields to the horrible torture Of seeing an ingrate despise the heart’s passions.

With a most gruesome curse, avenge this impulse, And wash my shame and sorrows in his blood!

Dépit, affreux, vengeance, haine…

Spite, horrors, vengeance, hatred…

Récitatif Tandis que pour venger sa flame rebutée, Phèdre s’abandonnait aux plus noires fureurs.

Hippolyte, occupé de ses vives douleurs, Conduisait ses coursiers sur la rive écartée.

In order to avenge her rebuked passion, Phaedra gives herself over to darkest rage.

Hippolytus, occupied with his own vivid pain, Drives his steeds along the far shore.

Mais arrêtez jeune héros, Je vois sortir du fond du flots Un monstre furieux Que Neptune en colère Accorde à l’injuste prière D’un père malheureux aveuglé par l’amour.

But stop young hero, I see, emerging from the bottom of the waves, A furious monster That angry Neptune Grants to the unjust prayer Of an unhappy father (Theseus), blinded by love.

C’en est fait, les coursiers que le monstre épouvante, Traînent son corps brisé sur la rive sanglante.

Hippolyte innocent vient de perdre le jour.

It is done: the steeds that the monster terrifies Drag his broken body along the bloody shore.

Innocent Hippolytus has just lost his life.

Air Suspendez vostre course, impatientes ondes Et vous divinités des mers.

Sortez, sortez de vos grottes profondes, Venez mêler vos chants à nos tristes concerts.

Suspend your flow, impatient waves And you divinities of the seas.

Come out, come out of your deep caverns, Come entwine your songs with our sad melodies.

Dans les bois d’alentour, la tendre tourterelle Fait redire aux Écho ses douloureux accents.

Elle oublie en ce jour sa compagne fidelle Pour pleurer avec nous des malheurs si pressants.

In the surrounding woods, the gentle dove Has Echo repeat its sorrowful calls.

She forgets her faithful companion today To weep with us for such pressing misfortunes.

Suspendez vostre course, impatientes ondes…

Suspend your flow, impatient waves…

Récitatif Mais un vain retour de tendresse Lui fait de son amant plaindre le triste sort Livrée à ses remords et le croit voir sans cesse, Hippolyte expirant sous son coupable effort.

But a hollow return of tenderness Makes her pity the sad fate of her beloved, Remorseful and evermore haunted by the image of Hippolytus expiring from her guilty efforts.

“Ciel! Qu’ai-je fait?” dit-elle, “Impitoyable haine, Hélas! J’ai trop suivi tes conseils furieux Mais je vais en subir la peine En terminant le cours de mes jours odieux.”

“Heavens! What have I done?” she says, “Cruel hate, Alas! I have followed your inflamed advice too well But I will assume the punishment By ending the course of my odious days.”

Air gai et modéré Autheur de nos mortelles peines, Amour, que tes attraits sont cruels et trompeurs.

Languirons nous toujours sous le poid de tes chaînes, Séduits par leurs fausses douceurs.

Author of our mortal pains, Love, your attractions are cruel and misleading.

We will languish under the weight of your fetters, Seduced by their false softness.

Dans l’horreur d’une nuit obscure, Si quelque faux éclat nous luit, Loin d’en connaître l’imposture, Nous nous livrons sans crainte au danger qui le suit.

In the horror of a dark night, If some false sparkle gleams for us, Far from recognizing its deception, We give in without fear to the danger that ensues.

Autheur de nos mortelles peines…

Author of our mortal pains…

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Orphée The story is from Ovid’s Metamorphoses and is of course one of many retellings of the 16th, 17th, and 18th centuries.

Récitatif Par le charme vainqueur d’un chant harmonieux Orphée à l’empire des ombres Arrachait I’objet de ses vœux, Et le fils de Vénus dans ces routes trop sombres Conduisait son triomphe à l’éclat de ses feux.

Un plaisir seul manquait à ce mortel heureux: Pluton, par une loi bizarre Avait jusqu’au pied du Ténare* Contraint ses regards amoureux, Mais de jeunes amours une escorte riante Essayait d’amuser son âme impatiente Par ces chants gracieux.

With the irresistible charm of sweet harmony Orpheus, while in the Underworld, Seized his heart’s desire, And the song of Venus, along these hellish paths Escorted his triumph with sparkling lights.

Only one pleasure escaped this joyous mortal: Pluto, by special decree Had forbidden his amorous glances As far as the promontory of Tainaron* While a laughing escort of young Cupids Tried to entertain his impatient soul With graceful airs.

Air très gai Que du bruit de tes hauts exploits L’Univers toujours retentisse Et qu’aux sons vainqueurs de ta voix Désormais la terre obéisse L’Enfer en respecte les lois.

With the fame of your noble exploits The Universe still resounds And to the disarming sounds of your song The earth is now in thrall While even the Inferno respects its power.

Elle a su réparer l’outrage Que l’avait fait l’injuste sort, Et I’avare sein de la mort Te rend la beauté qui t’engage.

Your voice knew how to make good the outrage So unjustly visited upon her, And the tight clutch of death Returns the beauty committed to you.

Que du bruit de tes hauts exploits…

With the fame of your noble exploits…

Récitatif Mais son âme sensible à la seule Eurydice Ne songe qu’au plaisir dont le terme est prochain.

Cessez, dit-il, cessez un éloge si vain.

But his soul, sensitive to the lonely Eurydice, Only dreams of the pleasure so soon to come.

Stop, he says, stop this vain diversion.

Air gracieux J’ai pour témoin de ma victoire Les beaux yeux qui m’ont enflammé.

C’est le seul prix, la seule gloire Dont mon cœur puisse être charmé.

I recall as evidence of my triumph The beautiful eyes which inflamed me.

Such is the only reward, the only glory Which can charm my heart.

Récitatif accompagné A ce penser flatteur, Il s’émeut, il se trouble, Il cède enfin au violent transport De sa flamme qui se redouble.

Attends, fais sur ton cœur encore quelques efforts,

This thoughtful man is stirred, is troubled He gives way at last to the violent emotion Of his redoubled passion.

Wait! Make just one more effort in your heart—

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C’en est fait et ses yeux ont vu ceux d’Eurydice Triste jouet de l’infernal caprice Prête à quitter les sombres bords Une barbare main la retient chez les morts.

En vain par des nouveaux accords Ce malheureux époux croit attendrir Mégère, Elle est sourde, et ce n’est qu’à l’enfant de Cythère Qu’il fait entendre ainsi sa plainte et ses remords.

It is done, and his eyes have met those of Eurydice.

Sad hostage to the infernal caprice, Ready to leave these somber shores A cruel hand pulls her back to the realm of the dead.

In vain with renewed harmonies This desolate husband thought to move Megaera.

She is deaf, and it is only to the child of Cytherea** That he makes heard his complaint, his remorse.

Air Amour, Amour, c’est toi qui fais mon crime C’est à toi de le réparer.

Des feux que tu sens m’inspirer Ma chère épouse est la victime.

Amour, Amour, c’est toi qui fais mon crime Vole aux Enfers le réparer.

Ah! Devaient-ils nous séparer Pour un transport si légitime?

Amour, Amour, c’est toi qui fais mon crime Ne saurais-tu le réparer?

Love, Love, it is you who makes me err.

It is your duty to make good the damage Of the fires with which you moved to inflame me My dear wife is the victim.

Love, Love, it is you who makes me err.

Fly to the underworld to make good the damage.

Ah, why did they separate us For such a worthy passion?

Love, Love, it is you who makes me err.

Would you not know how to make good the damage?

Récitatif Inutiles regrets, à sa douleur mortelle Tout l’abandonne sans retour.

Ce n’est plus qu’en quittant le jour Qu’il peut rejoindre ce qu’il aime.

With vain regrets, to his mortal grief All abandon him irrevocably.

The only course open is to depart this life That he might rejoin her whom he loves.

Air gai En amour, il est un moment Marqué pour notre récompense.

Si quelquefois par indolence On échappe ce point charmant Plus souvent encore un amant Se perd par trop d’impatience.

In love, there is a moment Marked for our reward.

If sometimes by indolence One misses this delightful experience More often still a love Loses out by too much impatience.

De ses désirs impétueux L’amant habile est toujours maître, Il tâche avec soin de connaître L’instant qui doit combler ses vœux.

Tel aujourd’hui serait heureux S’il n’avait voulu trop tôt l’être.

Of his impetuous desires The clever lover is always master, He tries carefully to recognize The moment which will fulfill his wishes.

Such a day as today would be happy If he had not wanted too much too soon.

En amour…

In love…

*Tainaron, or Cape Matapan, is the southernmost tip of the Greek mainland. In antiquity it was the site of a temple of Poseidon and was near a cave feared as an entrance to the underworld. In Ovid, that is the doorway to Hades that Orpheus uses. ** Megaera, who punishes infidelity (and hence perhaps would favor the faithful Orpheus) is one of the Furies. The child of Cytherea (another name for Aphrodite) is Cupid.

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Thank you to the sponsors of FOLGER CONSORT’s 2017/18 Season

Premiere Sponsors Andi H. Kasarsky Gail Orgelfinger & Charles C. Hanna

Performance Sponsors D. James Baker & Emily Lind Baker Robert J. & Tina M. Tallaksen Louisa Woodville & Nigel Ogilvie

Artist Sponsors Karl K. & Carrol Benner Kindel To learn more about sponsorship call Cari Romeu Mozur at 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 March 16, 2017 and March 15, 2018.

Paul M. Angell Family Foundation Blavatnik Family Foundation The Morris & Gwendolyn Cafritz Foundation Capitol Hill Community Foundation Anthony & Anna L. Carozza Foundation Clark-Winchcole Foundation Marshall B. Coyne Foundation The Cynipid Fund, a Donor Advised Fund of the Renaissance Charitable Foundation D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts Dimick Foundation Geraldine R. Dodge Foundation

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The Max & Victoria Dreyfus Foundation, Inc. Lorraine S. Dreyfuss Theatre Education Fund The Lee & Juliet Folger Fund The Samuel Freeman Charitable Trust The Helen Clay Frick Foundation The Ann & Gordon Getty Foundation Graham Holdings Heinz Family Foundation Mark & Carol Hyman Fund JFW, Inc. Junior League of Washington Kieloch Consulting KieranTimberlake Kislak Family Foundation Lannan Foundation MARPAT Foundation The Nancy Peery Marriott Foundation Mars Foundation Andrew W. Mellon Foundation The Mosaic Foundation (of R. & P. Heydon) National Capital Arts & Cultural Affairs Program & the U.S. Commission of Fine Arts National Endowment for the Arts National Endowment for the Humanities Nepeni Foundation The Newberry Library Pine Tree Foundation of New York The Nora Roberts Foundation Dr. Scholl Foundation Nadia Sophie Seiler Memorial Fund Shakespeare in American Communities Share Fund The Shubert Foundation Weissberg Foundation Wells Fargo

Individual Donors to Folger Shakespeare Library The list below includes gifts and pledges of $250 or more received between March 16, 2017 and March 15, 2018.

$50,000+ Vinton & Sigrid Cerf Florence & Neal S. Cohen Louis & Bonnie Cohen Nicky Cymrot Susan Sachs Goldman Mr. Arthur F. Kinney J. May Liang & James Lintott Jacqueline Badger Mars Roger & Robin Millay

Gail Kern Paster Mr. & Mrs. B. Francis Saul, II Lois G. Schwoerer Mr. & Mrs. Albert H. Small

$25,000-$49,999 Jarrett & Nora Arp Rebecca Bushnell & John Toner Maygene & Steve Daniels Peter & Rose Edwards Dr. Stephen H. Grant & Ms. Abigail B. Wiebenson Deneen Howell & Donald Vieira Eugene A. Ludwig & Dr. Carol Ludwig Timothy & Linda O’Neill Laura Yerkovich & John Winkler

$15,000-$24,999 Ms. Doris E. Austin Twiss & Patrick Butler Catherine Held Maxine Isaacs Helen & David Kenney William & Louisa Newlin Loren & Frances Rothschild Neal T. Turtell Scott & Liz Vance

$10,000-$14,999 David & Margaret Gardner Mr. & Mrs. Ty Hosler Mr. & Mrs. Amos B. Hostetter, Jr. Nancy & Steve Howard Frank F. Islam & Debbie Driesman Dr. David E. Johnson & Ms. Wendy Frieman John & Connie McGuire Darcy & Andy Nussbaum Craig Pascal & Victor Shargai Mr. & Mrs. H. Axel Schupf Estate of Roger J. Trienens Ms. Margaret Whitehead Drs. Michael L. Witmore & Kellie Robertson

$5,000-$9,999 Anonymous (3) Keith & Celia Arnaud Bill & Evelyn Braithwaite Richard Cooper & Judith Areen Jeffrey P. Cunard Emily & Michael Eig Miguel & Patricia Estrada Denise Gwyn Ferguson The Honorable C. Boyden Gray Elizabeth H. Hageman Wyatt R. & Susan N. Haskell William L. Hopkins Mr. Ken Hitz & Ms. Liselott Liungman Andrea H. Kasarsky Mr. Michael K. Kellogg Karl K. & Carrol Benner Kindel

Mr. & Mrs. Richard J. Kuhta Ken Ludwig & Adrienne George Dr. Nancy Klein Maguire Mr. & Mrs. Leander McCormick-Goodhart Carl & Undine Nash Andrew Oliver, Jr. & Melanie B. Du Bois Gail Orgelfinger & Charles Hanna Mr. Ben Reiter & Mrs. Alice Goldman Reiter Joanne Ruxin Louis B. Thalheimer & Juliet A. Eurich Tara Ghoshal Wallace Professor R L Widmann Ellen & Bernard Young

$2,500-$4,999 Anonymous (3) Gary & Mary Ellen Abrecht Bill & Sunny Alsup D. James Baker & Emily Lind Baker Ms. Lisa U. Baskin Stephen & Anne Black Mr. & Mrs. Charles P. Brown Howard M. Brown Mr. & Mrs. I. Townsend Burden, III Mr. William J Camarinos Mr. Richard H. Cleva Philip J. Deutch & Marne L. Levine Barbra Eaton & Ed Salners Abbey S. & Kenneth M. Fagin John & Meg Hauge Mr. David H. Hofstad Ms. Deidre Holmes DuBois & Mr. Christopher E. DuBois Rick Kasten Mr. Derek Kaufman & Dr. Leora Horwitz Mrs. Justine Mascioli Kenney Mr. & Mrs. Richard L. Lyon Julianna Mahley J.C. & Mary McElveen Pam McFarland & Brian Hagenbuch Peter & Mary Jay Michel Mr. & Mrs. George K. Miller Martin & Elaine Miller Dr. Rebeccah Kinnamon Neff Melanie & Larry Nussdorf Carolyn & Mark Olshaker Patricia A. Parker Estate of Lady Roslyn Sheena Parkinson Drs. Eldor & Judith Pederson Mrs. Jacqueline L. Quillen Heddy & Trip Reid Dr. Markley Roberts Ingrid Rose Susan & Frank Salinger David Smith & Ilene Weinreich Paul Smith & Michael Dennis

Allan & Kim Stypeck Robert J. & Tina M. Tallaksen Diane Tipton Bradt & David Bradt Gail Weinmann & Nathan Billig Ms. Nicole Winard Ms. Louisa Woodville & Mr. Nigel R. Ogilvie Mr. and Mrs. Gerald Zarr

$1,000-$2,499 Anonymous (6) John & Nancy Abeles Mr. & Mrs. Kenneth L. Adelman Dr. Robert S. Adelstein & Mrs. Miriam A. Adelstein Bess & Greg Ballentine Ms. Kyle Z. Bell & Mr. Alan G.R. Bell Michael S. Berman & Deborah Cowan Dr. James E. Bernhardt & Ms. Beth C. Bernhardt Dr. Peter W. M. Blayney & Dr. Leslie Thomson Ms. Gigi Bradford & Mr. Jim Stanford Dr. Mary H. Branton Dr. A. R. Braunmuller Mrs. Adrianne Brooks Mr. & Mrs. Peter J. Callahan Leslie & Ray Clevenger Dr. Thomas Cohen & Dr. Lisa Cohen-Fuentes Mr. & Mrs. William D. Coleman Mr. Mark D. Colley & Ms. Deborah A. Harsch Mr. Edwin P. Conquest, Jr. Mr. & Mrs. William E. Cooke Mr. Eric Cooper Ms. Sara Cormeny & Mr. Peter Miller Ronald M. Costell, MD, & Marsha E. Swiss Mr. Douglas R. Cox Ms. D. Elizabeth Crompton Ms. Harriet H. Davis Dr. & Mrs. William Davis Ms. Dorothea W. Dickerman & Mr. Richard Kevin Becker Ms. Rachel Doggett Mr. John F. Downey Rose & John Eberhardt Marjorie & Anthony Elson Louise H. Engle The Folger Five Patricia Fortini Brown Ann Rosalind Jones Susan Lanser Jessie Ann Owens Peter Stallybrass Nancy M. Folger Mr. Robert Fontenrose Carla & George Frampton Mr. & Mrs. Michael P. Galvin

Gail McMurray Gibson Mr. & Mrs. Harold B. Gill Ms. Barbara Goldberg Ms. Patricia Gray Karen Greene Ann Greer Dr. Nancy E. Gwinn & Dr. John Y. Cole Ruth Hansen & Lawrence Plotkin Florence & Peter D. Hart Mr. Joseph M. Hassett & Ms. Carol Melton Ms. Anita G. Herrick June & George Higgins Michael J. Hirrel Mr. and Mrs. Stephen E. Hurst Mr. Michael B. Jennison Mr. & Mrs. David H. Jones Lawrence & Meg Kasdan Sherman & Maureen Katz Theresa & Robert Keatinge Mr. Bruce Kieloch Barbara DeGrange Kieran Mr. & Mrs. Kenneth Kolson Mr. & Mrs. Russell LaMotte Mr. & Mrs. J. Ronald Langkamp Ms. Elizabeth Lanier Daniel Levinson Richard & Jane Levy Mr. & Mrs. Lawrence H. Liden Mr. & Mrs. Robert Case Liotta David Lloyd, Realtor Sandra Lotterman Mr. & Mrs. David J. Lundsten Mr. James Lynch Mr. Thomas G. MacCracken Mr. & Mrs. Jonathan Marks Mr. & Mrs. John McGinnis Beverly J. Melani & Bruce E. Walker John & Paula Millian The Honorable Mary V. Mochary Mary & Cyril Muromcew Cullen & Anna Marie Murphy Sheila A. Murphy Mr. Terence R. Murphy & Ms. Patricia A. Sherman Mr. & Mrs. Jeffrey Myers Dr. Alan Nelson Mrs. Jean F. Nordhaus Dr. Lena Cowen Orlin Mr. & Mrs. Kenneth Parr Charles & Susan Parsons Anne Parten & Philip Nelson Ms. Julie Phillips Mr. & Mrs. Paul W. Phillips Ms. Cynthia L. Rapp Mrs. Donald Rappaport Ms. Rebecca Ravenal Ms. Shana Regon & Mr. Timothy O’Toole Lola C. Reinsch Mr. James R. Repucci Mr. & Mrs. Joseph H. Reynolds Gerd & Duncan Ritchie

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Mr. David Roberts & Dr. David Spencer Laura Selene Rockefeller Mary Jane Ruhl Mr. Josh Samet & Ms. Juli Baer Dr. Marianne Schuelein & Mr. Ralph M. Krause James Baker Sitrick Gabriela & Douglas Smith Mr. Gerald Southern Mr. & Mrs. Thomas P. Stanley John & Alison Steadman Joanne M. Sten Dr. Ann Swann Robin & Mark Swope Mr. Leslie C. Taylor Amy and Mark Tercek Mary Augusta & George D. Thomas Ayanna Thompson Mr. & Mrs. Tim Thornton Mr. Anand Trivedi Ms. Kathryn M. Truex Mr. Nigel Twose & Ms. Priscilla Annamanthodo Tessa van der Willigen & Jonathan Walters Drs. Alden & Virginia Vaughan The Honorable Seth Waxman & Ms. Debra Goldberg Mr. Christopher White Webster Mrs. Eric Weinmann Mr. David Weisman & Ms. Jacqueline Michel Ms. Kimberly R. West Ms. Carolyn L. Wheeler Mr. Donald E. White & Ms. Betty W. Good-White Ms. Mary-Sherman Willis & Mr. C. Scott Willis Peter & Ingrid Willson Mr. & Mrs. Kevin B. Wilshere Beverly & Christopher With Mr. Douglas Wolfire Anne & Fred Woodworth Georgianna Ziegler

$500-$999 Anonymous (3) Ms. Monica Lynn Agree Mr. and Mrs. Howard Ahmanson Dr. Peter J. Albert & Ms. Charlotte Mahoney Dr. Boris Allan & Ms. Kathleen L. Pomroy Mr. & Mrs. David B. Barefoot Mr. & Mrs. Thomas M. Barry Ms. Danielle M. Beauchamp Mr. Brent James Bennett Mr. Kirke Bent Professors David M. Bergeron & Geraldo de Sousa Ms. Kathleen Bergin

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Drs. Robin & Clare Biswas Dr. & Mrs. David W. Blois Mr. & Mrs. Richard J. Bochner Dr. Jean C. Bolan Dr. James J. Bono & Dr. Barbara J. Bono Dr. James C. Bulman Kathleen Burger & Glen Gerada Susan & Dixon Butler John Byrd & Lina Watson Mr. & Mrs. Lewis R. Cabe Dympna C. Callaghan Ph.D Dr. & Mrs. William C. Carroll Ms. C. Dawn Causey Dr. Sheila T. Cavanagh Colonel & Mrs. Larry M. Cereghino Ms. Melissa W. Clark Linda & John Cogdill Dr. Theresa M. Coletti Mr. & Mrs. John J. Collins Drs. John W. Cox & Lo-An T. Nguyen-Cox Mr. & Mrs. Robert J. Daniels Ms. Melissa Darby Ms. Sarah A. Davidson Ms. Jeanne De Sa Mr. Daniel De Simone & Ms. Angela Scott Ms. Christy Desmet Mr. & Mrs. Daniel A. DeVincentis Prof. Frances Dolan Mr. & Mrs. Robert P. Donaldson Dr. Ross W. Duffin & Dr. Beverly J. Simmons Steve Dunn & Tom Burkhardt Ms. Roberta L. Ellington Dr. William E. Engel Mr. Douglas H. Erwin & Dr. Wendy Wiswall Ms. Marietta Ethier Mrs. John Eustice Ms. Margaret Ezellmainzer Mr. & Mrs. Prentiss E. Feagles Mr. Gerald M. Feierstein Melody & Al Fetske Mr. Leo S. Fisher & Ms. Sue J. Duncan Ms. Tracy Fisher Ms. Alice Fitch Ms. Patricia G. Foley & Mr. John P. Villarosa Folger Central Library Division Ms. Ann Geracimos Jere Gibber & J.G. Harrington Donald Gilman Ms. Michelle Gluck & Dr. Walter Smith Mr. & Mrs. Daniel L. Goelzer Mr. Lawrence J. Goffney, Jr. & Dr. Betty J. Forman

Ms. Ann V. Gordon & Mr. Martin Singer Professor Suzanne Gossett Mr. Matthew Gross Mr. & Mrs. Donald B. Haller Drs. Donna B. & Gary D. Hamilton Jill Hartman Dr. & Mrs. Robert M. Hazen Mrs. Anthony E. Hecht Mr. Thomas Heil Patricia Henkel Ms. Cynthia Herrup Prof. Peter Holland Professor Jean E. Howard Dr. Thomas Hudson Ms. Elizabeth M. Janthey Mr. & Mrs. Marvin Kalb Ms. Sara W. Kane Mr. Christopher Kendall & Ms. Susan Schilperoort Wendy & Robert Kenney Professor John N. & Pauline King Ms. Lynne Myers Klimmer Dr. & Mrs. Philip A. Knachel Dr. Roslyn L. Knutson Dr. Marcel C. LaFollette & Mr. Jeffrey K. Stine Dr. Douglas M. Lanier Mr. & Mrs. Thomas A. Lauzon Dr. Robert Lawshe Mr. Michael Lebovitz Ms. Sandy Lerner Mr. & Mrs. Roger N. Levy Lilly S. Lievsay Prof. Julia R. Lupton Dr. Kathleen Lynch & Mr. John C. Blaney Mr. & Mrs. Timothy Lynch Dr. Lynne Magnusson Dr. Laurie Maguire Mr. & Mrs. Mark A. Mancini Mr. Tom Manteuffel & Ms. Rachel Manteuffel Mr. Winton E. Matthews, Jr. Mr. James W. McBride Ms. Catherine McClave Marilyn & Charles McMillion Ms. Nancy Elizabeth Meiners Professor Michael J. Mendle Estate of Julienne M. Michel Dr. Rogers B. Miles Mr. Hilary B. Miller & Dr. Katherine N. Bent Dr. & Mrs. Andy B. Molchon Ann K. Morales Theodore & Mary Eugenia Myer Mr. Mike Newton & Dr. Linda Werling Dr. & Mrs. Malcolm B. Niedner Michael & Karen O’Connell Betty Ann Ottinger Mr. & Mrs. Peter Parshall Dr. Hans S. Pawlisch Mr. & Mrs. Kevin L. Pearson Linda Levy Peck Ms. Sheila J. Peters

Mr. & Mrs. Carl F. Pfeiffer Dr. & Mrs. Joram Piatigorsky Dr. & Mrs. Warren S. Poland V. E. Powell Robert Ramsey & Elizabeth Brown Mr. Eric Rasmussen Dr. Timothy Raylor & Ms. Vanessa A. Laird Mr. Jonathan Rich Dr. Alice Riginos Peter Rose & Alicia Kershaw Dr. & Mrs. Jason P. Rosenblatt John & Lynn Sachs Grace K. & Vincent N. Schiraldi Professor & Mrs. Mortimer Sellers Prof. Barbara A. Shailor PhD & Prof. Harry W. Blair II PhD Dr. James Shapiro Mr. James Siemon Dr. Donna S. Simmons & Mr. James Simmons Professor Meredith Skura Mr. & Mrs. Jerry Sollinger Marilyn & Hugh South Professor Richard E. Spear & Professor Athena Tacha Ms. Cathleen Ann Steg & Mr. Schuyler E. Schell Ms. Lillian D. Stephens Tom & Pat Stevens Dr. Garrett Sullivan Dr. Patricia E. Tatspaugh Mr. John M. Taylor Mr. & Mrs. John C. Towers James & Carol Tsang Mrs. Ellen Tunstall Mr. & Mrs. James T. Turner Dr. Arina van Breda Mr. & Mrs. Robert F. Van Voorhees Mr. & Mrs. Richard K. von Seelen Professor Susan R. Wabuda Mr. Ronald E. Wagner & Dr. Ruth Scogna Wagner Professor Paul Werstine Professor Michael Winkelman Mrs. Eleanora M. Worth Ms. Abby L. Yochelson & Mr. Wallace Mlyniec Phyllis Jane Young

$250-$499 Anonymous (6) Catherine N. Abrahams Mr. & Mrs. David G. Ahern Mr. Thomas Ahern Jr. Mr. & Mrs. Charles T. Alexander Mr. & Mrs. Stewart F. Aly Ms. Jerrilyn V. Andrews & Mr. Donald E. Hesse Ms. Suzanne Bakshian & Mr. Vincent A. Chiappinelli Mr. & Mrs. Albert H. Barclay

Mr. & Mrs. David M. Beckmann Ellen S. Berelson & Larry Franks Mr. & Mrs. Lawrence Blackwood Mr. & Mrs. Edward H. Blum Mr. James L. Blum Ms. Heather Boedeker Dr. Dorothy P. Boerner Mr. Henry H. Booth Professor Jackson Campbell Boswell & Mrs. Ann C. Boswell Mr. & Mrs. Richard Bott Ms. Gwen W. Brewer Mr. & Mrs. Thomas Brody Mr. Stanley C. Burgess, Jr. Ms. Victoria Butler & Mr. Tim Carney Professor Charles Butterworth Mr. & Mrs. Richard D. Calderon Mr. Timothy J. Carlton & Ms. Jill Walling Mr. Wallace W. Chandler Mr. John Chester Ms. Molly C. Clay Mr. & Mrs. Perry Cofield Mr. David M. Colbert Ms. Mary Cole Mr. Robert S. Cole, Jr. Ms. Marianne Constable Mr. & Mrs. Gary R. Correll Robert W. Cover II & Bonnie Lepoff James & Ann Coyle Ms. Katheryn L. Cranford Vice Adm. Dirk J. Debbink Mr. Robin L. Dennis Drs. Alan & Cynthia Dessen Mr. Joe Dickey & Ms. Martha Blaxall Mr. Thomas F. Doi M P Donovan Dr. Terry Dwyer & Dr. Marcy F. Petrini Mr. & Mrs. Robert C. Eager Mr. & Mrs. Charles L. Eater Mr. David J. Edmondson Professor Lars Engle Mr. & Mrs. Michael K. Farber Dr. Robert J. Fehrenbach Mr. & Mrs. Charles F. Feldmayer Charles Fendig & Maria Fisher Arthur & Shirley Fergenson Mr. Jonathan Fleming Ms. Laurie Fletcher & Dr. Allan Fraser Mr. Gregory Flowers Mr. John Franzén Mr. Douglas Freeman Ms. Nancy Frey Ms. Rhonda Friedler Mr. Roland M. Frye, Jr. & Ms. Susan M. Pettey Mr. William K. Frymoyer Ms. Kit Gage & Mr. Steven Metalitz Patricia Gallagher & Stephen Greenberg Mrs. Joanne Garris Mr. Christopher Gassett Mrs. Nanette Gibbs Mr. & Mrs. Timothy Gibson Justice Ruth Bader Ginsburg Dr. Catherine R. Gira

Prof. James A. Glazier Mr. Gregg H.S. Golden & Dr. Laura George Mr. & Mrs. Michael Goldstein Mr. Federico Grau Mr. John E. Graves, RIA & Ms. Hanh Phan Sayre N. Greenfield, PhD & Linda V. Troost, PhD Mr. Bruce N. Gregory & Ms. Paula Causey Neal & Janice Gregory Janet & Christopher Griffin Ms. Maria E. Grosjean Mr. & Mrs. C. David Gustafson Mr. Jim Hake Col. Wesley P. Hallman & Dr. Silvana RubinoHallman David Hannay Dr. Susan R. Haynes & Dr. Carl C. Baker Ms. Barbara W. Hazelett Dr. & Mrs. James A. Heath Robert E. Hebda Mr. & Mrs. Fred Hill Prof. Heather A. Hirschfeld & Prof. Anthony Welch Dr. Mack P. Holt Mrs. Wilma E. Hommel Dr. Henry Ridgely Horsey Mr. & Mrs. Paul Huey-Burns Mr. & Mrs. E. Stewart Jeffries Ms. Vickie Johnson Mr. & Mrs. James Jordan Mr. Gordon Kaplan Mr. Randall KC Kau & Ms. Elizabeth M. Olmsted Ms. Maja Keech Mrs. Margot Kelly Ms. Caroline Kenney Andrea & Joseph Kerr Mr. & Mrs. James King Mr. Robert S. Kirk Mr. & Mrs. Steve Kitchen Dr. Michael Knable Ms. Kathleen Knepper Mr. Michael Kolakowski Mr. & Mrs. George Koukourakis Edward & Kathleen Kovach Kim & Elizabeth Kowalewski Mr. Richard Krasnow Mr. Barry Kropf Ms. Sarah Kyrouac Mr. & Mrs. David J. Lacki Col. Denny Lane & Ms. Naoko Aoki Robin Langfan & Jay M. Hammer Mr. David W. Lankford Drs. Douglas & Janet Laube Marian & Stuart Lemle Dr. Frank Lemoine Mr. Zachary Lesser Dr. Calvin C. Linnemann & Rev. Patricia G. Linnemann Joseph & Sonya Livingston Mr. & Mrs. Jan Lodal Ms. Mary Frances Lowe Wes MacAdam Mr. James Mach Mr. Carl Mahoney Dr. Deborah L. Malkovich & Dr. William Freimuth Mr. & Mrs. Martin C. Mangold

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Ms. Allison Mankin & Dr. Jim Carton Dr. Lewis Markoff & Dr. Caroline Samuels Mr. & Mrs. Roy T. Matthews Dr. Steven W. May Ms. Susan McCloskey Dr. Richard McCoy Mr. Patrick J. McGraw Ms. Susan McNabb & Mr. Brent Hillman Dr. Brian R. McNeill Ms. Chloe Miller Ms. Kristie Miller & Mr. Thomas Hawkins Mr. & Mrs. W. Todd Miller Mrs. Ina J. Millsaps Ms. Linda Morefield Mr. & Mrs. Geoffrey C. Morell Professor Chandra Mukerji Mr. Kevin Nettesheim Ms. Mary L. Noonan Mr. Joe M. Norton Mr. & Mrs. Gerard Olexson Mr. & Mrs. Ernest T. Oskin Mr. & Mrs. David M. Osnos Mr. & Mrs. Robert C. O’Sullivan Ms. Patricia J. Overmeyer Mr. & Mrs. Larry D. Palmer Elizabeth Crewson Paris Ms. Barbara A. Patocka Stan Peabody Mr. James R. Pepper Mr. Thomas Perry Mr. Joseph Pierro Mr. & Mrs. James S. Polk Ms. Ann Portocarrero Drs. Maria T. & Thomas A. Prendergast Mr. Woodruff M. Price Mr. Terry Quist Mr. Henry Raine Mr. & Mrs. Erik M. Rasmussen John & Barbara Ratigan Earl & Carol Ravenal Mr. Peter S. Reichertz Mr. Philip J. Reynolds Ms. Lauren G. Roberts & Mr. Juan E. Sanchez Mr. & Mrs. Robert A. Robertson Winnie & Alexander Robinson Mr. Peter Rogen Ms. Emily Rose & Mr. James H. Marrow Ms. Gail Rothrock & Mr. Charles Trozzo Ms. Janet A. Sanderson Mr. Stephen R. Saph Jr. Mr. & Mrs. Thomas G. Saunders Dr. Joan Saxton Professor Moses S. Schanfield Drs. Alan N. & Geraldine P. Schechter Mr. Eugene Schied Lt. General & Mrs. Robert E. Schmidle, Jr., Retired Ms. Sharon H. Schoeller Mr. Kurt R. Schwarz & Ms. Patsy G. Kennan Mr. D. Stanton Sechler Dr. Sherry Wood Shuman & Mr. Philip B. Shuman Kay & George Simmons Mr. Elliott Simon

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Dr. Bruce R. Smith Mr. & Mrs. D. Joe Smith Ms. Laura Smith Dr. Richard B. Smith Mr. Steve Spaulding & Dr. Alicen B Spaulding Robert Staples & Barbara Fahs Charles Mr. & Mrs. Albert P. Stauderman Mr. Daniel Steiner Ms. Victoria Steuerwalt Dr. James Waller Stone Ms. Kristina Straub & Dr. Carol Goldburg Mr. & Mrs. Donald Street Mr. Douglas Struck Ms. Mary K. Sturtevant Ms. Theresa A. Sullivan Mr. Jonathan Taylor & Ms. Dianne Shaughnessy Mr. & Mrs. John V. Thomas Mr. & Mrs. Grant P. Thompson Ms. Helen G. Urquhart Mr. & Mrs. Stephen M. Vajs Ms. Joyce C. Vialet Mr. Edward P. Washburn & Ms. Michele J. Orza Bryan & Diana Watabe Toby & Stacie Webb Dr. Gail C. Weigl Ms. Judith Weintraub Mr. & Mrs. Stanley N. Wellborn Dr. & Mrs. John R. Wennersten Ms. Jacqueline West Ms. Dorothy B. Wexler Sandy & Jon Willen Gary & Josephine Williams Mr. & Mrs. Roy L. Williams Mr. & Mrs. Scott M. Wilson Ms. Betsy L. Wolf Ms. Edith C. Wolff Dr. & Mrs. Thomas F. Worden Irene & Alan Wurtzel Maureen & Brent Yacobucci Mrs. Laetitia Yeandle Dr. Robert G. Young Dr. Ried R. Zulager

The First Folio Society 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 Professor Jackson Campbell Boswell William J Camarinos Professor Carmen A. Casís Ms. Mary Cole The Honorable Esther Coopersmith Drs. John W. Cox & Lo-An T. Nguyen-Cox Dr. James R. & Mrs. Rachel B. Dankert Mr. Douglas Evans Susan Fawcett & Richard Donovan

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For more information, call 202.675.0359 or visit folger.edu/members Folger SHAKESPEARE LIBRARY 19

“ a vocal and

azine

ton Life Mag

” — Washing mental feast

instru

FOLGER

CONSORT 2018/19 season of

early music September 4-23 SHAKESPEARE'S

MACBETH

In Partnership with Folger Theatre As Adapted and Amended by Sir William Davenant With Music by John Eccles and Others

October 12-14

OKTOBERFEST Early Music of Germany

December 14-23

ACHRISTMAS MESSE

A Banquet of Seasonal English Music

February 8 & 9

THEFOOD OF LOVE

Romantic Music of the Renaissance At Washington National Cathedral

March 29-31 TASTES OF THE

MEDITERRANEAN Music of 16th-Century Spain and Italy

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202.544.7077 folger.edu/consort Programs subject to change.