Purcell Progam

FOLGER CONSORT 2021/22 SEASON OF

EARLY MUSIC

Henry Purcell & Music of 17th-Century

London October 2021

F OLGER SHAKESPEARE LIBRARY

BOARD OF GOVERNORS J. May Liang, Chair D. Jarrett Arp, Vice-Chair Roger Millay, Vice-Chair Richard D. Batchelder, Jr. Sir Simon Russell Beale, CBE Jeff Bleich Rebecca Bushnell Vinton Cerf Florence H. Cohen Debbie Driesman Susan Sachs Goldman Rosa Joshi Derek Kaufman Gail Kern Paster Eugene Pinkard Stuart Rose Charles Roxburgh Paul Smith Ramie Targoff Ayanna Thompson Ex Officio Michael Witmore SENIOR DIRECTORS Michael Witmore, Director Karen Ann Daniels, Director of Programming and Artistic Director, Folger Theatre Abbey Silberman Fagin, Chief Advancement Officer Eric M. Johnson, Director of Digital Access Ruth Taylor Kidd, Chief Financial Officer Kathleen Lynch, Executive Director, Folger Institute Peggy O’Brien, Director of Education Greg Prickman, Eric Weinmann Librarian and Director of Collections

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This performance was recorded at St. Mark’s Episcopal Church on Capitol Hill, Washington, DC, in October 2021.

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FOLGER CONSORT Robert Eisenstein Christopher Kendall Artistic Directors

Henry Purcell &

Music of 17th-Century London with Jessica Beebe, Risa Browder, Joseph Gascho, John Moran, and Brent Wissick Music of Henry Purcell’s Predecessors Royall Consort Sett no. 5 in D major Air (Paven-Alman) – Air (Alman) – Corant – Air (Morriss) – Saraband The Lark Venus lamenting her lost Adonis No more shall meads be deck’d with flow’rs Consort Suite no. 2 in D major Fantasy – Corant – Air – Saraband

William Lawes

Henry Lawes Charles Coleman Nicholas Lanier Matthew Locke

Music of Henry Purcell Music for a while (from Oedipus) I’ll sail upon the dog-star (from A Fool’s Preferment) Two in one upon a ground (from Dioclesian) Fantasia in Four Parts, Z. 742 Suite in A minor, Z. 663 Prelude – Almand – Corant – Saraband Sweeter than roses (from Pausanius) Hark! The echoing air (from The Fairy Queen) Sonata no. 7 in C major, Z. 808 (From Ten Sonatas in Four Parts) Vivace Largo Grave – Canzona (Allegro) Allegro – Adagio Now that the sun hath veiled his light (“An Evening Hymn”) Chacony in G minor, Z. 730 Now the night is chas’d away (from The Fairy Queen) 3

St. Mark’s Episcopal Church + Capitol Hill St. Mark’s is very pleased to host Folger Consort’s 2021/22 Season.

Music has always been an integral part of the life of the parish. St. Mark’s strives to be a center for worship, education, the arts, and social action, especially in this time of reduced budgets for arts programs and great need for justice and nonviolence.

Learn more about St. Mark’s and its mission to serve God and the people of this neighborhood at stmarks.net.

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Brittany Diliberto, BeeTwoSweet

F OLGER 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 Folger’s Elizabethan-styled theater, or in other beautiful and historic venues such as St. Mark’s Church and Washington National Cathedral, Folger Consort continues its tradition of bringing renowned guest artists to Washington, DC to join in is “early music chamber society.” Learn more at folger.edu/consort.

Robert Eisenstein Artistic Director, Violin, Viols Eisenstein 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 Artistic Director, Lute, Theorbo Kendall 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

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new music ensemble, the 21st Century Consort. 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, he has guest conducted many orchestras and ensembles in repertoire from the 18th to the 21st centuries. His recordings can be heard on the ASV, Arabesque, Bard, Centaur, Delos, Innova, Nonesuch, and Smithsonian Collection labels.

GUEST ARTISTS Jessica Beebe Soprano Lauded as having a “honey-colored tone” and “the most radiant solo singing” from Opera News, soprano Jessica Beebe is an affecting interpreter of repertoire from the Renaissance to contemporary American opera. As a sought-after concert soloist, Ms. Beebe has performed as a soloist with several major orchestras and ensembles across the world including The New York Chamber Orchestra at Carnegie Hall, The English Concert, The Los Angeles Philharmonic, The Indianapolis Symphony Orchestra, The Indianapolis Baroque Orchestra, The Folger Consort, The Washington Bach Consort, Piffaro, Gamut Bach Ensemble, Philadelphia Bach Collegium and more. Her solo operatic highlights include premiering multiple operas by Jennifer Higdon, Lembit Beecher and David Hertzberg with Opera Philadelphia, covering in Norway’s Bergen National Opera, and a Los Angeles Philharmonic debut in Meredith Monk’s opera, Atlas. Ms. Beebe is a member of Variant 6, Trio Eos, and is on several GRAMMY-nominated albums with The Crossing and Clarion Ensemble. Ms. Beebe is a voice faculty member at Franklin and Marshall College and Muhlenberg College and maintains a private voice studio from her home.

Risa Browder Violin, Viol Browder studied at Oberlin Conservatory, the Royal College of Music in London, and the Schola Cantorum in Basel, Switzerland. She has performed with the Academy of Ancient Music, the English Concert, London Classical Players, Les Musiciens du Louvre, Smithsonian Chamber Orchestra, the Washington Bach Consort, the National Cathedral Baroque Orchestra and the Bach Sinfonia, and with the chamber ensembles London Baroque, the Purcell Quartet, and REBEL. She co-directs Modern Musick, in residency at Georgetown University; is the orchestra director at H-B Woodlawn Secondary Program; is the co-director of the Baltimore Baroque Band. She plays a violin made by Jacob Stainer in 1641.

Joseph Gascho Harpsichord Harpsichordist and conductor Joseph Gascho has performed across the world, from Carnegie Hall and the Kennedy Canter to Paris, Tokyo and Taipei. Recent performing highlights include performances with the Chicago Symphony Orchestra and the Detroit Symphony Orchestra 6

and a solo recital and masterclass for the Japan Harpsichord Society. In 2020, he release a recording of harpsichord works by Dietrich Buxtehude. At the University of Michigan he teaches harpsichord, basso continuo, chamber music, improvisation and ornamentation, and co-directs the Baroque Chamber. He was recently appointed Director of the Stearns Collection of Musical Instruments and has enjoyed recent collaborations with the Hatcher Graduate Library and the Biosciences Ideas Lab Project. 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 recently conducted four all-Bach concerts for Apollo’s Fire. Gascho is likewise distinguished as an accomplished recording producer. Many celebrated artists and ensembles have turned to Gascho to produce their recordings, including U-M colleagues Matthew Bengtson, Kola Owolabi, and Louise Toppin, as well as the ensembles Pomerium, the Folger Consort, Trio Pardessus, the 21st Century Consort, Ensemble Gaudior, Three Notch’d Road, pianist/composer Haskell Small, Cantate Chamber Singers and the Washington Master Chorale. Since 2008, he has taught and mentored students at the Baroque Performance Institute at Oberlin College, where he teaches basso continuo, coaches chamber music and conducts the student orchestra.

Gascho holds masters and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross.

Joseph Gascho played on a harpsichord based on a German single harpsichord patterned on an original from 1738 by Vater. Thomas and Barbara Wolf made the instrument in 1995.

John Moran Viol Moran studied performance at the Oberlin Conservatory and the Schola Cantorum Basiliensis, and musiciology at King’s College London. Plays with REBEL and Washington Bach Consort, and codirects Modern Musick, in residence at Georgetown University. He teaches viola da gamba and Baroque cello at the Peabody Conservatory, where, with Risa Browder, he co-directs the Baltimore Baroque Band, for which Early Music America recognized them as joint recipients of the 2018 Thomas Binkley Prize Award “for outstanding achievement in performance and scholarship by the director of a university early music ensemble.”

Brent Wissick Viol Brent Wissick is Professor of Music at the University of North Carolina at Chapel Hill where he has taught cello and viola da gamba since 1982. His concerts and teaching have taken him throughout North America, Europe, Asia and Australia, and he can be heard on numerous solo recordings and with ensembles including American Bach Soloists, Boston Early Music Festival, Concert Royal and Wroclaw Baroque in Poland. His first concerts with the Folger Consort were in 1986. He continues to be an active member of the Viola da Gamba Society of America, and served as President from 2000-2004.

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P ROGRAM NOTES

Modern audiences have become quite familiar with English music from the time of Shakespeare, and Henry Purcell’s ravishing songs frequently appear in song recitals by mainstream artists and historically-informed performers alike. However, the music of the intervening decades is not so well represented today in concert or recordings.

Many interesting musical developments occurred during the ill-fated reign of Charles I, the ensuing Commonwealth, and around the Restoration of the monarchy in 1660, so we have included much music from those times in this virtual concert. The instrumental chamber and theatrical music of composers such as William Lawes and the younger Matthew Locke is a repertory that is deserving of more attention. During this period, English songwriters, responding to the new style of dramatic, expressive monody invented in Italy, developed a declamatory style of song which drew on the recitative for inspiration. They also discarded the carefully worked out and composed accompaniments by lutenistcomposers like John Dowland in favor of simple bass lines to be harmonized by the player(s) in true Baroque fashion. The best of these songs are wonderfully inventive and treat the English language in new ways, with frequent shifts of affect, accent, tempo, and harmony. But of course, the best composer active in late 17th-century England was Henry Purcell, so after hearing the music of his predecessors we are delighted to offer some of his incomparable songs and string music.

William Lawes (1602-1645) wrote songs, dramatic music and many kinds of instrumental music, especially for the select band of viols and violins employed by Charles I. His Royall Consort is a set of 67 fantasies and dances arranged in suites, compiled in the 1630s. It was revised later by the composer, and in its final version is scored for the new combination of violins and viols, accompanied by two theorbos

(replaced in our performance by harpsichord and lute). Lawes was a fervid Royalist and joined the king in Oxford when he moved his court there in 1642. He promptly joined the Royalist army, although to protect him from actual combat he was made a commissary in the king’s personal guard. He was shot and killed by the rebels at Chester in 1645. Lawes became something of a symbol of the horrors of the Puritan revolt; it became common to find variations on the wordplay of “Will Lawes was slain by those whose wills were laws” in Royalist poetry. Lawes was clearly a popular and attractive figure in his circle and was “respected and beloved by all those who cast any looks toward virtue and honour.” In the portrait which hangs in the Faculty of Music, Oxford, he is shown as a striking cavalier. None of his music was published during his lifetime, but much of it survives in autograph manuscripts, all marked with the seal of Charles I on the bindings. Lawes’s harmonic idiom is expressive and modern. English conductor and musicologist Peter Holman suggests that his chamber music — such as the suites from The Royall Consort — was not performed at court spectacles, but served as banqueting music during the king’s dinners in the privy chamber.

Henry Lawes (1596-1662) was unquestionably the best songwriter of the middle of the 17th century, and we include songs by him, Charles Coleman, and Nicholas Lanier here. All these songs can be found in A Treasury of Musicke, which was printed in 1669. Henry was the older brother of William Lawes. He grew up in Salisbury and was probably a chorister at the Cathedral, where his father was a lay vicar. He was hired around 1620 or so by John Egerton, the Earl of Bridgewater, to teach music to his children. By 1631 he was appointed one of Charles I’s musicians “for the lutes and voices,” the group responsible for song composition and performance at 8

court entertainments. Around this time his friendship with John Milton must have begun, since they first collaborated in 1630.

Lawes arranged for Milton to write the masque of Comus, which was performed at Ludlow Castle for Egerton in 1634 and featured Egerton’s children (music master Lawes’s pupils) in prominent roles. Although there is no proof for it, it is easy to imagine that Milton wrote the lovely poem Lawes set in The Lark. In addition to his theatrical and secular chamber music, Lawes published music more acceptable to the new puritanical regime, including his 1648 Choice Psalmes. It was for this publication that Milton contributed the well-known sonnet “To Mr. H. Lawes on his Airs” with the following lines: “Harry, whose tuneful and well-measured song /First taught our English music how to span Words with just note and accent, not to scan With Midas’ ears, committing short and long, Thy worth and skill exempts thee from the throng.”

In fact, the Commonwealth seemed not to be an obstacle to Lawes, who was much in demand as a private teacher and musical host. While the Puritans were decidedly anti-theatrical, they could not entirely halt musical activity, nor did they wish to do so.

John Playford’s prolific music publishing career began during the Commonwealth period, and in fact, there seems to have been a burst of private music-making.

During this period the violin, as a serious instrument for consorts, seems to spread beyond its former court circle to the musical public at large. People made music “in private society, for many chose rather to fiddle at home, than goe out and be knockt on the head abroad.” There was no lack of material to sing and play, both domestic and imported. Returning to Milton’s laudatory sonnet and Lawes’s songs, it is apparent that Lawes was indeed adept at spanning words “with just note and accent.”

Charles Coleman (1605-1664) was a singer, lutenist, viol player, and composer. His court career commenced during the reign of James I and continued after the Restoration.

Charles II appointed him ‘composer in his Majesty’s private music for voice’ when Henry Lawes died. According to Coleman’s patron’s wife, “The man being a skilful composer in music, the rest of the King’s musicians often met at his house to practise new airs and prepare them for the king; and divers of the gentlemen and ladies that were affected with music, came hither to hear; others that were not, took that pretense to entertain themselves with the company.”

Coleman’s songs are more adventurous harmonically than those of Lawes. Venus lamenting her lost Adonis is a wonderful example. Since Coleman was a viol player among his many talents, we present this affecting song accompanied by viol played lyra-way.

Nicholas Lanier (1588-1666) was a member of James I’s King’s Musick, and sang and composed music for several of Ben Jonson’s court masques. He was appointed Master of Musick to Prince Charles in 1618, and so moved in the same circles as Lawes. Lanier was also an artist who designed masque scenery. Charles I sent him more than once to Italy to buy paintings. The 19th-century American poet and musician Sidney Lanier was a direct descendent. His ravishingly beautiful song No more shall meads be deck’d with flow’rs is an early example of a form Lanier may have personally imported from Italy — the strophic air which varies over a repeating bass.

These songs have not always been appreciated. Music historian Charles Burney, writing in the next century, spoke of “a series of unmeaning sounds” and “insipid simplicity,” but in the capable hands of a 9

singer familiar with the style they are the best affective settings in the English language before Purcell, and have a unique charm of their own.

Matthew Locke (c.1621-1677) was appointed composer to the kings’ Private Music and composed for an ensemble arrangement called the “broken consort” (all the instruments were in good repair; the name refers to the combination of violins, viols and continuo instruments). He was also named Composer to the Violins in 1660, the first year of the Restoration (he was succeeded by Purcell). By this time he was the leading composer in England. Most of the important members of the pre-war royal court’s musical establishment had died or were of advanced age. Outside of his court activities, Locke was busy contributing music to the commercial London theater, including the incidental music for Dryden and Davenant’s version of The Tempest (recorded by Folger Consort in 2000) and much more music for the Restoration’s public theaters. The suite by Locke performed here is from his Consort of Four Parts, described by Roger North, a contemporary English writer, as “a magnifick consort of 4 parts, after the old style, which was the last of the kind that hath bin made.”

It is a fine example of material for the Private Music, performed in the royal apartments in Whitehall. In pieces like this, Locke demonstrates a deft combination of English contrapuntal fantasy and the new, lighter French style favored by Charles II. But here the French style is transformed and in many ways made more interesting with its jarring dissonances and often jagged melodic motion. With Locke, things often take an interesting turn and progress quite unexpectedly.

Henry Purcell (1659-1695) must be considered one of the greatest composers of the Baroque, and certainly one of the greatest English composers of any era. As

noted, the taste of the court of Charles II and even more so that of James II (who detested the old-fashioned English viol fantasy) tended toward continental music. The days of relatively insular English instrumental and vocal music were over, and it became fashionable to incorporate French and Italian elements into the English tradition.

Purcell excelled at this. In the words of his friend Roger North, “he began to shew his great skill before the reform of musicke, al Italliano, and while he was warm in pursuit of it, Dyed, but a greater musical genius England never had.” As Dryden observed in his dedication to Purcell’s 1691 semi-opera, Diocletian, “English music was now learning Italian, which is its best Master, and studying a little of the French Air, to give it more of Gayety and Fashion.” However, it would be a mistake to think that the native English tradition ends with Purcell. Throughout his work there is a recognizable Englishness that separates him from continental contemporaries, a set of stylistic elements that make him distinct. English song, of course, is sung in English, and that makes all the difference in a musical practice intent on setting accurately the sound as well as the meaning of a text. This sets Purcell apart from his Italian and French contemporaries by itself. But even in the instrumental music, there is a certain English quirkiness, an angular sense of line and harmony that one does not find in continental music of the time. Roger North, for instance, admired Purcell’s “noble” sonatas, but found them “clog’d somewhat of an English vein.”

Purcell’s songs are astounding both for their quantity and remarkably consistent quality.

He wrote over 250 solo songs on all sorts of texts, both those intended for domestic use and those used in the various theater works to which he contributed. English musicians from just after his death became familiar with most of these from the two posthumous volumes, titled Orpheus Britannicus (1698 and 1702). The songs fall into several 10

categories. Many are simple strophic dance songs. Some of the early songs are serious declamatory works that could have been written by earlier composers like Henry Lawes or Matthew Locke. Many are based, like the sublime Music for a while, on repeating grounds. Purcell himself said that composing to a ground bass is “a thing of little difficulty.” Around 1680 he began writing songs in many sections, in a sense imitating the Italian cantata with its succession of recitative and aria sections. The song Sweeter than roses is one of these. It is surely one of the most electrifying descriptions of a kiss in music.

Purcell’s great viol fantasies were all written around 1680, perhaps as a way to teach himself this kind of formal counterpoint.

They are the last of a great tradition of contrapuntal fantasies for the viol, and it is to be doubted if Purcell could have fielded a consort of viols to play them by 1680, since the instrument (except for the bass of the family) was fading from favor. These profound works bring to mind the last ‘abstract’ compositions of J.S. Bach, the Art of the Fugue and the Musical Offering. They are perhaps conceived as compositional exercises, uncertainly linked to specific performance media, but richly rewarding for players to bring to life by any available means. We perform one of Purcell’s four-part fantasies, which is followed by a lovely bit of incidental music from Diocletian, a canon for two flutes over a ground bass. We have rescored it here for the sonorous combination of three bass viols.

polyphony while keeping the overall sonority light and graceful.

There are two surviving printed sets of sonatas by Purcell, a form he called “the chiefest Instrumental Musick now in request.” He found in the Italian trio sonatas he studied “a good deal of Art mixed with a good Air, which is the Perfection of a Master.” The 10 Sonatas in Four Parts were published posthumously by Purcell’s widow in 1697. These sonatas tend to consist of five or more short contrasting sections. In these features they are more like the older sonatas of Legrenzi and Vitali, rather than the progressive four-movement works of Corelli.

The great Corelli, incidentally, was said to have a “mean opinion” of Purcell’s sonatas.

But in spite of these conservative traits, these pieces are full of contrapuntal artifice, lively canzonas, and affecting and graceful slow movements.

We close our program with three more ground bass works. The Evening Hymn is a radiantly peaceful hymn, concluding with an extended and sublime Alleluia. The Chacony in G minor is another example of Purcell’s endlessly inventive variation technique. Benjamin Britten famously arranged it for modern string quartet. Finally, we end with a song from The Fairy Queen, which includes some of Purcell’s most inspired music for theater.

–Robert Eisenstein

The keyboard suite performed here is one of eight by Purcell from his A Choice Collection of Lessons for the Harpsichord or Spinnet; the first collection of keyboard music by one composer to be printed in England. Purcell makes wonderful use of the style brisé texture in this music, in which lute-style broken chords imply complex

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TEXTS AND TRANSLATIONS

The Lark Swift through the yielding air I glide, While night’s sable shades abide; Yet in my flight (though ne’re so fast) I tune and time the wild winds’ blast; And ere the sun be come about, Teach the young lark his lesson out, Who early as the day is born Sings his shrill anthem to the rising morn: Let never mortal lose the pains To imitate my airy strains, Whose pitch too high for human ears, Was set me by the tuneful spheres.

I carol to the fairies’ King, Wakes him a-morning when I sing: And when the sun stoops to the deep, Rock him again and his fair Queen asleep.

Venus lamenting her lost Adonis Wake, my Adonis, do not die.

One life’s enough for thee and I; Where are thy looks, thy wiles, Thy fears, thy frowns, thy smiles?

Alas, in vain I call.

One death hath snatched them all.

Yet death’s not deadly in that face, Death in those looks itself hath grace.

Ayres and dialogues, for one, two, and three voyces by Henry Lawes (1653) Folger Shakespeare Library

‘Twas this, ‘twas this I feared, When thy pale ghost appeared, This I presaged, when thundering Jove Tore the best myrtle in my grove, When my sick rosebuds lost their smell, And from my temples untouched fell, And was for some such thing My dove first hung her wing.

Whither art thou, my deity, gone?

Venus, in Venus there is none: In vain a goddess now am I, Only to grieve and not to die: But I will love my grief, Make tears my tears’ relief, And sorrow shall to me A new Adonis be.

And this the Fates shan’t rob me of whilst I A goddess am to grieve, and not to die.

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No more shall meads be deck’d with flow’rs No more shall meads be deck’d with flow’rs, Nor sweetness live in rosy bowers, Nor greenest buds on branches spring, Nor warbling birds delight to sing, Nor April violets paint the grove, When once I leave my Celia’s love.

The fish shall in the ocean burn, And fountains sweet shall bitter turn; The humble vale no floods shall know, When floods shall highest hills o’erflow: Black Lethe* shall oblivion leave, Before my Celia I deceive.

Love shall his bow and shafts lay by, And Venus’ doves want wings to fly: The sun refuse to show his light, And day shall then be turned to night; And in that night no star appear, Whene’er I leave my Celia dear.

Love shall no more inhabit Earth, Nor lovers more shall love for worth; Nor joy above in heaven dwell, Nor pain torment poor souls in hell: Grim Death no more shall horrid prove, Whene’er I leave bright Celia’s love. *In Greek mythology, Lethe is the spirit and river of forgetfulness and oblivion in the underworld

Music for a while Music for a while Shall all your cares beguile.

Wondering how your pains were eased And disdaining to be pleased Till Alecto* free the dead From their eternal bands, Till the snakes drop from her head, And the whip from out her hands.

Music for a while Shall all your cares beguile. *One of the Furies from Greek mythology, with snakes for hair

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I’ll sail upon the dog-star I’ll sail upon the dog-star, And then pursue the morning, I’ll chase the moon till it be noon, But I’ll make her leave her horning.* I’ll climb the frosty mountain, And there I’ll coin the weather; I’ll tear the rainbow from the sky, And tie both ends together.

The stars pluck from their orbs, too, And crowd them in my budget† And whether I’m a roaring boy††, Let all the nations judge it. * “Horning” refers to the appearance of the moon when it is increasing or in the form of a crescent.

The singer is explaining their intention to chase the moon and compel it to cease its natural cycle of waxing and waning. †A “budget” is a tool-bag or pouch. ††“Roaring boy” refers to a boy or man of riotous, noisy, and often drunken disposition who raises disturbances in the street.

Sweeter than roses Sweeter than roses, or cool evening breeze On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o’er.

What magic has victorious love!

For all I touch or see since that dear kiss, I hourly prove, all is love to me.

Hark! The echoing air Hark! the echoing air a triumph sings.

And all around, pleased Cupids clap their wings.

Now that the sun hath veiled his light (“An Evening Hymn”) Now that the sun hath veiled his light, And bid the world good night; To the soft bed, my body I dispose, But where shall my soul repose?

Dear God, even in Thy arms, And can there be any so sweet security!

Then to thy rest, o my soul!

And singing, praise the mercy that prolongs thy days.

Hallelujah!

Now the night is chas’d away Now the night is chas’d away, All salute the rising sun; ‘Tis that happy, happy day, The birthday of King Oberon.

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WITH THANKS Folger Consort Sponsors Mr. D. James Baker & Mrs. Emily Lind Baker Andrea “Andi” Kasarsky Karl K. & Carrol Benner Kindel David & Lenka Lundsten Mike Newton & Dr. Linda Werling Gail Orgelfinger & Charles Hanna Robert J. & Tina M. Tallaksen Louisa Woodville & Nigel Ogilvie Folger Shakespeare Library gratefully acknowledges the kind support of the following donors. The list below includes gifts and pledges of $250 or more received between October 1, 2020 and October 15, 2021. $50,000+ Twiss & Patrick Butler Fund Vinton & Sigrid Cerf Nicky Cymrot D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts Estate of Elizabeth Eisenstein Professor Jody Enders Frank F. Islam & Debbie Driesman Stephen Kieran J. May Liang & James Lintott Jacqueline Badger Mars Sara Miller McCune National Capital Arts & Cultural Affairs Program & the U.S. Commission of Fine Arts Share Fund Ellen & Bernard Young $25,000-$49,999 Keith & Celia Arnaud The Morris & Gwendolyn Cafritz Foundation Florence & Neal Cohen Louis & Bonnie Cohen Maygene & Steve Daniels Denise Gwyn Ferguson Susan Sachs Goldman Helen & David Kenney Lannan Foundation Dr. Carole Levin The Honorable Eugene & Dr. Carol Ludwig

Robin & Roger Millay Gail Kern Paster David M. Taylor Ms. Ednajane Truax $15,000 -$24,999 Anonymous D. Jarrett & Nora Arp Estate of Leman Fotos Dr. & Mrs. Werner L. Gundersheimer Andrea “Andi” Kasarsky William & Louisa Newlin Nicole & Steve Winard $10,000-$14,999 Anonymous Lisa Fuentes & Thomas Cohen The Max & Victoria Dreyfus Foundation, Inc. Melody & Al Fetske The Helen Clay Frick Foundation Margaret & David Gardner Mr. & Mrs. Amos B. Hostetter, Jr. Nancy & Steve Howard The Honorable John D. Macomber The Nancy Peery Marriott Foundation Mars Foundation Timothy & Linda O’Neill Drs. Kellie Robertson & Michael Witmore Shakespeare’s Globe, USA The Shubert Foundation $5,000-$9,999 Anonymous Mr. & Mrs. Jeffrey L. Bleich Ms. Gigi Bradford & Mr. Jim Stanford Dr. Bill & Evelyn Braithwaite Capitol Hill Community Foundation Mr. Richard H. Cleva Ms. Judith Matthews Craig Jeffrey P. Cunard & Mariko Ikehara Philip Deutch & Marne Levine Dimick Foundation Ms. Tracy Fisher Mr. William B. Garrison Gilbane Building Company Dr. Stephen H. Grant Ruth Hansen & Lawrence Plotkin John & Meg Hauge Mr. David Hitz Mr. David H. Hofstad Mark & Carol Hyman Fund

Maxine Isaacs Rick Kasten Mr. & Mrs. John Keppler KieranTimberlake Kitchings Family Foundation Ms. Alexandra Kovach Mr. Myron Lehtman Terence R. Murphy O.B.E. & Patricia Sherman Murphy Mr. Daniel Neal & Ms. Heller An Shapiro Gail Orgelfinger & Charles Hanna Craig Pascal Linda Levy Peck Drs. Eldor & Judith Pederson Mr. Ben Reiter & Mrs. Alice Goldman Reiter The Nora Roberts Foundation David Smith & Ilene Weinreich Gabriela & Douglas Smith Louis B. Thalheimer & Juliet A. Eurich Drs. Alden & Virginia Vaughan Tara Ghoshal Wallace Mr. David Weisman & Ms. Jacqueline Michel Kathie & Mike Williams $2,500-$4,999 Anonymous Gary Abrecht Ms. Jerrilyn V. Andrews & Mr. Donald E. Hesse D. James Baker & Emily Lind Baker Mr. & Mrs. Charles P. Brown Howard M. Brown Rebecca Bushnell & John Toner Timothy J. Carlton Anthony & Anna L. Carozza Foundation The Dallas Morse Coors Foundation for the Performing Arts Lorraine S. Dreyfuss Theatre Education Fund Emily & Michael Eig Mrs. John Eustice Nancy Ebb & Gary Ford Mrs. Anthony E. Hecht The H. John Heinz Family Fund of the Pittsburgh Foundation Ms. Anita G. Herrick Deidre Holmes DuBois & Christopher E. DuBois Derek & Leora Kaufman Mr. Barry Kropf Mr. Michael Lebovitz & Ana Paludi David & Lenka Lundsten 17

Leander & Stephanie McCormick-Goodhart Peter & Mary Jay Michel Martin & Elaine Miller Carl & Undine Nash Klaus Nehring & Yang-Ro Yoon Mrs. Jean F. Nordhaus Darcy & Andrew Nussbaum Melanie Nussdorf Mr. & Mrs. George Scola Robert J. & Tina M. Tallaksen Ramie Targoff & Stephen Greenblatt Mary Augusta & George D. Thomas Ms. Kathryn M. Truex Weissberg Foundation Nyla & William G. Witmore Ms. Louisa Woodville & Mr. Nigel R. Ogilvie Mr. David Zapolsky & Ms. Lynn Hubbard $1,000-$2,499 Anonymous Bill & Sunny Alsup American Friends of the Shakespeare Birthplace Trust, Inc. Mr. David E. Brewster & Ms. Linda L. Ayres Bess & Greg Ballentine Ms. Lisa U. Baskin Richard D. Batchelder, Jr. Mr. Richard Ben-Veniste & Ms. Donna Grell Mr. John Baskin Buntin & Dr. Melinda Beeuwkes Buntin Mr. William Burnside Mr. & Mrs. Peter J. Callahan Ms. Doritt Carroll Professor Carmen A. Casís Ms. Merritt Chesley In memory of Mary Harnett Claycomb Mr. Eric Cooper Dr. & Mrs. Herbert L. Cooper Ms. Harriet H. Davis Dr. & Mrs. William Davis Dr. Ross W. Duffin & Dr. Beverly J. Simmons Rose & John Eberhardt Marjorie & Anthony Elson Mr. Leo S. Fisher & Ms. Sue J. Duncan Ms. Laurie Fletcher & Dr. Allan Fraser Robert & Carole Fontenrose Mr. James Earl Ford Mr. Dennis Gallagher

Mr. & Mrs. Michael P. Galvin Mr. & Mrs. Harold B. Gill Ms. Martha Gimbel Ms. Patricia Gray Dr. Nancy E. Gwinn & Dr. John Y. Cole Mr. Joseph M. Hassett & Ms. Carol Melton Ms. Christine Healey & Mr. Ryan C. Brown Terrance & Noel Hefty Mr. Jonathan Hope & Ms. Ayanna Thompson Ms. Elizabeth A. Hylton Ms. Elizabeth M. Janthey Dr. David E. Johnson & Ms. Wendy Frieman Mr. Alan Jones Dr. & Mrs. Russel C. Jones Sherman & Maureen Katz The John F. Kennedy Center for the Performing Arts Mr. & Mrs. Keith L. Knowlton Ms. Rosa Lamoreaux & Mr. James McHugh Dr. Denny Lane & Dr. Naoko Aoki Ms. Leslie Larson & Mr. Donald Katz Silman Dr. Calvin C. Linnemann & Rev. Patricia G. Linnemann Mr. & Mrs. Robert Case Liotta Mrs. Peter Lockwood Mr. & Mrs. Richard L. Lyon Mr. Thomas G. MacCracken Ms. Ellen Maland & Mr. Donald B. Adams Mr. Winton E. Matthews, Jr. Dr. Steven W. May J.C. & Mary McElveen John & Dianne McGinnis Ms. Antoinette Miller Ms. Kristie Miller Mr. & Ms. Stephen S. Mitchell The Honorable Mary V. Mochary Mr. Jonathan Mormino The Mosaic Foundation (of R. & P. Heydon) Cullen & Anna Marie Murphy Betty & Jeffrey Myers Dr. Rebeccah Kinnamon Neff Dr. Peggy H. O’Brien & Mr. Michael Ellis-Tolaydo OLIN Partnership Andrew Oliver, Jr. & Melanie B. Du Bois Mr. & Mrs. David M. Osnos Anne Parten & Philip Nelson

Dr. Hans S. Pawlisch Estate of Marion D. Perret Mr. & Mrs. Carl F. Pfeiffer Mr. Eugene Pinkard & Ms. Liska Friedman Jane & Paul Pisano Whayne & Ursula Quin Daniel L. Rabinowitz & Ann F. Thomas Mrs. Donald Rappaport Mr. & Mrs. Joseph H. Reynolds David Roberts & David Spencer Dr. Markley Roberts Susan & Frank Salinger Mr. Josh Samet & Ms. Juli Baer Mr. & Mrs. Thomas G. Saunders Ms. Susan Schwab Lois G. Schwoerer Prof. Barbara A. Shailor PhD & Prof. Harry W. Blair II PhD Joanne M. Sten Mr. Paul Stevens Tom & Pat Stevens Mr. Douglas Struck Ms. Ruth Taylor Kidd Mr. John M. Taylor Mr. Leslie C. Taylor Mr. & Mrs. Tim Thornton Mr. James Baxter & Mrs. Sylvia Toone Ms. Susan Wilcox Turner Mr. Nigel Twose & Ms. Priscilla Annamanthodo Ms. Janet Walden Toby & Stacie Webb Gail Weinmann & Nathan Billig Ms. Carolyn L. Wheeler Mr. Donald E. White & Ms. Betty W. Good-White Professor R L Widmann Beverly & Christopher With Mr. Pat M. Woodward Jr. Anne & Fred Woodworth Ms. Abby L. Yochelson & Mr. Wallace Mlyniec Dr. Justin Zaremby & Dr. John S. Gordon $500-$999 Anonymous Mr. & Mrs. Howard Ahmanson Dr. Peter J. Albert & Ms. Charlotte Mahoney Dr. Boris Allan & Ms. Kathleen L. Pomroy Mr. David W. Allen Ms. Jennifer Apostol Ms. Doris E. Austin

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Mr. & Mrs. Robert D. Bachmann Mr. & Mrs. David Bair Mr. & Mrs. David B. Barefoot Ms. Danielle M. Beauchamp Ms. Kyle Z. Bell & Mr. Alan G.R. Bell Mr. Brent James Bennett Ms. Ann Billingsley Dr. Jean C. Bolan Mr. & Mrs. Richard Bott Dr. Mary H. Branton Susan & Dixon Butler Ms. Victoria Butler & Mr. Tim Carney Mr. & Mrs. Lewis R. Cabe Linda & John Cogdill Professor Anne E. Coldiron Ronald M. Costell, MD, & Marsha E. Swiss Drs. John W. Cox & Lo-An T. Nguyen-Cox Mr. Andrew C. Cross & Ms. Jamie M. Patten Ms. Sarah A. Davidson Ms. Jeanne De Sa Mr. Giuseppe Debartolo Ms. Dorothea W. Dickerman & Mr. Richard Kevin Becker Ms. Susan C. Ditto Mr. & Mrs. John Douglass Ms. Roberta L. Ellington Louise H. Engle Mr. Douglas H. Erwin & Dr. Wendy Wiswall Mr. Gerald Feierstein & Ms. Carolyn McIntyre Charles Fendig & Maria Fisher Ms. Joyce Marie Flaherty Dr. & Mrs. Arthur Foreman Ms. Raiford Gaffney Donald Gilman Mr. & Mrs. Daniel L. Goelzer Mr. Gregg H.S. Golden & Dr. Laura George Professor Suzanne Gossett Mr. Bruce N. Gregory & Ms. Paula Causey Janet & Christopher Griffin Ms. Maria E. Grosjean Donald & Susan Guiney Dr. Michael H. Guss Mr. & Mrs. C. David Gustafson Robin Langfan & Jay M. Hammer Ms. Bonnie Hammerschlag Ms. Vicki R. Herrmann Mr. & Mrs. Jay Herson Michael J. Hirrel Dr. Thomas Hudson

Mr. & Mrs. Paul Huey-Burns Mr. & Mrs. Stephen E. Hurst Ms. Virginia James Mr. Glen Johnson Ms. Viola G. Johnson Theresa & Robert Keatinge Mr. Christopher Kendall & Ms. Susan Schilperoort Katherine & Duncan Kennedy Mr. Robert L. Kimmins Ms. Kathleen Knepper Mr. Daniel Larkins Mr. Mark Samuels Lasner Mr. Kurt Lauer Mr. & Mrs. Thomas A. Lauzon Ms. Hannah L. Levinson Professor Fred J. Levy & Ms. Nancy Taylor Mr. & Mrs. Lawrence H. Liden Dr. Naomi Conn Liebler Mr. Joseph Loewenstein & Ms. C. Lynne Tatlock Ms. Mary Frances Lowe Kathleen Lynch & John Blaney Mr. & Mrs. Timothy Lynch Ms. Esther M. Mackintosh Mr. & Mrs. Mark A. Mancini Mr. Tom Manteuffel & Ms. Rachel Manteuffel Ms. Catherine McClave Marilyn & Charles McMillion Dr. Brian R. McNeill & Ms. Kathryn McKenzie Dr. Judith Mechanick Beverly J. Melani & Bruce E. Walker Dr. Steve Mentz & Ms. Alinor C. Sterling Mr. Abbott Miller Mr. & Mrs. W. Todd Miller Dr. Robert S. Miola Dr. & Mrs. Andy B. Molchon Jane & Paul Molloy Mr. E. Craig Moody Kathleen M. Morris Sheila A. Murphy Theodore & Mary Eugenia Myer Mike Newton & Dr. Linda Werling Dr. & Mrs. Malcolm B. Niedner Professor Leonard Niehoff Mr. Joe M. Norton Douglas W. & Maria T. O’Donnell Mr. Henry Otto Mr. & Mrs. Larry D. Palmer Mr. & Mrs. Kenneth Parr Mr. & Mrs. Peter Parshall Ms. Barbara A. Patocka

Ms. Sheila J. Peters Mr. & Mrs. Paul W. Phillips Dr. & Mrs. Warren S. Poland Mr. Guy B. Potucek Mr. John R. Preston Ms. Gerit Ann Quealy John & Barbara Ratigan Ms. Linda J. Ravdin Mr. Michael Reis Mr. Charles Rembert Mr. Steve Ross Mr. Eugene Schied Dr. James Shapiro Patricia L. Sims, Esq. & David M. Sims, Esq. Paul Smith & Michael Dennis Mr. & Mrs. Jerry Sollinger Marilyn & Hugh South Mr. Daniel Steiner Ms. Mary K. Sturtevant Mr. & Mrs. Mitchell A. Sutterfield Ms. Susan Jaffe Tane Mr. Brian Thompson Diane Tipton Bradt & David Bradt Ms. Lynn Trundle James & Carol Tsang Mr. & Mrs. James T. Turner Mr. & Mrs. Robert F. Van Voorhees Ms. Christine L. Vaughn & Mr. Christopher A. Dunn Dr. Barbara A. Wanchisen Mr. Christopher White Webster Dr. Gail C. Weigl Ms. Linda Weitz Ms. Jacqueline West Dr. Brandy J. White Ms. Maureen Wilkin Gary & Josephine Williams Ms. d’Andre Willis Mr. Michael A. Winkelman Mr. Robert J. Woodruff $250-$499 Anonymous Dr. & Mrs. William D. Adams Mr. Robert Adler Ms. Monica Lynn Agree Mr. Stephen Ahern Mr. Thomas Ahern Jr. Mr. & Mrs. Travis A. Allen Ms. Shirley Andrews Carolyn & Bob Axt Ms. Suzanne Bakshian & Mr. Vincent A. Chiappinelli Mr. & Mrs. Thomas M. Barry Mr. & Mrs. David M. Beckmann 19

Mr. Peter Belli Dr. Donald R. Bennett Ellen S. Berelson & Larry Franks Mr. Lawrence Biemiller Ms. Amy Bierer & Ms. Audrey Watson Ms. Betty K. Bird & Mr. Jeffrey H. Domber Ms. Catherine Blake & Dr. Frank Eisenberg Dr. & Mrs. David W. Blois Mr. James L. Blum Professor & Mrs. William A. Bollinger George H. Booth, II Mr. & Ms. Paul Brace Ms. Kelly Bransome Dr. Roberta Brody Mr. & Mrs. Geoffrey H. Brown Dr. James C. Bulman Mr. Stanley C. Burgess, Jr. Ms. C. Dawn Causey Colonel & Mrs. Larry M. Cereghino Ms. Helen E. Clark Ms. Carol Clausen Leslie & Ray Clevenger Mr. Steven R. Coe Adam & Debbie Cohen Mr. David M. Colbert Dr. Theresa M. Coletti Mr. & Mrs. John Scott Colley Mr. & Mrs. John J. Collins Mr. John W. Conlee Ms. Marianne Constable Mr. & Mrs. William E. Cooke Ms. Katheryn L. Cranford Mr. John Cuddy Mr. & Mrs. Robert J. Daniels Mr. Jefferson James Davis Dr. Janice F. Delaney Mr. & Mrs. Dominick Demarco Mr. & Mrs. Daniel A. DeVincentis Dr. Jose R. Diaz-Fernandez Mr. James M. Doyle Ms. Olga Dragan Mr. John Driscoll Col. & Mrs. Valentine Dugie Mr. Joseph Dvorak Dr. Terry Dwyer & Dr. Marcy F. Petrini Ms. Farleigh Earhart Ms. Alexis Earp Mr. & Mrs. Charles L. Eater Abbey S. & Kenneth M. Fagin John & Paula Finedore Ms. Pamela Fisher Mrs. Florence Bryan Fowlkes Mr. Dennis Fravel Ms. Jo Anne Freed

Ms. Rhonda Friedler Mr. Roland Mushat Frye, Jr. & Ms. Susan M. Pettey Dr. Mary C. Fuller Ms. Mary B. Fuson Patricia Gallagher & Stephen Greenberg Dr. Jill Gerson Jere Gibber & J.G. Harrington Mrs. Nanette Gibbs Brent Glass & Cathryn Keller Mr. & Mrs. Michael Goldstein Karen Greene Ann Greer Neal & Janice Gregory Dr. Martha Gross & Mr. Robert Tracy Mr. & Mrs. Joseph H. Guttentag Mr. Robert T. Haas & Ms. Anne Roger Ms. Dorothy Haase Mr. Clifford Hackett Ridgway & Jill Hall Ms. Christina Halpern Dr. Miriam Harrington Professor Joan E. Hartman Ms. Sheridan Harvey Wyatt R. & Susan N. Haskell Ms. Barbara W. Hazelett Robert E. Hebda Patricia Henkel Ms. Margaret F. Hennessey Mr. James K. Hickel Mr. James A. Hill Jr. & Ms. Elze Adams Mr. & Mrs. Fred Hill Mr. & Mrs. Stanley J. Hodziewich, Jr. Dr. Mack P. Holt Mavis Huang & Erica Huang Ms. Sandra Hussey Ms. Vickie Johnson Mr. Peter Judd Ms. Belinda Kane Ms. Sara W. Kane Mr. Randall KC Kau & Ms. Elizabeth M. Olmsted Dr. & Mrs. Paul L. Kaufman Mr. & Mrs. Steve Kitchen Mrs. Heather A. Knight Dana & Ray Koch Mr. Michael Kolakowski Mr. Robert Kopp & Mrs. Nancy Kopp Dr. Natasha Korda Mr. & Mrs. George Koukourakis Kathleen Cogan Kovach Kim & Elizabeth Kowalewski Mr. Matthew P. LaFortune &

Ms. Erin M. Graham Ms. Heather Lancaster & Mr. Frederick Bernthal Dr. Douglas M. Lanier Mr. David W. Lankford Drs. Douglas & Janet Laube Mr. John D. Lawrence Lilly S. Lievsay Mr. Roy Lind Joseph & Sonya Livingston Professor Kathleen P. Long Prof. Julia R. Lupton Ms. Karen Sue Lyon & Mr. Edward McManus Dr. Lynne Magnusson Mr. John Makepeace & Mr. Vladimir Poletaev Dr. Deborah L. Malkovich & Dr. William Freimuth Mr. & Mrs. Martin C. Mangold Ms. Allison Mankin & Dr. Jim Carton Mr. Howard Marchitello Dr. Arthur F. Marotti Mr. Roger Mattioli Dr. Margaret Maurer & Mr. Carl Peterson Ms. Susan McCloskey Ms. Anna Thérèse McGowan Mr. Patrick McGraw Professor Jennifer McNabb Dr. Heather McPherson Ms. Elizabeth S. Medaglia & Mr. Joseph H. Sinnott Ms. Nancy Elizabeth Meiners Mr. Steven J. Metalitz & Ms. Kit J. Gage Ms. Eleanor C. Miller Mr. & Mrs. George K. Miller Robert & Dale Mnookin Mr. & Mrs. Vince Morelli Ms. Megan Morse Mr. Mark Nagumo & Ms. Janis L. Dote Mrs. Winkle W. Nemeth Mr. & Mrs. Michael Neuman Mr. Matthew Norris Mr. Robert L. O’Connell & Ms. Carol O’Connell Dr. Anne M. O’Donnell Mr. Timothy J. O’Mara Ms. Patricia J. Overmeyer Dr. Jessie Ann Owens Mr. John J. Parisi & Ms. Anne E. Broker Dr. Michael P. Parker Mr. & Mrs. Robert D. Paulus Deborah C. Payne Stan Peabody Mr. James I. Pearce Ms. Jane Pearce 20

Mr. Peter Pennington Mr. & Mrs. Gary M. Peterson Dr. Sylvia Holton Peterson & Dr. William Peterson Ms. Kathleen M. Peyman & Mr. Lawley Paisley-Jones Mr. & Mrs. James S. Polk Mrs. Ruth Pontius Drs. Maria T. & Thomas A. Prendergast Ms. Deborah Prigal Ms. Mary E. Procter Mr. & Mrs. Arnold Quint Mr. Terry Quist Ms. Paula E. Rabkin Robert Ramsey & Betti Brown Ms. Tonya Rawe Mr. Peter S. Reichertz Mr. Christopher N. Reichow Mr. & Mrs. Glenn M. Reiter Mr. Philip J. Reynolds Dr. Charles Rice Alice Riginos & Visilis Riginos Winnie & Alexander Robinson Mr. & Mrs. Robert Rosenbaum Mr. Burton X. Rosenberg Mr. Edward Rowland & Mrs. Salley Cotten-Rowland Ms. Sara Russell Mrs. Betty Sams Mrs. Edith N. Schafer Ms. Julie F. Schauer Mr. Stephen Scherr Mr. David M. Schiffman Mr. Andrew C. Schirrmeister III Lt. Gen Robt E Schmidle, Jr., USMC (ret) & Pamela E. Schmidle Mrs. Gjertrud Schnackenberg Mr. D. Stanton Sechler Professor & Mrs. Mortimer Sellers Mr. Roald Severtson Dr. Anita Gilman Sherman Dr. & Mrs. Daniel A. Shore Dr. Sherry Wood Shuman & Mr. Philip B. Shuman Dr. & Mrs. Paul A. Sieving Dr. Daniel L. Skubick Ms. Joanne Solga Ms. Lynn Soukup Mr. Steve Spaulding & Dr. Alicen B Spaulding Richard Spear & Athena Tacha Spear Ms. Sheila Kautt Robert Staples & Barbara Fahs Charles Mr. & Mrs. Albert P. Stauderman

John & Alison Steadman Ms. Cathleen Ann Steg & Mr. Schuyler E. Schell Mr. & Mrs. Donald Street Ms. Theresa A. Sullivan Edward & Jacqueline Szupel Ambassador & Mrs. Richard Teare Mr. James Tennies Mr. & Mrs. John V. Thomas Ms. Monica Thrash Ms. Jeanette C. Tokaz Ms. Helen M. Troy Ms. Helen G. Urquhart Ms. Cynthia Wagner Mr. BJ Wasilewski Mr. Bryan Watabe Mr. Matthew S. Watson Mr. Thomas Weaver Ms. Cynthia B. Weeks Mr. Peter Q. Weeks Mr. David Weiss Mr. Peter Wells Dr. & Mrs. John R. Wennersten Dorothy B. Wexler Ms. Leslie Wheelock Margaret Whitehead Mr. Leonardo M. Williams Ms. Carolyn A. Wilson Mr. & Mrs. Scott M. Wilson Ms. Elizabeth Witt Ms. Julianne T. Wojay Ms. Helena E. Wright Maureen & Brent Yacobucci Dr. Robert G. Young Georgianna Ziegler Additional support of Folger Consort comes from Early Music Endowment Fund Eunice & Mones E. Hawley Early Music Endowment Fund The Estate of Pamela L. Kopp 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 Professor Judith H. Anderson Ms. Doris E. Austin Dr. Carol Barton

Professor Jackson C. Boswell Gigi Bradford Dr. Norma Broude & Dr. Mary D. Garrard Mr. William J. Camarinos Professor Carmen A. Casís Florence & Neal Cohen Professor Anne E. Coldiron 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 Ms. Christine M. Feinthel Wendy Frieman & David Johnson Susan Sachs Goldman 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 William L. Hopkins* Ms. Elizabeth J. Hunt Lizabeth Staursky Hurst Maxine Isaacs Bruce Janacek Rebecca Jensen & Chris Biemesderfer Mrs. Robert J.T. Joy* Andrea “Andi” Kasarsky Paul & Margaret Kaufman Dr. Elizabeth T. Kennan Karl K. & Carrol Benner Kindel Professor John N. King* Pauline G. King Merwin Kliman* Dana and Ray Koch Professor Barbara Kreps Mrs. and Mr. Edward R. Leahy Dr. Carole Levin Lilly S. Lievsay Ken Ludwig & Adrienne George Dr. Nancy Klein Maguire Mark McConnell & Leslie Delagran Pam McFarland & Brian Hagenbuch Robin & Roger Millay Robert Moynihan * Deceased

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Ms. Sheila A. Murphy Louisa Foulke Newlin Jennifer Newton Dr. Jessie Ann Owens Gail Kern Paster Dr. Deborah C. Payne Linda Levy Peck Dr. Sylvia Holton Peterson Professor Kristen Poole Professor Anne Lake Prescott Dr. Mark Rankin Dr. Markley Roberts Ingrid Rose Susan & Frank Salinger Dr. Richard Schoch

THANK

Mrs. S. Schoenbaum Lisa Schroeter Dr. Lois Green Schwoerer The Honorable Theodore Sedgwick Albert H. Small* Richard Spear & Athena Tacha Spear Robin Swope Ednajane Truax Neal T. Turtell* Scott & Liz Vance Drs. Alden & Virginia Vaughan Dr. Barbara A. Wanchisen Richard M. Waugaman, MD & Elisabeth P. Waugaman, Ph.D.

Professor R L Widmann George W. Williams The Honorable Karen Hastie Williams* Louisa Woodville Dr. Georgianna Ziegler * Deceased

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.

YOU FOR THE SUPPORT OF OUR COMMUNITY PARTNERS

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STAFF DIVISION OF PUBLIC PROGRAMS Karen Ann Daniels, Director of Programming and Artistic Director, Folger Theatre Beth Emelson, Associate Artistic Producer/ Associate Director of Public Programs David Mozur, Folger Consort Manager David Polk, General Manager Charles Flye, Production Manager/ Technical Director Rebekah Sheffer, Assistant Technical Director Peter Eramo, Jr., Events Publicity and Marketing Manager

Heather Newhouse, Patron Services Manager Danica Zielinski-Natter, Lead House Manager Emma Poltrack, Public Programs Administrative Assistant Teri Cross Davis, Poetry Coordinator Cidney Forkpah, Wardrobe Manager Brandon Roe, Sound Engineer SPECIAL TO FOLGER CONSORT Aaron J. Percy and Matthew Hardy, Video Production and Lighting Design Barbara Shaw, Typesetting

Thank you to St. Mark’s Episcopal Church

Brittany Diliberto, BeeTwoSweet

The Rev. Michele H. Morgan Jeff Kempskie, Director of Music James Rostron, Parish Administrator Ernesto Molina, St. Mark’s Players

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