Beethoven's Symphony No.9

August 2, 2017

7 pm

at the DCR’s Hatch Shell

A COMMUNITY SUPPORTED ORCHESTRA

SPONSORED BY:

Dear Concertgoer,

We are thrilled that you have chosen to spend a summer evening with us at the DCR’s Hatch Memorial Shell on the banks of the Charles River for one of our 2017 series of free orchestral concerts. Last year, we celebrated our 15th anniversary as the Boston Landmarks Orchestra, and this year, we celebrate our 10th anniversary performing at this iconic and historic venue on the Esplanade.

Our mission is to make orchestral music free and accessible to everyone in the greater Boston community, and visitors from near and far. We are proud of our Music Director Christopher Wilkins’s artistic integrity and musical leadership, as well as his “strategy of participation” to engage with community partners from all over our city, and youth and adults in every Boston neighborhood.

We have grown fond of repeating the phrase “our concerts are free, but they are not free to produce!” The members of our orchestra are among Boston’s finest, most highly trained professional musicians. We provide the best sound engineering possible for our venue. And we invest significantly in our education and community outreach programs and our community partnerships.

Please consider a suggested contribution of $20 to the Boston Landmarks Orchestra to help us continue this summertime tradition for many years to come, adding immeasurably to the quality of life in Boston.

You may return the enclosed reply envelope and your contribution to one of our volunteers in blue t-shirts or drop it off at our Information Tent.

Visit www.landmarksorchestra.org/donate to donate securely online. Contributions may also be mailed to: Boston Landmarks Orchestra, 214 Lincoln Street, Suite 331, Boston, MA 02134

Please enjoy the evening, and we hope to see you again soon.

Sincerely,

Laura Connors Jo Frances Meyer Chair, Board of Trustees Executive Director

Beethoven’s Symphony No. 9

Boston Landmarks Orchestra Christopher Wilkins, Music Director

Adrian Anantawan, violin Michelle Johnson, soprano Emily Marvosh, contralto

William Hite, tenor Ron Williams, baritone

Boston Landmarks One City Choir Back Bay Chorale, Scott Allen Jarrett, Music Director

Turkish March from The Ruins of Athens, op. 113 Ludwig van Beethoven

(1770-1827)

Romance in F major, op. 50 Beethoven

Adrian Anantawan, violin

Incidental music to Goethe’s Egmont Beethoven

Lied—Die Trommel gerühret (The drum resounds) Entracte—Poco sostenuto e risoluto Overture

Michelle Johnson, soprano

INTERMISSION

Symphony No. 9 in D minor, op. 125 Beethoven

Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo IAdagio molto e cantabile—Andante moderato Finale: Ode to Joy

Michelle Johnson, soprano Emily Marvosh, contralto

William Hite, tenor Ron Williams, baritone

Boston Landmarks Orchestra

VIOLIN I

Gregory Vitale, concertmaster

Christine Vitale Pattison Story Gerald Mordis Tera Gorsett Colin Davis Heidi Braun-Hill Lisa Brooke

VIOLIN II

Paula Oakes, principal

Stacey Alden Maynard Goldman Robert Curtis Melissa Howe Olga Kouznetsova

VIOLA

Kenneth Stalberg, principal

Abigail Cross Donna Jerome Don Krishnaswami Andra Voldins Ashleigh Gordon

CELLO

Loewi Lin, principal

Aron Zelkowicz Jolene Kessler Melanie Dyball Emileigh Vandiver

BASS

Robert Lynam, principal

Barry Boettger Kevin Green John Shiu

FLUTE

Lisa Hennessy, principal

Teresa Patton Iva Milch

PICCOLO

Teresa Patton Iva Milch

OBOE Ben Fox, principal

Lynda Jacquin

CLARINET

Steven Jackson, principal

Margo McGowan

BASSOON

Michael Mechanic, principal

Elah Grandel Gregory Newton

CONTRABASSOON

Gregory Newton

HORN Kevin Owen, principal

Jane Sebring Whitacre Hill Nancy Hudgins

TRUMPET

Dana Oakes, principal

Jesse Levine

TROMBONE

Robert Couture, principal

Hans Bohn Angel Subero

TUBA

Donald Rankin, principal

TIMPANI

Jeffrey Fischer, principal

PERCUSSION

Robert Schulz, principal

Craig McNutt

Maynard Goldman, Personnel Manager

Kristo Kondakci, Assistant Conductor

American Sign Language (ASL) Team

Adrianna Neefus Jessica Palmariello

The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in the City of Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra regularly collaborates with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides.

The Boston Landmarks Orchestra is committed to BREAKING DOWN BARRIERS to access for people with disabilities. It offers braille, large-print, and text-to-speech programs, assisted listening devices, and ambassadors to greet and

assist people at a handicapped drop-off point. The Orchestra works with American Sign Language (ASL) interpreters as performers at select concerts. Rather than providing direct translation of the spoken word, interpreters communicate the feeling of the music and the remarks given during the concert.

Boston Landmarks One City Choir

SOPRANO Emily Achtenberg (Jamaica Plain) Dina Ali (Cambridge) Sheila Azores (Mattapan) Jocylyn Bailin (Needham) Lisa Bello (Needham) Sue Chang (Watertown) Doris Drake (Dedham) Patricia Driscoll (Roslindale)* Naomi Dunson (Cambridge) Christiane Dutton (Arlington) Sarah Fitzpatrick (Reading) Barbara Piper Green (East Boston) Meredith Gulley (Roxbury) Melissa Glenn Haber (Somerville)* Meredith Hall (Quincy)* Sophia Halling (Wenham) Kristina Haslinger (Cambridge) Alison Hickey (Cambridge)* Sarah Holmes (Newton) Bei Hopkins (Lexington) Kai-Yin Hsu (Lexington) Mimi Huntington (Cambridge) Eliana Hussain (Arlington) Christine Jesoraldo (Lynn) Kathy Johnson (Cambridge) Kristin Kulash (Cambridge)* Melody Kwok (Canton)* San San Lee (Newton) Jean MacGowan (West Roxbury) Kelly Anne McMullin (West Roxbury)* Judith Melin (Brookline) Lisa Micali (Beacon Hill) Katie Murphy (Newton) Tammy Ngai (Brookline) Sylvia Pearce (Cambridge) Sharon Pei (Methuen) Dottie Pitt (Dorchester) Beth Ratay (Somerville)* Kim Reid (Boxford)* Renee Saindon (Somerville) Erin Sanborn (Wakefield) Peg Schadelbauer (Waltham) Mary-Margaret Segraves (Cambridge)*

Pamela St. Aimee (Mattapan) Sheryl Stockless (Framingham) Donna Stratford (Belmont) Li-han Tseng (Brighton) Brenda Ulrich (Roslindale)* Linda Velgouse (Watertown) Kathryn Wang (Cambridge) Susan Wenham Nicole Werther (Somerville)* Wenqiong Xue (Medfield) Chen Yan (Ayer)

ALTO Lisa Anderson (Brookline) Laurie J. Arnone (Roslindale) Candace Brooks (Medford) Susan Burnett-Halling (Wenham) Margaret K. Burt (Harvard) Carmen Cardoza (Hanover) Hannah Davis (Dedham) Margaret Evans (Brookline) Rina Farber-Mazor (Woburn) Sylvia Ferrell-Jones (Arlington)* Lisa Geoghegan (West Roxbury) Nadja B. Gould (Watertown) Janet Halloran (Weymouth) Karen Hawthorne (Medford)* Donna M. Hicks (Boxborough) Marjorie Hilton (Cambridge) Janet Hobbs (Cambridge) Julia Jou (Auburndale) Caroline Keith (Cambridge) Julia Krol (Brighton) Terry Lane (Newton Centre) Linda Langdon (Arlington) Joanne LaPlant (Allston) Angel Long (Revere) Allison Mann (Cambridge) Susan Maxwell (Needham) Susan Meurling (North End) Ludovica Mottura (Brookline)* Anja van Ommering (Cambridge)* Patricia G Pepper (Watertown) Susan Grose Rioff (Cambridge)* Sandy Sachs (Jamaica Plain)

Ruth Sacks (Belmont) Tammy Sadok (Needham) Ellen Scerbo (Downtown Crossing)* Molly Schen (Roslindale)* Janet Selcer (Brookline)* Sharon Shriver (Medford)* Britt Simonson (Fenway/Kenmore) Huahang Sun (Brookline) Carol Tong (Arlington) Sosi Toomajanian (Watertown) Rikki Tracy (Cambridge)* Kuen Tuen (Winchester) Pooja Usgaonkar (Cambridge) Kate Wall (Cambridge) Jeanne Walsh (Brighton) Hong Wei (Newton) Cynthia Welch-Moriarty (Amherst) Mary M Wendell (Milton)* Deborah Wheeler (Beverly) Ichen Wu (Newton) Sonya Huang (Somerville)

TENOR Bayani Anastacio (Malden) George Batchelor (Newton)* Anthony Clayton (Arlington) Alex Dippold (Cohasset)* Bradley Dunkin (Medford)* Paul Garver (Acton) Talib Hussain (Arlington) John E. Meurling (North End) Miguel Montalva (Roslindale)* Matthew Morse (Allston)* Justin Mazzola Paluska (Cambridge) Jian Pu (Reading) Paul Rabin (Jamaica Plain)* Joseph Reid (Winchester)* Timothy Rodriguez (Brookline) Lucas Sanders (Cambridge)

Matt Siano (Newton) Peter Smith (Roslindale)* William Tuttle (West Roxbury)* James Wang (Sharon) Katheleen Williams (Cambridge) Thomas Yan (Lexington)

BASS Ira S. Alkalay (Newton) David Ames (Newton) David Arnold (North End) John Cho (Arlington) David Clough (Arlington) Eugene Chang (Concord) Donald E. Dutton (Arlington) Michael Edson (Sharon) Jack Elder (Brookline)* Bob Goldsmith (Carlisle) Mike Halling (Wenham) David Hammond (Malden) William S. Kuttner (Charlestown) Jim Lawton (Brookline) Michael Levin (Brookline) Paul McLean (Cambridge) Daniel Malis (Cambridge) David N. Menchaca (Brookline) Jonathan Mott (Somerville)* Martin Pierce (Lincoln)* Nathaniel Pulsifer (Ipswich) Abby Reichlin (Brighton)* Thomas R. Rowen (Peabody) Norman Roye (Quincy)* Peter Rutten (Arlington) Sean Shen (Methuen) Kenneth D. Silber (Cambridge) Ed Tiffany (South End) Crispin Weinberg (Brookline) Milton Wright (Hyde Park)

Translations will be tweeted live during portions of tonight’s concert! Follow @LandmarksNotes (not @landmarksorch) to receive real time translations as you watch the concert.

*indicates Back Bay Chorale member

PODIUM NOTE:

For expressive range, communicative power, and sheer aura, no work commands our attention as Beethoven’s Ninth does. The purity and force of its two-hundred-year-old vision still brings solace to our world. It was performed last month at the G-20 summit in Hamburg because, according to Angela Merkel, it is “a hymn to humanity, peace, and international understanding.”

When Beethoven unveiled the Ninth Symphony to an eager Viennese audience in 1824, he had not written a symphony in nearly twelve years. It was an historic occasion attended by the leading figures of Viennese society even though public taste had long-since turned away from the complexities of Beethoven’s music toward the more easy-to-digest style of Rossini. Beethoven was not on board with the trend: "You do not know how to deal with real drama," Beethoven reportedly told Rossini to his face when they met in 1822.

Real drama for Beethoven meant “to front only the essential facts of life,” including its philosophical, political, and ethical dimensions. It meant contemplation of the sublime, and reverence for the divine. It did not mean writing music to fill a few hours with pleasant diversion. Beethoven wrote music to be listened to, and on his own terms.

Tonight’s program contains work from what are commonly referred to as the three periods of Beethoven’s output: early, middle, and late. The Ruins of Athens is not a late work, despite a high opus number. It was composed in 1811, the same year as his Seventh Symphony. The Turkish March—with its colorful use of Janissary percussion (bass drum, cymbal, triangle, and switch)—is familiar to many who have little familiarity with classical music. When he settled in Vienna at the age of twenty-two, Beethoven studied counterpoint (with Haydn), violin (with Schuppanzigh), and Italian vocal style (with Salieri). Evidence of all three disciplines appears in two diminutive and exquisite solo works, the Romances for violin and orchestra.

Although the Romance No. 2 in F was the first of the two to be composed—around 1798—it was the second to be published. The sweetly lyrical melody of the opening could only be by Beethoven. It is an early example of what Hans Gál described as “absolute melody”— a tune with “broad rhythms, eight-measure groupings, and clear melodic curves.”

It is unusual to have as soloist someone who has been a close partner to the Boston Landmarks Orchestra for many years, but in a different capacity. Adrian Anantawan served as teacher and conductor at the Conservatory Lab Charter School for many years. In that role, he has collaborated many times with us as the conductor of that school’s Dudamel Orchestra. This fall he assumes a new position as director of the orchestral program at Milton Academy. We warmly welcome Adrian tonight. He is one of the outstanding violin soloists in our region.

Beethoven’s middle period is sometimes referred to as his ‘heroic’ period

because of several works that suggest heroism, rescue, or apotheosis. The ‘Eroica’ Symphony—originally called by its composer the ‘Bonaparte’ Symphony—is the clearest example. Also included in this group are the Fifth Symphony and the incidental music to Goethe’s Egmont.

Beethoven was ecstatic to write music accompanying Goethe’s historical drama. The play reflected his own values, and mirrored political events as he saw them in his own day. Goethe’s Egmont extolled a man who sacrificed his life in order to take a public stand against oppression, a theme Beethoven had already explored in Fidelio.

Beethoven was especially pleased to write two songs for a soprano he admired, Antonie Adamberger, in the role of Egmont’s lover, Clärchen. The first of these songs is a march featuring piccolo and timpani to represent fife and drum.

The Egmont Overture—one of the best-known works in the orchestral literature—begins with an austere full orchestra unison, and then stern chords conveying the resolve of the hero. These are the overture’s motto, and they are followed by a yearning line in the woodwinds. This contrast conveys the tension between love and honor. An ominous theme in the cellos quickly gathers force as the main Allegro begins. A rising sequence features the four-note rhythm made famous by the Fifth Symphony—short-short-short-long. As the main section comes to a close, the motto rhythm is hammered out three times, and then the violins sound a falling fourth, indicating the moment of Egmont’s execution. Four hushed chords in the woodwind create an aura of suspense. Gradually, excitement builds as the orchestra gathers together for the final “victory symphony.”

Following the completion of the Seventh and Eighth symphonies, Beethoven’s output slowed considerably. He had been beset by personal worry and illness, and his works took longer to produce, as he was writing now with greater depth and imagination. He had entered a new phase in his creative life—his “late period.” His music sounded other-worldly, untethered, irrational, and puzzling—not just to the Rossini-loving Viennese, but to nearly everyone.

The first movement of the Ninth begins with mystery and ambiguity. The tempo, harmony, melody, and home key are all in doubt. As the music grows stronger, most of it is strongly projected in a downward direction. A group of lyrical, upward themes follow. After a development section that intensifies, the return of the opening idea is not whispered as before, but roared; there are frightening torrents of sound. I think of T.S. Elliott’s memorable phrase: “The end of all our exploring/Will be to arrive where we started/And know the place for the first time.”

The second movement is a hybrid of scherzo, fugue, and sonata forms. The main theme is athletic and bracing, but its open intervals and minor mode echo the ominous character of the first movement. The central trio provides antic relief, and also one of the most challenging of the many tempo controversies surrounding the Ninth. An examination of the

manuscript shows that Beethoven himself changed his mind about the tempo; I prefer to find a tempo that sounds brisk and cheerful, but does not feel uncomfortably fast or slow.

The Adagio is one of Beethoven’s most sublime creations. It has two gorgeously serene themes, including the solo for the fourth horn that emerges in the middle of the movement and was written for a new invention—a valved horn that could play all the notes of the chromatic scale. Maynard Solomon’s words sum up this glorious music: “In a sense, all of Beethoven’s best music is utopian, in that it holds out images of beauty, joy, and renewal as models of future possibility.”

The famous finale of the Ninth can be thought of as a four-movement symphony within a symphony. The first “movement” of it begins with Beethoven’s Schreckensfanfare—a Fanfare of Terror—that leads into a recitative for the cellos and basses alone. It is instrumental music that sounds as if it were the setting of a text, which, of course, it will soon become. The woodwinds now suggest the Ode to Joy theme. That hymn-tune begins with utter serenity in the cellos and basses without harmony at first, and then is treated to ever-increasing adornment as other instruments join in.

The Fanfare of Terror is heard once again, and then—for the first time in musical history—the human voice is heard in a symphonic setting. The words are Beethoven’s, not Schiller’s: “Oh friends, not these tones! Rather let us raise our voices with more pleasant and joyful sounds.” The Ode to Joy pours forth once again with incomparable elation and optimism. The second “movement” of the finale is a grand march featuring the tenor soloist, another variation of the Ode to Joy theme. With the third section, we enter holy ground: “Do you kneel down, you millions? Do you sense your creator, world? Seek Him beyond the stars.” Here Beethoven reverts to a style suggesting the great masters of sacred polyphony of an earlier age, music he had studied closely since 1812. And finally the work comes to a close in a series of musical paragraphs featuring the solo quartet and the chorus, with trumpets and horns at the conclusion blaring out the main motive double-time.

- Christopher Wilkins

CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. Mr. Wilkins also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading orchestras of the United States, including those of Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh, and San Francisco. He has also appeared regularly with orchestras in New Zealand, Latin America, Spain and the UK.

Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981. As an oboist, he performed with many ensembles in the Boston area including the Tanglewood Music Center and the Boston Philharmonic under Benjamin Zander.

ADRIAN ANANTAWAN holds degrees from the Curtis Institute of Music, Yale University and Harvard Graduate School of Education. He has played at the White House, the Opening Ceremonies of the Athens and Vancouver Olympic Games and the United Nations. Some of his most memorable moments have included performing for the late Christopher Reeve, Pope John Paul II, and His Holiness the Dalai Lama. Adrian has toured extensively in Canada as a soloist with the Orchestras of Toronto, Nova Scotia, Winnipeg, Saskatoon, Montreal, Edmonton and Vancouver. He has also presented feature recitals at the Aspen Music Festival, Weill Recital Hall at Carnegie Hall. He has also represented Canada as a cultural ambassador in the 2006 Athens Olympics, and was a feature performer at the Vancouver 2010 Winter Olympics Opening Ceremonies.

Active within his community, Adrian helped to create the Virtual Chamber Music Initiative at the Holland Bloorview Kids Rehab Centre. The cross-collaborative project brings researchers, musicians, doctors and educators together to develop adaptive musical instruments capable of being played by young person with disabilities within a chamber music setting. After graduation from Harvard, he was the co-Director of Music at the Conservatory Lab Charter School, and was recently appointed Chair of Music at Milton Academy. Adrian is a Juno Award nominee, a member of the Terry Fox Hall of Fame, and was awarded a Diamond Jubilee Medal from Her Majesty Queen Elizabeth II for his contributions to the Commonwealth.

MICHELLE JOHNSON has been praised for her “extraordinary breath control and flawless articulation. Her voice is velvety and pliant – a dulcet dream.” Opera Credits include Madame Lidoine, Dialogues des Carmélites, Leonora, Il trovatore, Minnie, La Fanciulla del West, Élisabeth de Valois, Don Carlos, title role, Manon Lescaut, Donna Anna, Don Giovanni, Mimi, La

bohème, Alice Ford, Falstaff, and Aida. Winner of numerous competitions, most notably Grand Prize Winner of the Metropolitan Opera National Council Auditions, William Matheus Sullivan Foundation, Gerda Lissner Foundation and the Giulio Gari Foundation.

American contralto EMILY MARVOSH has been gaining recognition for her “sterling voice” and “graceful allure” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and in Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the American Bach Soloists, Phoenix Symphony, Chorus Pro Musica, Music Worcester, Indian Hill Music, and the Chorus of Westerly. Upcoming performances include Beethoven’s Missa Solemnis at Jordan Hall with the Cantata Singers, and Handel’s Messiah at the National Cathedral. Her contributions to 21st century repertoire and performance include world premiere performances with Juventas New Music and the Manchester Summer Chamber Music Festival, and she is a core member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, and the Boston Symphony Orchestra. She holds degrees from Central Michigan University and Boston University. www.emilymarvosh.com

WILLIAM HITE’s reputation, spanning three decades as an engaging andexpressive artist, has led to appearances with the Boston Symphony Orchestra, the Philadelphia Symphony Orchestra, American Symphony Orchestra, Boston Baroque, Philharmonia Baroque and the Mark Morris Dance Group under the direction of Bernard Haitink, Ozawa, James Levine, Rafael Frübeck de Burgos, Nicholas McGegan, Jane Glover, Robert Spano, Grant Llewellyn, Leon Botstein, Gil Rose, John Harbison, Julian Wachner and Peter Schreier. Mr. Hite’s upcoming and recent engagements include Mozart’s Apollo et Hyacinthus with Emmanuel Music, Boston, Gluck’s Ezio with Odyssey Opera, the evangelist in Bach’s St. Matthew Passion with the Buffalo Philharmonic and Messiah with the Apollo Chorus of Chicago. Mr. Hite may be heard in Messiah with Chicago’s Apollo Chorus on the Clarion label, Acis and Galatea on NCA. On the Koch label he may be heard in the St. John Passion with Emmanuel Music. He is a Senior Lecturer in Voice and coordinator of the voice area at the University of Massachusetts in Amherst. www.williamhitetenor.com.

Recognized nationwide for his artistry in the field of opera and oratorio, RON WILLIAMS continues to gather acclaim for his work onstage and in the concert hall. He has sung leading roles with several opera companies nationally, including San Francisco Spring Opera, Michigan Opera Theatre and Opera San Jose, where he created the role of Edward in the world premiere of Alva Henderson’s The Last Leaf. Locally, Williams debuted with Boston Lyric Opera in the revival of Kurt Weill’s Lost in the Stars, receiving critical acclaim from The New York Times. He portrayed nemesis Nick

Shadow in the much-heralded production of The Rake’s Progress with Boston’s Opera Laboratory Company at the Massachusetts Institute of Technology. The Boston Globe praised his performance of Figaro in Opera New England’s The Barber of Seville. With Greater Worcester opera, he has sung Escamillo in Carmen and last summer sang Count Almaviva in Le Nozze di Figaro. Mr. Williams was a regional finalist in the San Francisco Opera National Auditions. He received the College Foundation Award from the California Music Teachers Association. Ron remains passionately interested in arts education for young audiences and has performed at the National Children’s Arts Festival at the John F. Kennedy Center for the Performing Arts in Washington D.C. Mr. Williams maintains a busy concert schedule having performed with Cantata Singers, Chorus North Shore, Symphony Pro Musica, as well as the Dartmouth College Symphony (N.H.) where he sang Beethoven’s Fidelio. Ron took on the role of the biblical narrator in a performance of King David by Arthur Honegger with The Masterworks Chorale under the late Alan Lannom. Ron was seen in the one-man opera of Domenico Cimarosa, Il Maestro di Cappella with Boston Civic Symphony. He made his debut with Boston Cecilia in Britten’s Cantata Misericordium and made several solo appearances including the role of Christus in J.S. Bach's Saint Matthew Passion, all under the direction of Donald Teeters. Ron made his European debut with the Düsseldorf Chamber Orchestra in Germany. His stage debut was in Saint Gallen, Switzerland and he has performed on the European stage in several countries including The Netherlands, France, Denmark Austria, Switzerland and Spain. An artist committed to bringing to the stage the works of twentieth-century American composers, Ron has researched and performed the works of Hale Smith (Mediation in Passage) and Ned Rorem (The Lake of Innisfree). Ron has been involved with the premiere of several works locally including Elmer Gantry, a new American opera by Robert Aldridge and Herschel Garfein. www.ronsings.com

The BACK BAY CHORALE is a 120-member auditioned chorus drawing experienced singers from the Greater Boston area. From its inception, the Chorale has committed to sharing music in the community with repertoire that ranges from Renaissance to contemporary. Musician, minister, and social activist Larry Hill founded the Chorale in1973 at Boston’s Church of the Covenant to create a musical ministry that would bring meaning to both singers and their audience. In the years since Hill’s death in 1989, the Chorale has continued to grow in stature and is now regarded as one of Boston’s premier nonprofessional choruses. www.backbaychorale.org

SCOTT ALLEN JARRETT is one of North America’s most exciting and versatile musicians, sought after as a conductor, keyboard artist, and teacher of conducting. He serves as Director of Choruses and Assistant Conductor of the Charlotte Symphony (NC), Music Director of Back Bay Chorale, Director of Music at Boston University’s Marsh Chapel, and Acting Director of Choral Activities in the BU School of Music. He is a frequent guest conductor at Trinity Wall Street.

LANDMARKS ORCHESTRA DONORS & SPONSORS(GIFTS WITHIN LAST 12 MONTHS)

CORPORATE, FOUNDATION, & GOVERNMENT SUPPORTAnonymous Arbella Insurance Foundation Paul & Edith Babson Foundation Boston Cultural Council The Boston Foundation Eastern Bank Charitable Foundation Edmund & Betsy Cabot Charitable Foundation Clipper Ship Foundation Cogan Family FoundationFiduciary Trust Company

Free for All Concert Fund Highland Street Foundation John Hancock Financial Services Liberty Mutual Foundation Massachusetts Cultural Council The Plymouth Rock FoundationRockland TrustAdelard A. Roy & Valeda Lea Roy Foundation Lawrence & Lillian Solomon Fund Women’s Philharmonic AdvocacyYawkey Foundation

MUSIC DIRECTOR’S SOCIETY

MUSIC DIRECTOR BENEFACTOR

Michael & Karen Rotenberg Stephen & Alicia Symchych

MUSIC DIRECTOR PLATINUM Susan & Appy Chandler Ann & Graham Gund Richard & Rebecca Hawkins

Allison K. Ryder & David B. Jones Epp Sonin

MUSIC DIRECTOR GOLD Laura Connors & Brian O’Connell Barbara & Amos Hostetter

Jo Frances & John MeyerLia & William Poorvu

MUSIC DIRECTOR SILVER

Anonymous David Arnold & Ann Moritz Eileen & Jack Connors Jr. Cynthia & Oliver Curme/Lost & Foundation Jeff D. Makholm & Roberta Parks David G. Mugar

Jeryl & Steve Oristaglio Katharine & Anthony Pell Donna & Robert Storer Edwin & Joan Tiffany Arthur Winn

MUSIC DIRECTOR BRONZE Richard & Nonnie Burnes Saul & Naomi Cohen Gene & Lloyd Dahmen Priscilla H. Douglas Peter & Dieuwke Fiedler Pamela & John Humphrey Andrew Ley & Carol Searle

Sharon & Brian McNally Nguyen Anh Tuan & Phan Thi Yen Laura Roberts & Edward Belove Debra & Mark Stevens Deborah Thaxter & Robert Adkins

Herbert & Angela Wilkins

BENEFACTORS

Nancy Adams & Scott Schoen Ben & Caroline Ansbacher Ted Ansbacher & Barbara Nash Smoki Bacon & Dick Concannon Robert L. Beal Linda Cabot Black Suzanne & Jeffrey Bloomberg Ronald G. Casty Corinne Dame Mary E. Darmstaetter Joseph & Eden Davies Michael & Kitty Dukakis Harron Ellenson & Roger Snow

Newell & Kate Flather Howard Gardner & Ellen Winner Kira & Robert Hower June Hunt Rona Kiley Christine & David Letts Steven Levitsky Vivien Li Anne Linn Lisa & James Micali Kyra & Coco MontaguBill Nigreen & Kathy McDermott Stuart & Elizabeth Pratt

BENEFACTORS (continued)

Suzanne Priebatsch Suzanne & Bernard Pucker Susan & Frederick Putnam Diana Rowan Rockefeller Stuart & Jan Rose Michael Rubenstein & Elizabeth Skavish Maureen & Michael Ruettgers David & Marie Louise Scudder Eileen Shapiro & Reuben Eaves Wendy Shattuck & Samuel Plimpton John Shields & Christiane Delessert Glenn & Barbara Sieber

Joel & Elinor Siner Stephen Spinetto & Alice Krapf Fredi & Howard Stevenson David Szabo & Megan Albert Henry D. Tiffany III/Control Concepts, Inc. Clara Wainwright Robert & Suzanne Walters Christopher Wilkins Douglas & Laura Wilkins Stephen & Sarah Wilkins Benjamin Zander

SUPPORTERS Enid Beal & Alan Wolfe Maria & Bill Bloom Paul & Catherine Buttenwieser John Childs & Peggy Fogelman Ingrid Christiansen Elaine Copps Julie Crockford & Sheridan Haines Zoltan & Cristina Csimma Alvin & Victoria Davis Courtney Doyle David & Anne Gergen Deborah Hanley & Frank McGuire Jonathan Hecht & Lora Sabin Richard Howe & Betty Ann Limpert Frederic Johnson Martin & Wendy Kaplan Elizabeth & Paul Kastner Michael & Claire King Paul Kowal

Robert Krim & Kathlyne Anderson C. Bruce Metzler & Carol Simpson Leslie & Sandra Nanberg Glenn Noland Myran Parker-Brass & Kenneth Brass Rachel Perry Megan & Alkes Price Jeffrey & Hillary Rayport Kathy Ripin & Leonard Sayles Andrea Schein & Angelo Veneziano Kathy & Garrett Sharpless Marilyn Smith & Charles Freifeld Joan & Bernard SudikoffBeverly J. Tangvik Renata von Tscharner & Peter Munkenbeck Marcia Walsh & Eric Block Milton L. Wright Jr. Michael Yogman & Elizabeth Ascher

CONTRIBUTORS Robert & Gudrun Ashton Diane Austin & Aaron Nurick Martha & Robert Berardino Mr. & Mrs. Anthony Casendino Anne Colleton & Bill Davison Catharine-Mary Donovan Joseph Ferreira Glenda & Robert Fishman Patricia Freysinger Arthur & Eloise Hodges

Jane Lauridsen Anmol Mehra John Curtis Perry & Sarah Hollis Perry Peter Rabinowitz & Judith Gelber Arthur Rishi & Kimberly Howe Rishi Harborne Stuart & Cathy Tankosic Ildiko Szabo Thomas & Barbara Van Dyke Craig & Catherine Weston Joyce Yaffee

Every effort has been made to ensure the accuracy of this list as of the print deadline. Please contact Jim Murray, Manager of Development & Communications, at jm@landmarksorchestra.org regarding any inaccuracies or omissions.

BOSTON LANDMARKS ORCHESTRA

BOARD OF TRUSTEES Laura Connors, Chair Gene D. Dahmen Peter Fiedler Richard Hawkins B. J. Krintzman Katharine M. Pell J. Brian PottsMichael Rotenberg Allison K. Ryder Stephen Spinetto, ex officio Stephen Symchych David Szabo Edwin Tiffany Milton L. Wright Jr. Michael Yogman

Alfred D. Chandler III, Trustee Emeritus

Charles Ansbacher, Founder

BOARD OF OVERSEERS

Stephen Spinetto, Chair David B. Arnold III Smoki Bacon Kathryn Beaumont Richard M. Burnes Marian “Hannah” Carlson Richard Concannon Conrad Crawford Julie Crockford Corinne Dame Joseph Davies Katherine DeMarco Priscilla H. Douglas Newell Flather Howard Gardner David Gergen Sean Hennessey Mary J. Kakas Paul Kowal Robert M. Krim Fernando Leon

Steven Levitsky Anne Linn Sharon McNally David G. Mugar Bill Nigreen Jeryl Oristaglio Myran Parker-Brass Susan Putnam Diana Rowan Rockefeller Anthony Rudel Maureen Ruettgers Penelope McGee Savitz Andrea Schein Eileen Shapiro John Shields Epp Sonin Donna Storer Beverly J. TangvikWilliam Walczak Douglas Wilkins Arthur Winn

STAFF Jo Frances Meyer, Executive Director Arthur Rishi, Artistic Administrator Michelle Major, Chief Financial Officer Jim Murray, Manager of Development & Communications Joanne Barrett/JBPR, Public Relations Adele Traub, Social Media Coordinator Stephanie Muñoz, Education & Outreach Coordinator Samuel Hawkins, Kenrick Tsang, Interns

PRODUCTION Emerson Kington, Technical Director Audrey Dunne, Production Manager & Librarian Cate Gallagher, Production Assistant Steve Colby, Sound Design & Audio Mix MJ Audio, Audio Production Mackenzie Skeens, Stage Crew SupervisorBrian Gomez, Francisco Perdomo, Sebastian Saint Leger Rock, Amari Vickers, MLK Summer Scholars Michael Dwyer, Photography Jesse Ciarmataro, Graphic Design

VERY SPECIAL THANKS Boston Cares The Boston Globe Boston University Office of Disability Services JCDecaux MBTA

WEDNESDAYS AT 7PM GREAT MUSIC FOR FREE AT THE DCR’s HATCH SHELL

August 9, 2017 ANTHEMS OF THE WORLD If it is raining on the 9th, the concert will be postponed to the 10th at the Hatch

Shell or Kresge Auditorium at MIT.

August 16, 2017 LONGWOOD SYMPHONY ORCHESTRA If it is raining on the 16th, the concert will be cancelled.

August 23, 2017 LANDMARKS DANCE CARNIVAL If it is raining on the 23rd, the concert will be postponed to the 24th at the Hatch Shell.

If inclement weather is in the forecast on the day of a concert, please check www.landmarksorchestra.org or call 617-987-2000 after 4 PM for any changes to the date or venue. Download our mobile app to receive weather alerts, notifications, and special offers.

#Landmarks2017

214 Lincoln Street, Suite 331 Boston, MA 02134

617-987-2000 www.landmarksorchestra.org

These programs are supported in part by grants from the Massachusetts Cultural Council and the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts + Culture for the City of Boston.

Special Event: Wednesday, August 30, 2017 at 7 PMA FAR CRYA Far Cry makes its debut at the Hatch Shell, presented by the Free for All Concert Fund and produced by Boston Landmarks Orchestra.

Lied: Die Trommel gerühret

Die Trommel gerühret! Das Pfeifchen gespielt!

Mein Liebster gewaffnet dem Haufen befiehlt, die Lanze hoch führet, die Leute regieret.

Wie klopft mir das Herz! Wie wallt mir das Blut! O hätt' ich ein Wämslein und Hosen und Hut!

Ich folgt' ihm zum Tor ‘naus mit mutigem Schritt, ging' durch die Provinzen, ging' überall mit.

Die Feinde schon weichen, wir schiessen da drein; Welch' Glück sondergleichen, Ein Mannsbild zu sein!

Song: The drum resounds

The drum resounds! The fife is played!

My love is armed for war and commands his host; he holds the lances high and commands his men.

How my heart pounds! How my blood races! O if only I had a doublet, and breeches and helmet!

I would follow him through the gate with courageous step, and march through the provinces, march everywhere with him.

The enemy has grown weak, we fire at them; What happiness without equal To be a man!

Translations will be tweeted live during portions of tonight’s concert! Follow @LandmarksNotes (not @landmarksorch) to receive real time translations as you watch the concert.

Die Trommel gerühret, text by Johann Wolfgang von Goethe

OPENING TEXT BY BEETHOVEN

O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstim-men, und freudenvollere. Freude! Freude! An die Freude Friedrich Schiller Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt. Wem der große Wurf gelungen Eines Freundes Freund zu sein; Wer ein holdes Weib errungen Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund! Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben und der Cherub steht vor Gott. Froh, wie seine Sonnen fliegen Durch des Himmels prächt'gen Plan Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum siegen. Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über'm Sternenzelt Muß ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.

Oh friends, not these tones! Rather let us raise our voices with more pleasant and joyful sounds. Joy! Joy! Ode to Joy Friedrich Schiller Joy, beautiful spark of the gods, Daughter from Elysium, We enter, drunk with fire, Heavenly One, thy sanctuary! Your magic joins again What convention strictly divides; All mankind becomes as brothers, Where your gentle wing abides. Who has succeeded in the great attempt, To be a friend's friend, Whoever has won a lovely woman, Add his to the jubilation! Indeed, who calls even one soul His own upon this world! And whoever never managed, shall steal Weeping away from this company. All beings drink of joy At nature's breast. All good and all the evil Follow her rosy path. She has given us kisses and wine, A friend, tested unto to death. Desire was given by the serpent, And the cherub stands before God! Gladly, as His heavenly bodies fly Through heaven’s magnificent design, Run, brothers, your race, Joyfully, as a hero to victory. Be embraced, you millions. This kiss is for the whole world! Brothers, above the starry canopy There must live a loving Father. Do you kneel down, you millions? Do you sense your creator, world? Seek Him beyond the stars; Above the stars must He dwell.