25/26 Season: ACRONYM

n SATURDAY, FEBRUARY 14, 2026

8PM | First Church in Cambridge, Congregational

ACRONYM

PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors

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WELCOME

Dear Friends,

We are delighted to welcome you to the sixth concert of our 25/26 Season, featuring the outstanding musicians of ACRONYM, long a favorite of our biennial Festivals, having appeared at each one since 2019. The ensemble débuts on BEMF’s annual season with a fascinating exploration of the musical world of Germany before Johann Sebastian Bach. Their program assembles for the first time nearly all of the surviving instrumental and vocal music of Adam and Johann Samuel Drese— two cousins who were instrumental in shaping the musical landscape in Weimar, where the young Bach was employed for nine years—as well as a pair of arrangements of Drese works by Bach himself. ACRONYM is joined by a star-studded roster of guest artists, with six singers including soprano Clara Rottsolk, two BEMF favorites, tenor Aaron Sheehan and bass-baritone Jonathan Woody, and five of North America’s finest historical brass players. The program’s fifteen modernday premieres include Adam Drese’s funeral motet,  Wie selig sind die Toten, the earliest-known work written for slide trumpet.

Our Season continues here at First Church in Cambridge with a pair of concerts in March. A mere two weeks from tomorrow, on Sunday, March 1 at 3pm, the powerhouse Tafelmusik Baroque Orchestra and the dynamic musicians of Juilliard415 join forces for a concert celebrating the music of Jean-Philippe Rameau. The program includes a quartet of overtures and a cornucopia of dances from his operas, featuring veteran BEMF dancers Caroline Copeland and Julian Donahue, both of whom have created new choreographies for the occasion. On Friday evening, March 13, we welcome back the superb young musicians of Le Consort for a voyage through the trio sonata repertoire of Bach, Telemann, Porpora, Geminiani, Albinoni, and others. We hope to see you at both of these upcoming events!

We also have BEMF performances available virtually: Paul O’Dette’s magnificent January recital of recently rediscovered Italian lute masterpieces premiered last night and is available through February 27, while ACRONYM’s concert will be available for two weeks starting the evening of February 28.

Thank you for attending tonight’s performance by ACRONYM, whether in person or virtually, and please accept our heartfelt thanks for your continued enthusiastic support of the Boston Early Music Festival.

Kathleen Fay Executive

Boston Early Music Festival

MANAGEMENT

Kathleen Fay, Executive Director

Carla Chrisfield, General Manager

Maria van Kalken, Assistant to the Executive Director

Brian Stuart, Director of Marketing and Publicity

Elizabeth Hardy, Marketing and Development Associate & Exhibition Manager

Perry Emerson, Operations Manager

Corey King, Box Office and Patron Services Director

Esme Hurlburt, Patron Services & Advertising Associate

Andrew Sigel, Publications Editor

Julia McKenzie, Director of the BEMF Youth Ensemble

Nina Stern, Community Engagement Advisor

ARTISTIC LEADERSHIP

Paul O’Dette and Stephen Stubbs, Artistic Directors

Gilbert Blin, Opera Director

Robert Mealy, Orchestra Director

Marie-Nathalie Lacoursière, Lucy Graham Dance Director

BOARD OF DIRECTORS

Bernice K. Chen, Chairman | David Halstead, President

Ellen T. Harris, Vice President | Susan L. Robinson, Vice President

Adrian C. Touw, Treasurer | Peter L. Faber, Clerk

Anthony Elitcher | Michael Ellmann | Glenn A. KnicKrehm | Robert E. Kulp, Jr.

Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram | Christoph Wolff

BOARD OF OVERSEERS

Diane Britton† | Gregory E. Bulger | Brit d’Arbeloff | George L. Hardman

Amanda Pond | Robert Strassler | Andrea Taras | Donald E. Vaughan

BOARD OF TRUSTEES

Marty Gottron & John Felton, Co-Chairs

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

Douglas M. Robbe | Jacob Skowronek † deceased

BOSTON EARLY MUSIC FESTIVAL, INC.

43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764

Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

n SUN, MARCH 1, 2026

n FRI, MARCH 13, 2026

n SUN, APRIL 12, 2026 JORDI SAVALL

n SAT, APRIL 25, 2026 PHILIPPE JAROUSSKY

MEMBERS OF THE BEMF CORPORATION

Jon Aaron

Debra K.S. Anderson

Kathryn Bertelli

Mary Briggs

Diane Britton†

Douglas M. Brooks

Gregory E. Bulger

Julian G. Bullitt

Deborah Ferro Burke

John A. Carey

Anne P. Chalmers†

Bernice K. Chen

Linden Chubin

Joel I. Cohen

Brit d’Arbeloff

Vivian Day

Mary Deissler†

Peter L. DeWolf

JoAnne W. Dickinson

Richard J. Dix

Anthony Elitcher

Michael Ellmann

Peter L. Faber

Emily C. Farnsworth

Kathleen Fay

Lori Fay

John Felton

Frances C. Fitch

Claire Fontijn

James A. Glazier

Marty Gottron

Carol A. Haber

David Halstead

George L. Hardman

Ellen T. Harris

Rebecca Harris-Warrick

Richard Hester

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Glenn A. KnicKrehm

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Robert E. Kulp, Jr.

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Melvyn Pond

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Jacob Skowronek

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Robert Strassler

Ganesh Sundaram

Andrea Taras

Adrian C. Touw

Peggy Ueda

Donald E. Vaughan

Nikolaus von Huene

Howard J. Wagner

Benjamin D. Weiss

Ruth S. Westheimer

Allan Winkler

Hal Winslow

Christoph Wolff

Arnold B. Zetcher

Ellen Zetcher

deceased

Boston Early Music Festival

Boston Early Music Festival extends sincere thanks to the following individuals for their leadership support of our 2025/26 Concert Season:

SUSAN L. ROBINSON

Sponsor of the March 2026 performance by Tafelmusik & Juilliard415

ANDREW SIGEL

Sponsor of Jordi Savall, Director & viol, for his April 2026 appearance with Hespèrion XXI et al.

Sponsor of the virtual presentations of Stile Antico, The Tallis Scholars, ACRONYM, and Philippe Jaroussky & Artaserse

DAVID HALSTEAD and JAY SANTOS

Sponsors of the October 2025 performance by Opera Prima

GLENN A. KNICKREHM and CONSTELLATION CHARITABLE FOUNDATION

Sponsors of the January 2026 performance by Paul O’Dette

KENNETH C. RITCHIE and PAUL T. SCHMIDT

Sponsors of Philippe Jaroussky, countertenor, for his April 2026 appearance with Artaserse

REBECCA NEMSER

Sponsor of Amanda Forsythe, soprano, for her October 2025 appearance with Opera Prima

DR. PETER LIBBY

Sponsor of the Pre-Concert video for the April 2026 performance by Philippe Jaroussky & Artaserse

You can help make this list grow. For more information about investing in BEMF performances with a Named Gift, please email Kathleen Fay at kathy@bemf.org, or call the BEMF office at 617-661-1812. Your support makes a difference. THANK YOU.

Boston Early Music Festival PRESENTS

ACRONYM

SEELENBRÄUTIGAM: THE DRESE EFFECT

Seelenbräutigam

Das Himmelreich ist gleich einem Könige*

Sonata a2 in A minor

Jesu, der du meine Seele*

Seelenbräutigam

Ballettae for Viola in F major (Op. 1)*

Hürtenlied*

Freudenlied*

Traurlied*

Seelenbräutigam

Vor der Predigt*

Adam Drese (ca. 1620–1701)

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese

Johann Samuel Drese (ca. 1644–1716)

Der Musen Freudengesang* Adam Drese

Nach der Predigt* Johann Samuel Drese

Ballettae a5 in G major (imhs409)* Adam Drese?

m INTERMISSION n

Seelenbräutigam, BWV 496

Adam Drese, arranged by Johann Sebastian Bach (1685–1750)

Ballettae a4 in D minor (Kassel 61d)* Adam Drese and Anonymous

Gott ist unser Zuversicht Johann Samuel Drese

Plötzlich rede ich*

Sonata a3 in A minor

Wolauff, mein gantzes Ich

THE BOSTON EARLY MUSIC FESTIVAL THANKS ANDREW SIGEL for his support of the virtual presentation of ACRONYM

Adam Drese

Adam Drese

Adam Drese

Höret auf*

Ballettae a2 in G minor (Op. 1)*

Nun ist alles Überwunden

Wie selig sind die Toten*

Seelenbräutigam, BWV 409

*MODERN PREMIERE

Johann Samuel Drese

Adam Drese

Adam Drese

Adam Drese

Adam Drese, arranged by Bach

Double-manual German harpsichord by Allan Winkler, Medford, Massachusetts, 1989, after Fleischer, property of the Boston Early Music Festival.

LIVE CONCERT

Saturday, February 14, 2026 at 8pm

First Church in Cambridge, Congregational 11 Garden Street, Cambridge, Massachusetts

VIRTUAL CONCERT

Saturday, February 28, 2026 – Saturday, March 14, 2026

BEMF.org

ACRONYM

Adriane Post & Johanna Novom, violin

Beth Wenstrom, violin & viola

Caitlin Hedge & Kyle Miller, viola

Loren Ludwig & Kivie Cahn-Lipman, viola da gamba

Doug Balliett, violone

Daniel Swenberg, theorbo & Baroque guitar

Elliot Figg, harpsichord & organ

WITH GUEST ARTISTS

Clara Rottsolk, soprano

Elisa Sutherland & Sylvia Leith, mezzo-soprano

Aaron Sheehan & Jacob Perry, tenor

Jonathan Woody, bass-baritone

Perry Sutton & Steven Marquardt, slide trumpet

Liza Malamut, Ben David Aronson & Garrett Lahr, trombone

Program subject to change.

Ball Square Films & Kathy Wittman, Video Production

Antonio Oliart Ros, Recording Engineer

THE BOSTON EARLY MUSIC FESTIVAL THANKS THE FOLLOWING INDIVIDUALS AND INSTITUTIONS FOR THEIR LEADERSHIP SUPPORT OF THE NOVEMBER 2025 PERFORMANCES OF

Stellidaura’s REVENGE

BETTINA A. NORTON

Full Production Sponsor

GLENN A. KNICKREHM and CONSTELLATION CHARITABLE FOUNDATION

Sponsors of the BEMF Vocal & Chamber Ensembles Sponsors of Giuseppe Naviglio, Giampetro

JOANNE ZERVAS SATTLEY

Sponsor of Hannah De Priest, Stellidaura Sponsor of Aaron Sheehan, Orismondo

ANDREW SIGEL

Sponsor of Richard Pittsinger, Armidoro Sponsor of Mara Riley, Armillo

BERNICE K. CHEN

Sponsor of Gilbert Blin, Stage Director

HENK ELDERHORST

Sponsor of Grant Sorenson, Intern Assistant to the Stage Director

PHOTO: KATHY WITTMAN

Boston Early Music Festival

PROGRAM NOTES

While the name Bach was becoming synonymous with “musician” in the German state of Thuringia due to the skill of Johann Sebastian’s ubiquitous ancestors and distant relations, the name Drese was already associated with the musical leadership of this region. Adam Drese (ca. 1620–1701) and his cousin Johann Samuel Drese (ca. 1644–1716) were significant shapers of the musical landscape into which Johann Sebastian Bach (1685–1750) entered. Although much of their output has been lost to history, the Drese family was hugely influential, including on the young Bach. This program presents nearly all extant music composed by Adam and Johann Samuel Drese—the majority of which has been unheard since their lifetimes, until tonight.

Adam Drese, whose career likely began as a viola da gambist, first appears as a cathedral musician in the small city of Merseburg. By 1648 he was appointed Kapellmeister to

Wilhelm IV, Duke of Saxe-Weimar at Weimar, where he had a significant role in rebuilding musical life after the devastation of the Thirty Years War. Wilhelm supported Drese’s compositional studies, including an early trip to Warsaw to study with Marco Scacchi. Further travels took Drese to Jena, twice to Dresden (to learn from Heinrich Schütz), Coburg, Regensburg, and likely Darmstadt. These journeys made Drese a conduit of transmission of Italian and South-German compositional influence into Thuringia.

After the death of Wilhelm in 1662, Drese found employment as Kapellmeister and private secretary to Bernhard II, Duke of Saxe-Jena. In 1672 Drese was elected Mayor of Jena while still serving in those positions. He maintained connections in Weimar, and his role eventually expanded to directing operatic and theater music in both cities. He composed at least one opera, as well as what was described as a scandalous “sacred comedy” about Christ’s Resurrection; both works are lost.

Following Bernhard’s death in 1678, Drese became Kapellmeister in Arnstadt to Anton Günther II, Count of Schwarzburg. Around 1680, Drese became a devout Pietist, which might have shifted his compositional focus from theater music toward intimate sacred

WEIMAR

Engraving by Matthäus Merian (ca. 1650)

WILHELM IV

song and devotional chorales. He remained in Arnstadt until his death, which preceded Johann Sebastian Bach’s arrival in that city by a short time. Bach was familiar with Drese’s work; he wrote several compositions setting both texts and melodies penned by Drese.

Johann Samuel Drese likely studied with his cousin Adam, and he was appointed court organist at Jena during Adam’s tenure there as Kapellmeister. In 1683 Johann Samuel was appointed Kapellmeister to Wilhelm Ernst, Duke of Saxe-Weimar in Weimar. In this role, he would have met a young J. S. Bach during the latter’s first brief period in that city two decades later, and he was Bach’s direct superior throughout his longer return. After Johann Samuel’s death in 1716, the Kapellmeister position was offered without a formal search to his son, who was purportedly a mediocre musician. Bach immediately sought employment elsewhere, and Wilhelm Ernst jailed him for a month before releasing him to depart for his new position in Köthen.

Due to the presence of both Drese cousins as footnotes in Bach biographies, we can derive more about their lives and works than we know from their own scant surviving records. For example, Bach’s 1714 promotion in Weimar to Konzertmeister meant that he began composing a cantata every fourth Sunday to relieve the aging Johann Samuel Drese. We can infer that Drese’s own output in thirty-plus years in Weimar might have consisted of many dozens or even hundreds of cantatas, but only two incomplete works remain: the motet Gott ist unser Zuversicht on tonight’s program—which is missing parts for

an optional ripieno choir—and a second motet which is lacking sufficient parts to reconstruct plausibly. The funeral chorale Höret auf, and two hymns intended for before and after a sermon, are Johann Samuel’s only other surviving compositions. (His son and successor at Weimar, Johann Wilhelm Drese, likely also composed a large number of cantatas, but he has no extant music.)

In contrast—and mainly due to his more extensive publication record—Adam Drese has a modest number of surviving works, particularly strophic songs for both solo voice and homophonic choir. Jesu der du meine Seele is one of eight hymns intended to be sung after various sermons, found in the collection Flos passionis oder geistliche CreutzBluhme (Passion’s Flower: Spiritual Blossoms of the Cross). Drese’s celebratory chorale Wolauff mein gantzes Ich was composed for a 1650 Coburg commemoration of the Treaty of Westphalia and the end of the Thirty Years War. The funeral chorale Nun ist alles Überwunden is Drese’s contribution to the Altbachisches Archiv.

Fourteen additional Drese songs survive in Georg Neumark’s substantial publication of poetry, Fortgepflanzter Musikalisch-Poetischer Lustwald (Newly Planted Musical-Poetic Grove of Delight). For this collection, Drese contributed three of seven Karitillenlieder, a song cycle about a young man who finds love and loses it tragically. (Balthasar Erben and Neumark himself composed the remaining four songs.) Neumark’s poems also include a brief ode to Saxony titled Der Musen Fruedengesang, which Drese set in rousing harmony for five voices.

Adam Drese’s Opus 1 collection—printed in Jena in 1645 and now preserved in Växjö, Sweden—contains 40 brief dances, two sets of which we have assembled for this program. He later published a second collection of dance music, of which only a single viola part survives. Drese’s name additionally appears on the opening Allemande of the Ballettae a4 in

WILHELM ERNST

D minor found in Kassel. His authorship is uncertain for the subsequent Courante, and extremely unlikely for the second Courante La Duchesse and its paired concluding Bourrée, given their widespread transmission in French sources within the same period.

Further dance music of questionable attribution to Adam Drese survives in a substantial manuscript of organ tablature (Instr. mus. hs 409) in the Düben Collection in Uppsala, Sweden, which also houses his Das Himmelreich ist gleich einem Könige Several dances from imhs409 have anonymous concordances in Kassel. Tonight’s set of G major Ballettae a5 from imhs409 includes movements labeled as having been composed by A.D.Cap[ellmeister]. Unfortunately, this appellation was used elsewhere by both Drese and Andreas Düben, the patriarch of the family for which the Düben Collection is named and the father of imhs409’s principal copyist. The presence of an uncommon Montirande in this set points the likelier origin of these dances more toward metropolitan Kassel than provincial Stockholm, and thus tilts attribution slightly in Drese’s favor. However, any firm conclusion about authorship will likely remain forever elusive.

Three Adam Drese sonatas are extant in the Partiturbuch Ludwig, a large manuscript of instrumental works named for its copyist. ACRONYM previously recorded one of these: a Sonata a6 in C major found on our Wunderkammer album. We playfully dubbed its harmonic and metric quirks “The Drese Effect,” and it was the catalyst for tonight’s deeper exploration of his works. Tonight’s A-minor sonatas, as well as each of Drese’s motets, reveal similar surprises and the composer’s penchant for experimentation.

Das Himmelreich ist gleich einem Könige is a sort of mini-opera setting a parable from the Gospel of Matthew, in which the tenor narrates with the help of a Greek chorus of paired sopranos, while the bass plays the King.

Plötzlich rede ich experiments further, adding a polytextual “invention in music” Drese likely learned from exposure to the works of Heinrich Schütz: the bass (as the Lord) sings text from Jeremiah while the two sopranos (as sinners) simultaneously sing from different Biblical passages. Another polytextual motet, Wie selig sind die Toten, adds an “invention in trumpets,” with the key signature seeming to require slide trumpets—the earliest extant composition to use them. Schütz’s influence here is even more explicit, because Drese copied several motifs directly from Schütz’s Musikalische Exequien.

Yet despite these innovations, it is two of Adam Drese’s poems for which he is chiefly remembered today, largely due to their use by Johann Sebastian Bach. Drese’s most enduring work, Seelenbräutigam—for which he wrote both music and text—was arranged (twice) by Bach and later acquired a new pietist text and title, Jesu geh voran. An additional Drese poem, Seelenweide meine Freude, has no known musical setting from his lifetime, but Bach arranged an anonymous 1708 melody. Seelenbräutigam and Seelenweide were two of the most popular chorales throughout the eighteenth century, and they continue to appear frequently in hymnals today.

Tonight, we use excerpts of Drese’s Seelenbräutigam in various settings, its text serving as a kind of commentary weaving throughout the program. The recurrence of this chorale melody—reshaped twice by Bach—reminds us that even the most iconic composers stand on older musical ground. The nearly forgotten Drese family helped to shape Lutheran musical devotion in Thuringia. This performance celebrates not only what little survives of Adam and Johann Samuel Drese, but also what connects: a lineage of craft and expressive daring that helped build the musical environment in which Bach came of age. n

—Kivie Cahn-Lipman

ARTIST PROFILES

Baroque band ACRONYM—an “outstanding young early-music string ensemble” (New Yorker)—is dedicated to giving modern premieres of the wild instrumental music of the seventeenth century. Playing with “consummate style, grace, and unity of spirit” (New York Times), the group formed in 2012 and has released ten critically acclaimed albums. Recent projects include the first modern performances and recordings of works by Biber, Rosenmüller, and Capricornus, among others. The band’s most recent album, Cantica Obsoleta, features the modern premiere recordings of nearly lost works from Sweden’s Düben Collection. The Boston Globe raves, “this musical time-capsule offers enough resplendence to transport anyone.”

On the 2025/26 Boston Early Music Festival season, ACRONYM will perform nearly all of the extant works by the Drese family of musicians, including Adam Drese’s funeral motet, Wie selig sind die Toten. This is the first known piece in music history to require slide trumpets, and ACRONYM’s performance will be the modern premiere. ACRONYM also returns to the Isabella Stewart Gardner

Museum, opening the Museum’s Fall season with all six Brandenburg Concertos.

Recent engagements includes repeat performances at the Boston Early Music Festival, Naumburg Orchestral Concerts series in Central Park, and Music Before 1800 in New York, as well as a Baltimore début with Shriver Hall Concert Series and appearances with Festival Oude Muziek Utrecht (Netherlands), Oberlin’s Artist Recital Series, Hamilton College Performing Arts Series (Clinton, New York), Lincoln Friends of Chamber Music (Nebraska), Arizona Early Music, Indianapolis Early Music Festival, Renaissance & Baroque (Pittsburgh), Chamber Music Wilmington (North Carolina), Electric Earth Concerts (Peterborough, New Hampshire), and Five Boroughs Music Festival in New York City. ACRONYM has held academic residencies at Youngstown State University and Vassar College, and the group’s musicians can be heard in Tafelmusik, Les Arts Florissants, Apollo’s Fire, Handel and Haydn Society, and The English Concert. ACRONYM collaborates frequently with internationally acclaimed artists, including baritone Jesse Blumberg and countertenor Reginald Mobley. n

“With a silken voice capable of extraordinary power” (San Diego Union-Tribune), soprano Clara Rottsolk has appeared as a soloist with prominent modern orchestras and period instrument ensembles under the direction of conductors including Grete Pedersen, Nicholas McGegan, Jos van Veldhoven, Dinis Sousa, Stephen Stubbs, David Danzmayr, and Ruben Valenzuela. Also dedicated to chamber and recital repertoire, she performs with ensembles including Les Délices, TENET, Piffaro the Renaissance Wind Band, Colorado Bach Ensemble, House of Time, ARTEK, and Pegasus Baroque. Frequently in demand as a festival soloist, her credits include Carmel Bach, Berkeley Early Music, Montréal Baroque, Spoleto USA, Winter Park Bach, Seattle Bach, St. Louis Bach, Indianapolis Early Music, Whidbey Island Music, and Boston Early Music Fringe. Her solo recordings can be found on Chandos, Analekta, MSR Classics, and independent labels. She is Assistant Professor of the Practice of Music in Voice at Duke University. n

Mezzo-soprano Elisa Sutherland gives detailed, stylistic performances of early and new music with “soul-infused expressiveness and unselfconscious joie de vivre” (New York Music Daily). Ellie is a core member of Ekmeles, a sextet dedicated to exploring microtonal tuning and extended vocal techniques, as well as Alkemie, an ensemble made up of medieval specialists that celebrates the vibrant and timeless sounds of the past and present. She is a member of the Choir of Trinity Wall Street and frequently appears with TENET, with which she has performed everything from Dowland lute songs to semi-staged pastiches of her own devising. Elisa’s 2025–2026 Season includes an astonishing range of high-level music-making with collaborators across the country in all genres including Quince, The Crossing, Lorelei, Roomful of Teeth, Seraphic Fire, WindSync, AMOC, and Blue Heron. n

Sylvia Leith, mezzo-soprano, is a soloist and consort singer. She has appeared as a soloist with the Baltimore Symphony, Washington Bach Consort, Oregon Bach Festival, St. Thomas Fifth Avenue, Bach Choir of Bethlehem, Winston-Salem Symphony, Lancaster Symphony, Cantata Collective, and Baroque Music Montana, among others. Known primarily for her performances of the High Baroque works of Bach and Handel, she is equally at home singing repertoire of the Romantic era including Mahler, Elgar, and Brahms, as well as 20th-century and newly composed works. Sylvia’s ensemble singing credits include Altera, Seraphic Fire, Skylark, TENET, Lorelei, Ekmeles, the Oregon Bach Festival Chorus, the Crossing, and the Choir of Trinity Wall Street. She is a founding member of the Polyphonists. Sylvia won first prize in the 2024 Bethlehem Bach Aria Competition, and was a 2024 Virginia Best Adams vocal fellow at the Carmel Bach Festival. Her website is at www.sylvialeith.com. n

Tenor Aaron Sheehan regularly performs in the United States, South America, and Europe. Known especially for his singing of the French Baroque, he also enjoys a reputation as a firstrate interpreter of the works of Bach, Handel, and Mozart, and sang the title role in Boston Early Music Festival’s Grammy Award–winning recording of Charpentier’s opera La Descente d’Orphée aux Enfers. He has performed concerts at Staatsoper Berlin, Amsterdam Concertgebouw, Lincoln Center, Metropolitan Museum of Art, the Early Music Festivals of Boston (BEMF), San Francisco, Vancouver, Washington DC, Carmel, Regensburg, and the Halle Handel Festival. He also works regularly with AKAMUS, Boston Baroque, Handel and Haydn Society, Opera Lafayette, Pacific MusicWorks, Philharmonia Baroque, and Tafelmusik. Aaron Sheehan currently teaches Historical Performance voice at Boston University. n

Jacob Perry, tenor, is lauded for his stylish interpretations of early music. As a soloist, he lends his graceful sense of phrasing and luminous tone to engagements with Apollo’s Fire, Bach Collegium San Diego, Philharmonia Baroque, Portland Baroque Orchestra, Seattle Bach Festival, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. Deeply immersed in vocal chamber music, Jacob enjoys engagements with Ampersand, Art of Early Keyboard (ARTEK), Ensemble Altera, The Leonids, The New Consort, Res Facta, and TENET Vocal Artists. As Co-Artistic Director of Bridge, a genre-defying vocal collective based in Washington, he draws on his instincts for theatricality and story-telling, as the group explores the connections between early masterpieces and groundbreaking new works. Career highlights include his recent solo début with the New York Philharmonic, headlining the inaugural festival of Western Early Music at the Beijing Central Conservatory of Music with Les Canards Chantants, and “English Orpheus” with Tempesta di Mare. n

Bass-baritone Jonathan Woody is a versatile performer and composer noted as “richly and compellingly embodied” by the Washington Post. An early-music specialist, Jonathan has appeared with Tafelmusik Baroque Orchestra, Philharmonia Baroque Orchestra, Apollo’s Fire, New York Baroque Incorporated, and the Washington Bach Consort. Also a committed ensemble musician, Jonathan frequently joins Seraphic Fire and the Choir of Trinity Church, both Grammy-nominated ensembles, along with Kaleidoscope Vocal Ensemble, Les Délices, The New Consort, Conspirare, and TENET Vocal Artists. Recording credits include ACRONYM’s Cantica Obsoleta (Olde Focus Recordings), Boston Early Music Festival’s Idylle sur la Paix/La Fête de Rueil by Lully/Charpentier and Circé by Henri Desmarest (CPO), New York Polyphony’s Roma Æterna (BIS Records), and the Choir of Trinity Church’s Israel in Egypt and Missa Gentis Humanae (Musica Omnia). Jonathan holds degrees from McGill University and the University of Maryland, College Park. More at www.athloneartists.com/artists/jonathan-woody/. n

BRASS

Perry Sutton, trumpet, is one of today’s leading American historical trumpeters. Noted for his “virtuosic performances,” “extraordinary excitement,” and “aplomb” (Boston Globe), he performs regularly with early music ensembles nationwide, including Apollo’s Fire, Handel and Haydn Society, Bach Charlotte, and Trinity Baroque Orchestra. Additionally, Mr. Sutton can also frequently be heard freelancing with chamber music ensembles and on Broadway shows in New York. When not performing, he can be found pursuing his hobbies of home cooking, amateur photography, and golf. n

Steven Marquardt is a Baroque trumpet and natural horn specialist based in New York City. Steven performs regularly with Handel and Haydn Society, Trinity Church Wall Street, Apollo’s Fire, and American Classical Orchestra, and has made appearances with Tafelmusik Baroque Orchestra, Philharmonia Baroque Orchestra, Boston Early Music Festival Orchestra, Boston Baroque, Portland Baroque Orchestra, and The English Concert. Originally hailing from Burnsville, Minnesota, Steven is a graduate of Indiana University (M.M.) and Concordia College-Moorhead (B.M.). n

Liza Malamut is Artistic Director of The Newberry Consort and a founding member of Incantare. A specialist in historical trombones, she has performed with premier period ensembles all over the world. Her scholarly work includes the coedited volume Music and Jewish Culture in Early Modern Italy: New Perspectives, winner of the 2023 Ruth A. Solie Award with Rebecca Cypess and Lynette Bowring, and, most recently, the article “Europa Rossi: A Question of Identity,” published in Min-Ad: Israel Studies in Musicology. She currently teaches historical trombone at Indiana University and is Director of the University of Chicago Early Music Ensemble. n

Based in Chicago, Ben David Aronson brings years of experience as a performer and educator to his work as a historical trombonist and as the Executive Director of The Newberry Consort. As a founding member of the period chamber ensemble Incantare, Ben David has traveled widely to appear in numerous concert series, university programs, and festivals. He has also worked with Pegasus Early Music, Piffaro, Dark Horse Consort, TENET, the Choir of Trinity Wall Street, Opera Lafayette, Atlanta Baroque, and the Washington National

Cathedral Choir & Baroque Orchestra. This season, Ben David is very much looking forward to performances with Incantare, Tafelmusik, the Yale Schola Cantorum, Boston Baroque, and ACRONYM. As Executive Director for The Newberry Consort since the summer of 2024, Ben David is a vigorous advocate not just for Newberry, but for the arts and for the advancement of historical performance in Chicago and around the world. n

Minneapolis-based musician Garrett Lahr is a historical brass specialist focusing on sackbut and other historical trombones. He regularly performs with many leading period instrument ensembles across North America and is a founding member of Incantare. Recent engagements have included performances with The Newberry Consort, Tafelmusik, Opera Atelier, Opera Lafayette, Boston Baroque, and Pegasus Early Music, among many others. Garrett’s sackbut playing can be heard on the ATMA and Naxos labels. Away from the concert stage, Garrett can either be found at the golf course or spending time with his lovely wife Brita and mostly-adorable dog Winston. n

TEXTS AND TRANSLATIONS

Seelenbräutigam — Adam Drese

Seelenbräutigam

Jesu, Gotteslamm, habe Dank für deine Liebe, die mich zieht aus reinem Triebe von dem Sünden Schlamm, Jesu Gotteslamm!

Bridegroom of the soul, Jesus, Lamb of God, I thank you for your love, which draws me—out of pure desire— from the mire of sin, Jesus, Lamb of God!

Das Himmelreich ist gleich einem Könige — Adam Drese

Das Himmelreich ist gleich einem Könige, der seinem Sohn Hochzeit machte.

Und sandte seine Knechte aus, daß sie die Gäste zur Hochzeit riefen, und sie wollten nicht kommen.

Abermals sandte er andere Knechte aus und sprach: Sagt den Gästen: Siehe, meine Mahlzeit habe ich bereitet, meine Ochsen und mein Mastvieh geschlachtet, und alles ist bereit; kommt zur Hochzeit!

Aber sie verachteten das und gingen hin, einer auf seinen Acker, der andere zu seiner Hantierung.

Etliche aber griffen ihre Knechte, höhnten und töteten sie.

Da das der König hörte, ward er zornig und schickte seine Heere aus und brachte diese Mörder um und zündete ihre Stadt an.

Da sprach er zu seinen Knechten: Die Hochzeit ist zwar bereit, aber die Gäste waren’s nicht wert.

Darumb gehet, gehet hin auf die Straßen und ladet zur Hochzeit, wen ihr findet.

Und die Knechte gingen aus auf die Straßen und brachten zusammen, wen sie fanden, Böse und Gute; und die Tische wurden alle voll.

Da ging der König hinein, die Gäste zu besehen, und sah allda einen Menschen, der hatte kein hochzeitlich Kleid an,

Und sprach zu ihm: Freund, wie bist du hereingekommen und hast doch kein hochzeitlich Kleid an? Er aber verstummte.

“The Kingdom of Heaven is like unto a certain king, which made a marriage for his son. And sent forth his servants to call them that were bidden to the wedding, and they would not come.

Again he sent forth other servants, saying, ‘Tell them which are bidden: “Behold, I have prepared my dinner: my oxen and my fatlings are killed, and all things are ready: Come unto the marriage.” ’

But they made light of it and went their ways, one to his farm, and another to his merchandise:

And the remnant took his servants, and entreated them spitefully, and slew them.

But when the king heard thereof, he was wroth: and he sent forth his armies, and destroyed those murderers, and burned up their city. Then saith he to his servants, ‘The wedding is ready, but they which were bidden were not worthy.

Go ye therefore into the highways, and as many as ye shall find, bid to the marriage.’

So those servants went out into the highways, and gathered together all as many as they found, both good and bad: and the wedding was furnished with guests.

And when the king came in to see the guests, he saw there a man which had not on a wedding garment:

And he saith unto him, ‘Friend, how camest thou in hither not having a wedding garment?’ And he was speechless.

Da sprach der König zu seinen Dienern:

Bindet ihm Hände und Füße und werfet ihn in die äußerste Finsternis hinaus; da wird sein Heulen und Zähneklappern.

Denn viel sind berufen, aber wenig sind auserwählet.

—Matthew 22:2–14

Jesu, der du meine Seele — Adam Drese

Jesu, der du meine Seele

Hast durch deines bittern Tod, Aus des Teufels finstern Höhle

Und der schweren Sünden-Noth Kräftiglich herausgerissen,

Und mich solches lassen wissen

Durch dein angenehmes Wort:

Sey doch jetzt, o Gott! mein Hort.

Herr, ich muß es ja bekennen,

Daß nichts Gutes wohnt in mir,

Zwar ich kann das wollen nennen,

Dieses spühr und merk ich hier:

Aber Fleisch und Blut zu zwingen

Und das Gute zu vollbringen, Folget gar nicht wie es soll, Was ich nicht will, tu ich wohl.

Herr, ich glaube, hilf mir Schwachen, Laß mich ja verderben nicht,

Du, du kannst mich stärker machen, Wenn mich Sünd und Tod anficht.

Deiner Güte will ich trauen, Biß ich fröhlich werde schauen, Dich, Herr Jesu, nach dem Streit, In der frohen Ewigkeit.

—Johann Rist

Seelenbräutigam — Adam Drese

Deine Liebesglut

Stärket Mut und Blut. Wenn du freundlich mich anblickest Und an deine Brust mich drückest, Macht mich wohlgemuth

Deine Liebesglut.

—Adam Drese

Then said the king to the servants, ‘Bind him hand and foot, and take him away, and cast him into outer darkness, there shall be weeping and gnashing of teeth.’

For many are called, but few are chosen.”

Jesus, you who by your bitter death Have powerfully torn my soul From the devil’s dark pit And the dreadful Anguish of sin— And have let me come to know this Through your gracious Word— Be now, O God, my refuge.

Lord, I must confess That nothing good lives in me. It’s true I can will the good— This I feel and sense— But to overcome flesh and blood And actually do the good: That does not follow as it should. What I don’t want to do, I do.

Lord, I believe—help my weakness; Do not let me perish. You alone can strengthen me When sin and death assail me. I will trust in your mercy Until I joyfully behold you, Lord Jesus, after the struggle, In eternal joy.

The fire of your love Strengthens my courage and my very being. When you look upon me kindly And draw me to your breast, Your burning love Fills me with joy.

Hürtenlied — Adam Drese

Karitille, liebste Seele, Du, mein ädles Sinnenlicht

Die ich eintzig mir erwehle, Die mir Hertz und Sinnen bricht: Sey zu tausendmal gegrüßet

Und im Hertzen treu geküsset!

Ach, mir ist von Hertzen weh, Daß ich dich, mein kind, nicht seh.

Ach, was trag ich vor Verlangen, Allerschönste Schäferinn

Dich, mein Seelchen, zu umpfangen!

Es ist schon viel Zeit dahin, Daß ich fast mit Hertzenszähren Deiner einsam muß entbehren.

Ach, mir ist von Hertzen weh, Daß ich dich, mein Kind, nicht seh.

Freudenlied — Adam Drese

Liebstes Seelchen, sey willkommen, Du mein Leitstern, meine Sonn’, Und du meines Hertzens Wonn’;

Jetzt ist mir mein Leid entnommen,

Durch dein Ankunft liegt mein Schmerz, Du mein auserwehltes Hertz.

Nun du aber angelanget, Muss mir lauter Sommer sein;

Deiner klaren Augen Schein

Gleichsam wie die Sonne pranget; Deine Reden sind, mein Kind, Mir ein süsser Zephirwind.

Darumb bin ich hocherfreuet— Laß es wettern, wie es will!

Du, mein ädle Karitill, Hast mich gleichsam gantz verneuet.

Deine Wiederkunft, die macht, Daß mein Hertz vor Freuden lacht.

Traurlied — Adam Drese

Wohl! ich leid’ es mit Geduld, Ich will, liebstes Kind, nur schweigen

Und beruffen dieses Mal

Den gerechten Gott zum Zeugen.

Dieser kennet meine Treue, Der kennt meine Sache recht.

Mein unfalsch-verliebtes Hertz Und Gewissen wird es sagen,

Shepherd’s Song

Karitille, dearest soul, You, noble light of my senses, Whom alone I have chosen for myself, Who breaks my heart and senses— Be greeted a thousand times And faithfully kissed in my heart!

Ah, my heart is in pain, That I, my child, cannot see you.

Ah, what longing I bear, Most beautiful shepherdess, To embrace you, my little soul! So much time has already passed That I, with almost tearful heart, Must do without you in solitude. Ah, my heart is in pain, That I, my child, cannot see you.

Song of Joy

Dearest little soul, be welcome, You my guiding star, my sun, And you, the delight of my heart; Now my sorrow is taken away, Through your arrival my pain is calmed, You, my chosen heart.

Now that you have arrived, It must be all summer for me; The brightness of your clear eyes Shines like the sun itself; Your words are, my child, To me a sweet Zephyr wind.

Therefore I am overjoyed— Let it storm as it will!

You, my noble Karitille, Have wholly renewed me. Your return, it causes My heart to laugh with joy.

Lament Song

Welp! I suffer it with patience; I will, dearest child, be silent, And call this time upon The righteous God as witness. He knows my faithfulness; He knows my cause is just.

My sincerely loving heart And conscience will declare it:

Daß ich solchen falschen Schein

Im Gemühte nie getragen, Als ein falscher Liebesdiener Und gewissenloser Knecht.

Darumb schlag’ es in den Wind, Laß es hageln, laß es schneyen, Laß das Gottvergeßne Volk

Lasterflammen auf dich speyen.

Dieses schadt dir alles nichtes, Laß es gehen wie es geht.

Die belobte Redlichkeit

Kriegt doch endlich noch zu Lohne

Den stetsgrünen Myrthenkrantz

Und die ädle Lorberkrohne, Die im Donnersturm und Wetter Allzeit unverletzet steht.

Unterdessen will ich mich

Auf mein’ Unschuld feste stützen.

Diese wird mich als ein Held

Vor den Lästerwürmen schützen,

Daß ihr Stich mir nicht wird schaden.

Soll ich aber dich, mein Kind, Karitill, nicht wiedersehn:

So sey tausend mal gegrüßet!

Habe tausend gute Nacht,

Und sey durch die Luft geküsset!

Denk, daß wir durch böse Zungen

Von einander kommen sind.

—Georg Neumark

Seelenbräutigam — Adam Drese

Hier durch Spott und Hohn,

Dort die Ehrenkron; Hier im Hoffen und im Glauben,

Dort im Haben und im Schauen;

Denn die Ehrenkron

Folgt auf Spott und Hohn.

—Adam Drese

Vor der Predigt — Johann Samuel Drese

Danket Gott ihr Menschenkinder

Bringt den höchsten Preiß und Ruhm

Denn uns fast verlohrne Sünder

Nimmt er an zum Eigenthum

Ja Gott ruft noch allezeit: Kommt, mein Mahl ist schon bereit.

—Johannes Schlemm

That never have I borne

Such false appearance in my soul

As a deceitful lover And conscienceless servant.

Therefore cast it to the wind!

Let it hail, let it snow!

Let the godless people

Spew flames of vice upon you. None of this will harm you— Let things go as they go.

Praised integrity receives, At last, its due reward: The ever-green myrtle wreath

And the noble laurel crown, Which in thunderstorm and tempest Ever stands unharmed.

Meanwhile I will firmly Lean on my innocence. It will shield me like a hero From the worms of slander, So that their stings shall not harm me. But if I must, my child, Karitille, never see you again—

Be greeted a thousandfold!

Receive a thousand good nights, And be kissed through the air! Think that we were torn apart By evil tongues.

Here through mockery and scorn, There the crown of honor; Here in hope and in faith, There in having and in seeing; For the crown of honor

Follows mockery and scorn.

Before the Sermon

Thank God, you children of men Bring the highest praise and glory, For us, almost-lost sinners, He receives as his own possession. Yes, God still calls out at all times: Come—my banquet is already prepared.

Der Musen Freudengesang — Adam Drese

Du höchster Halt über dem Hause von Sachsen

Die Flügel der Gnaden für und für Laß unter demselben in voller Ziehr

Die Jugend in Tugend und Wissenschaft wachsen. —Georg Neumark

Nach der Predigt — Johann Samuel Drese

Du willst zu deinem Mahl uns Menschen laden Und schmücken mit dem Hochzeitkleid.

Sonst aber bitten wir: vergilt aus Gnaden

Die fürstliche Wohltätigkeit.

O Gott, wir stehen; dein Wort bleib’ stehen, Biß dieser Erd Kreis wird zugrunde gehen!

Laß das Haus Sachsen fruchtbarlich wachsen, Biß du uns alle führst auf Himmels-Achsen.

—Johannes Schlemm

Joyful Song of the Muses

You, highest protector over the House of Saxony, Spread your wings of grace continually; Under their shelter and in full splendor, Let the youth grow in virtue and knowledge.

After the Sermon

You invite us mortals to your banquet And clothe us in the wedding garment. And so we ask: repay with grace The princely kindness we have received. O God, we stand—and your word stands firm Until this orb of Earth dissolves away. Let the House of Saxony grow in strength Until you lead us all upon heavenly fulcra.

m INTERMISSION n

Seelenbräutigam — Adam Drese, arr. J. S. Bach

Du mein Preis und Ruhm,

Werte Saronsblum,

In mir soll nun nichts erschallen

Als was dir nur kann gefallen, Werte Saronsblum,

Du mein Preis und Ruhm.

So werd ich in dir Bleiben für und für,

Deine Liebe will ich ehren

Und in dir dein Lob vermehren, Weil ich für und für Bleiben werd in dir.

—Adam Drese

Gott ist unser Zuversicht — Johann Samuel Drese

Gott ist unser Zuversicht und Stärke. Eine Hülfe in großen Nöthen, die uns troffen haben. Darumb fürchten wir uns nicht wenn gleich die Welt unterginge und die Berge mitten ins Meer säncken.

Wenngleich das Meer wütet und Wallet, und von seinem Ungestüm, die Berge einfielen. Seela.

You, my praise and glory, Precious Rose of Sharon, Within me now let nothing sound Except what can please you alone, Precious Rose of Sharon, You, my praise and glory.

So I will in you

Remain forever and ever, Your love I will honor And in you increase your praise, Because forever and ever I will remain in you.

God is our refuge and strength, a very present help in trouble.

Therefore will not we fear, though the earth be removed, and though the mountains be carried into the midst of the sea; Though the waters thereof roar and be troubled, though the mountains shake with the swelling thereof. Selah.

Dennoch soll die Stadt Gottes fein lustig bleiben mit ihren Brünnlein, da die heiligen Wohnungen des Höchsten sind.

Gott ist bei ihr drinnen darumb wird sie wohl bleiben. Gott hilft ihr früh.

Die Heÿden müssen verzagen und die Königreiche fallen, das Erdreich muß vergehen. Wenn er sich hören läßt,

Der Herr Zebaoth ist mit uns, der Gott Jacob ist unser Schutz. Seela.

Kommt her und schauet die Werke des Herrn der auf Erden solch Zerstören anrichtet, Der den Kriegen steuert in aller Welt, der Bogen zerbricht Spieße zerschläget und Wagen mit Feuer verbrennt.

Seÿd stille und erkennet, daß ich Gott bin! Ich will Ehre einlegen unter den Heÿden, ich will Ehre einlegen auf Erden.

Der Herr Zebaoth ist mit uns, der Gott Jacob ist unser Schutz. Seela.

—Psalm 46

There is a river, the streams whereof shall make glad the city of God, the holy place of the tabernacles of the Most High.

God is in the midst of her; she shall not be moved: God shall help her, and that right early.

The heathen raged, the kingdoms were moved: he uttered his voice, the earth melted.

The Lord of hosts is with us; the God of Jacob is our refuge. Selah.

Come, behold the works of the Lord, what desolations he hath made in the earth.

He maketh wars to cease unto the end of the earth; he breaketh the bow, and cutteth the spear in sunder; he burneth the chariot in the fire.

Be still, and know that I am God: I will be exalted among the heathen, I will be exalted in the earth.

The Lord of hosts is with us; the God of Jacob is our refuge. Selah.

Plötzlich rede ich — Adam Drese

Plötzlich rede ich wieder ein Volck und Königreich, daß ichs ausrotten, zerbrechen und verderben wolle.

—Jeremiah 18:7

[Ach Gott!] Das macht dein Zorn, daß wir so vergehen, und dein Grimm, daß wir so plötzlich dahin müssen.

Psalm 90:7

Wo sichs aber bekehret von seiner Boßheit, dawider ich rede, so soll mich auch gereuen das Unglück, das ich ihm gedachte zu thun.

—Jeremiah 18:8

O wie ist die Barmhertzigkeit des Herrn so groß, und läßt sich gnädig finden beÿ denen, so sich zu ihm bekehren.

—Sirach 17:29

Ehre seÿ dem Vater und dem Sohn und auch dem Heilgen Geiste, wie es war im Anfang, itzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.

—Gloria Patri

At what instant I shall speak concerning a nation, and concerning a kingdom, to pluck up, and to pull down, and to destroy it.

[O God!] For we are consumed by thine anger, and by thy wrath are we troubled.

If that nation, against whom I have pronounced, turn from their evil, I will repent of the evil that I thought to do unto them.

How great is the lovingkindness of the Lord our God, and his compassion unto such as turn unto him in holiness!

Glory be to the Father and the Son and also the Holy Spirit, as it was in the beginning, now and forever and from everlasting to everlasting. Amen.

Wolauff, mein gantzes Ich — Adam Drese

Wolauff, mein gantzes Ich, und lasse Gott zu Ehren

Auff deinem Psalter-Spiel ein feines Dancklied hören; Daß Er das Kriegsgetümmel getrieben aus dem Land, Und die vom hohen Himmel hat wieder Fried gesandt.

Er lässet aus der Höh den ädlen Frieden kommen, Den von der Erden

Er uns hatte weggenommen,

Auff daß wir lernen fassen, daß Glück und Heil im Land, Und Fried auff Stadt und Strassen nur steh in seiner Hand.

Drumb dancket alle Gott, der uns bey unsern Leben Uns hat ein neues Lied in unsern Mund gegeben!

Was Odem hat, zu singen, das preise Gottes Güt; Der woll’ uns endlich bringen zum rechten Himmels-Fried.

—Michael Franck

Höret auf — Johann Samuel Drese

Höret auf, um mich zu klagen, Hört, ihr liebsten Eltern, auf: Was hilft Weinen? Was hilft Zagen

Nach verbrachtem Lebenslauf?

Laßt den Zährenbach versiegen, Der von Hertzen aufgestiegen.

Hab ich gleich bald weichen müssen, Aus der Welt zum Grabe gehn

Und den kühlen Sand beküssen, Ist mir doch sehr wohl geschehn:

Denkt: ich ruh in Gottes kammern— Wem will denn mein Abschied jammern?

Gute Nacht! Ihr lieben Hertzen, Die ihr mich zur Welt gebracht!

Laßt mein Scheiden euch nicht schmerzen:

Mein Geschwister! Gute Nacht:

Gute Nacht, O Weltgetümmel!

Sei gegrüßet schöner Himmel!

—Johann Kristoff Lorber

Rise up, my whole self and—to God’s honor—

Let a fine song of thanks be heard on your psaltery; For he has driven the war’s tumult out of the land, And from the high heaven has again sent peace.

He lets noble Peace come down from on high, Which from the earth he had taken away from us; So that we learn to grasp the prosperity and salvation in the land, And peace in roads and streets, stand in his hand alone.

Therefore thank God, who—while we yet live— Has put a new song into our mouth.

Let everything that has breath to sing praise God’s goodness; May He at last bring us to the true peace of heaven.

Cease your weeping over me, Listen, dearest parents, stop! What use is crying? What use despair, Now that life’s course is run?

Let the stream of tears dry up, Which has risen from your hearts.

Though I had to depart early, Leave the world and go to the grave, And kiss the cool sand— It has gone very well for me.

Think: I rest in God’s chambers— Who then should mourn my parting?

Good night, dear hearts, Who brought me into the world!

Let not my departure bring you pain. My siblings: good night!

Good night, O worldly tumult!

Greetings, beautiful Heaven!

Nun ist alles überwunden — Adam Drese

Nun ist alles überwunden, Meine Liebsten, weinet nicht!

Aller Jammer ist verschwunden, Ob des Lebens Feldhaus bricht. Ist mein Geist doch aufgenommen

In das Himmelshaus der Frommen, Wo nur Leben, Lust und Pracht. Welt, Ade zur guten Nacht.

Nun, ihr Liebsten seid zufrieden, Mindert euer Hertzeleid!

Wir sind ewig nicht geschieden, Denket an die Seligkeit! Streitet, so wie ich gestritten, Folgt mir nach mit Hertzensschritten! Lebet wohl, es ist vollbracht!

Welt, Ade zur gute Nacht.

—Adam Drese?

Wie selig sind die Toten — Adam Drese

Wie selig sind die Toten, die in dem Herrn sterben von nun an. Ja, der Geist spricht daß sie ruhen von ihrer Arbeit und ihre Werke folgen ihnen nach.

—Revelation 14:13

Hier liegt der ädle tapfer Held Welcher durch sein so Ritterliches Kämpfen

Den Thron der Ehren rühmlich erstiegen

Und muß gleichwohl dem letzten Lebens-Feinde so früh zuteile werden.

Der Hinterlassenen Kinderschmerzliche Klage:

Ach! Gott, das macht die Sünde daß wir Eurer,

O allerliebster Herr Vater, In dieser Fremde so bald beraubet werden.

Der selig Verstorbene:

Zu früh scheint es zwar zu sein, Ihr allerliebsten Kinder

Daß Ich so bald von euch muß scheiden:

Aber klagt doch nicht zu sehr

Wer selig stirbt, der stirbet nicht zu früh.

Jetzt küß ich euch zu letzt

Und befehle euch dem lieben Gott;

Der wird euch wohl behüten

Und an jenem Tage mir

Mit Freuden wiedergeben.

Now all is overcome, My dearest ones, do not weep! All sorrow has disappeared, Even though life’s earthly dwelling breaks. My spirit has indeed been taken up Into the heavenly house of the righteous, Where there is only life, delight, and splendor. World, farewell, and good night.

Now, my dearest ones, be content, Lessen your heart’s sorrow!

We are not parted forever, Think upon salvation!

Strive as I have striven, Follow me with steps of the heart! Farewell, it is accomplished! World, farewell, and good night.

“Blessed are the dead which die in the Lord from henceforth.” “Yea,” saith the Spirit, “that they may rest from their labors; and their works do follow them.”

Here lies the noble, valiant hero, Who through his knightly striving Has gloriously ascended the throne of honor, And yet must, all the same, So soon fall to the final foe of life.

The Bereaved Children’s Lament: O God, how sin has wrought this— that we, your own, O most-loving Father, So soon are bereft in this foreign land.

The Blessed Departed One: It may indeed seem too soon, My dearest children, That I must so quickly part from you; Yet do not lament too greatly— Whoever dies blessedly does not die too soon. Now I kiss you for the last time And commend you to the dear God; He will surely keep you safe And on that day Will with joy restore you to me.

So schlafet den nun gantz mit Frieden

Und helfe Gott auf, daß ihr sicher wohnet

Biß an den Jüngsten Tag, Da ihr werdet hören die fröhliche Stimme

—Adam Drese?

Ei du frommer und getreuer Knecht, du bist über wenigem getreu gewesen; ich will dich über viel setzen; gehe ein zu deines Herren Freude!

—Matthew 25:21

Seelenbräutigam — Adam Drese, arr. J. S. Bach

Wenn ich weinen muss, Wird dein Tränenfluss

Nun die meinen auch begleiten Und zu deinen Wunden leiten, Daß mein Tränenfluss

Sich bald stillen muss.

Wenn ich mich aufs neu

Wiederum erfreu, Freuest du dich auch zugleiche, Biß ich dort in deinem Reiche Ewiglich aufs neu Mich mit dir erfreu.

—Adam Drese

So now sleep in perfect peace, And may God raise you up, That you may rest secure until the Judgment Day, When you shall hear the joyful voice:

“Well done, thou good and faithful servant: thou hast been faithful over a few things, I will make thee ruler over many: enter thou into the joy of thy Lord.”

When I must weep, Your flow of tears Will accompany mine also And lead to your wounds, So that my flow of tears Must soon be stilled.

When I anew Rejoice again, You also rejoice at the same time, Until I there in your kingdom Eternally anew Rejoice with you.

—Translations by ACRONYM

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INTERNATIONAL BAROQUE OPERA

One of BEMF’s main goals is to unearth and present lesser-known Baroque operas performed by the world’s leading musicians armed with the latest information on period singing, orchestral performance, scenic design, costuming, dance, and staging. BEMF operas reproduce the Baroque’s stunning palette of sound by bringing together today’s leading operatic superstars and a wealth of instrumental talent from across the globe to one stage for historic presentations, all zestfully led from the pit by the BEMF Artistic Directors Paul O’Dette and Stephen Stubbs, and creatively reimagined for the stage by BEMF Opera Director Gilbert Blin. Biennial centerpiece productions feature both the Boston Early Music Festival

Orchestra, led by BEMF Orchestra Director Robert Mealy, and the Boston Early Music Festival Dance Company, led by BEMF’s newly appointed Dance Director, MarieNathalie Lacoursière.

The twenty-third biennial Boston Early Music Festival, Love & Power, was held in June 2025 and featured Reinhard Keiser’s 1705 opera Octavia. The twenty-fourth Festival, in June 2027, will have as its centerpiece Georg Philipp Telemann’s 1728 opera Emma und Eginhard.

BEMF introduced its Chamber Opera Series during its annual concert season in November 2008, with a performance of

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

BEMF’S

PHOTO: KATHY WITTMAN

John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series features the artists of the Boston Early Music Festival Vocal and Chamber Ensembles and focuses on the wealth of chamber operas composed during the Baroque period, while providing an increasing number of local opera aficionados the opportunity to attend one of BEMF’s superb offerings. Subsequent annual productions include George Frideric Handel’s Acis and Galatea, Henry Purcell’s Dido and Aeneas, combined performances of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, Monteverdi’s Orfeo, a double bill of Pergolesi’s La serva padrona and Livietta e Tracollo, a production titled “Versailles” featuring Les Plaisirs de Versailles by Charpentier, Les Fontaines de Versailles by Michel-Richard de Lalande, and divertissements from Atys by Jean-Baptiste Lully, Francesca Caccini’s Alcina, the first opera written by a woman, a combination of Telemann’s Pimpinone and Ino, joint performances of Lully’s Idylle sur la Paix and Charpentier’s La Fête de Rueil, John Frederick Lampe’s The Dragon of Wantley, Telemann’s Don Quichotte, and most recently Francesco Provenzale’s Stellidaura’s Revenge. Acis and Galatea was revived and presented on a four-city North American Tour in early 2011, which included a performance at the American Handel Festival in Seattle, and in 2014, BEMF’s second North American Tour featured the Charpentier double bill from 2011. In summer 2025, The Dragon of Wantley was performed at Confidencen in

Stockholm, Sweden, and at Oldenburgisches Staatstheater in Oldenburg, Germany, as part of Musikfest Bremen.

BEMF has a well-established and highly successful project to record some of its groundbreaking work in the field of Baroque opera. The first three recordings in this series were all nominated for the Grammy Award for Best Opera Recording, in 2005, 2007, and 2008: the 2003 Festival centerpiece Ariadne, by Johann Georg Conradi; Lully’s Thésée; and the 2007 Festival opera, Lully’s Psyché, which was hailed by BBC Music Magazine as “superbly realized…magnificent.” In addition, the BEMF recordings of Lully’s Thésée and Psyché received Gramophone Award Nominations in the Baroque Vocal category in 2008 and 2009, respectively. BEMF’s next three recordings on the German CPO label were drawn from its Chamber Opera Series: Charpentier’s Actéon, Blow’s Venus and Adonis, and a release of Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording and the 2015 Echo Klassik Opera Recording of the Year (17th/18th Century Opera). Agostino Steffani’s Niobe, Regina di Tebe, featuring Philippe Jaroussky and Karina Gauvin, which was released in January 2015 on the Erato/Warner Classics label in conjunction with a seven-city, fourcountry European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the

SCENE FROM BEMF’S 2023 PRODUCTION OF LAMPE’S THE DRAGON OF WANTLEY

PHOTO: KATHY WITTMAN

Month for March 2015, is the 2015 Echo Klassik World Premiere Recording of the Year, and has received a 2015 Diapason d’Or de l’Année and a 2015 Preis der Deutschen Schallplattenkritik. Handel’s Acis and Galatea was released in November 2015. In 2017, while maintaining the focus on Baroque opera, BEMF expanded the recording project to include other select Baroque vocal works: a new Steffani disc, Duets of Love and Passion, was released in September 2017 in conjunction with a sixcity North American tour, and a recording of Johann Sebastiani’s St. Matthew Passion was released in March 2018. Four Baroque opera releases followed in 2019 and 2020: a disc of Charpentier’s chamber operas Les Plaisirs de Versailles and Les Arts Florissants was released at the June 2019 Festival, and has been nominated for a Grammy Award; the 2013 Festival opera, Handel’s Almira, was released in late 2019, and received a Diapason d’Or. Lalande’s chamber opera Les Fontaines de Versailles was featured on a September 2020 release of the composer’s works; Christoph Graupner’s opera Antiochus und Stratonica was released in December 2020. BEMF’s recording of Desmarest’s Circé, the 2023 Festival opera, was released concurrently with the opera’s North American premiere, Pergolesi’s La serva padrona and Livietta e Tracollo was released in December 2023, Telemann’s Ino and opera arias for soprano, featuring Amanda Forsythe, was released in October 2024 and won the 2026 Grammy Award for Best Classical Solo Vocal Album, Lully’s Idylle sur la Paix and Charpentier’s La Fête de Reuil was released in May 2025, and the newest recording, Marazzoli’s Cantatas of Peace and Pleasure, was released in November 2025.

CELEBRATED CONCERTS

Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, among them a program by

the acclaimed Boston Early Music Festival Orchestra, which often feature unique, oncein-a-lifetime collaborations and programs by the spectacular array of talent assembled for the Festival week’s events. In 1989, BEMF established an annual concert series bringing early music’s leading soloists and ensembles to the Boston concert stage to meet the growing demand for regular world-class performances of early music’s beloved classics and newly discovered works. BEMF then expanded its concert series in 2006, when it extended its performances to New York City’s Gilder Lehrman Hall at the Morgan Library & Museum, providing “a shot in the arm for New York’s relatively modest earlymusic scene” (New York Times).

WORLD-FAMOUS EXHIBITION

The nerve center of the biennial Festival, the Exhibition is the largest event of its kind in the United States, showcasing nearly one hundred early instrument makers, music publishers, service organizations, schools and universities, and associated colleagues. In 2013, Mozart’s own violin and viola were displayed at the Exhibition in their firstever visit to the United States. Every other June, hundreds of professional musicians, students, and enthusiasts come from around the world to purchase instruments, restock their libraries, learn about recent musicological developments, and renew old friendships. For four days, they visit the Exhibition booths to browse, discover, and purchase, and attend the dozens of symposia, masterclasses, and demonstration recitals, all of which encourage a deeper appreciation of early music, and strengthen relationships between musicians, participants, and audiences. n

BECOME A FRIEND OF THE

Boston Early Music Festival

Revenue from ticket sales, even from a sold-out performance, accounts for less than half of the total cost of producing BEMF’s operas and concerts; the remainder is derived almost entirely from generous friends like you. With your help, we will be able to build upon the triumphs of the past, and continue to bring you thrilling performances by today’s finest Early Music artists.

Our membership organization, the FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL, includes donors from around the world. These individuals recognize the Festival’s need for further financial support in order to fulfill its aim of serving as a showcase for the finest talent in the field.

PLEASE JOIN THE FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL BY DONATING AT ONE OF SEVERAL LEVELS:

•

•

•

THREE WAYS TO GIVE:

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

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

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

OTHER WAYS TO SHOW YOUR SUPPORT:

• Increase your philanthropic impact with a Matching Gift from your employer.

• Make a gift of appreciated stocks or bonds to BEMF.

• Planned Giving allows you to support BEMF in perpetuity while achieving your financial goals.

• Direct your gift to a particular area that interests you with a Named Gift

QUESTIONS? Please e-mail Kathleen Fay at KATHY@BEMF.ORG, or call the BEMF office at 617-661-1812. THANK YOU FOR YOUR SUPPORT!

FRIENDS OF THE Boston Early Music Festival

This list reflects donations received from April 1, 2024 to January 28, 2026

FESTIVAL ANGELS

($25,000 or more)

Diane† & John Paul Britton

Bernice K. Chen

Marie-Pierre & Michael Ellmann

Peter L. Faber

Lori Fay & Christopher Cherry

David Halstead & Jay Santos

George L. Hardman

Ellen T. & John T. Harris

Glenn A. KnicKrehm

Mr. & Mrs. Thomas G. MacCracken

Jeffrey G. Mora, in memory of Wendy Fuller-Mora

Miles Morgan†

Bettina A. Norton

Lorna E. Oleck

Susan L. Robinson

Andrew Sigel

Joan Margot Smith

Piroska Soos†

Marilee Wheeler Trust

ARTISTIC DIRECTORS’ CIRCLE

($10,000 or more)

Anonymous (5)

Beth Brown, in memory of Walter R.J. Brown

James C. Busby

Katie & Paul Buttenwieser

Brit d’Arbeloff

Susan Denison

Thomas G. Evans†

Jean Fuller Farrington

James A. Glazier

Donald Peter Goldstein, M.D.

Barbara & Amos Hostetter

Edward B. Kellogg†

Mei-Fung Kerley, in memory of Ted Chen

Robert E. Kulp, Jr., in memory of Diane Britton

Heather Mac Donald & Erich Eichman

Bill McJohn

Rebecca Nemser, in memory of Paul Nemser

Joanne Zervas Sattley

Andie Taras & Tony Elitcher

Karen Tenney & Tom Loring

Maria van Kalken & Hal Winslow

Donald E. Vaughan & Lee S. Ridgway

Christoph Wolff

LEADERSHIP CIRCLE

($5,000 or more)

Anonymous (4)

Douglas & Aviva Brooks

Gregory E. Bulger & Richard J. Dix

Peter & Katie DeWolf

Susan Donaldson

Kathleen Fay, in memory of Dorothy Ryan Fay

Phillip Hanvy

Alan M. King

Neal J. Plotkin & Deborah Malamud

Harold I. Pratt

Paul Rabin & Arlene Snyder

Kenneth C. Ritchie & Paul T. Schmidt

Nina & Timothy Rose

David Scudder & Betsy Ridge

BENEFACTORS

($2,500 or more)

Anonymous (3)

Dr. Alan & Mrs. Fiona Brener

Mary Briggs & John Krzywicki, in honor of Paul O’Dette

Amy Brown & Brian Carr

John A. Carey

Peter S. Coleman

Elizabeth Davidson†, in honor of David Morris

Mary Deissler†

Carl E. Dettman

David Emery & Olimpia Velez

Michael E. Fay, in memory of Theresa Fay

John Felton & Marty Gottron, in honor of Paul O’Dette

Jane Hoover

Dr. Peter Libby & Ms. Helyn Oatis

Harriet Lindblom

Keith Ohmart & Helen Chen

Brian Pfeiffer

Martha J. Radford

Jose M. Rodriguez & Richard A. Duffy

Paul L. Sapienza, PC, CPA

Raymond A. & Marilyn Smith

Richard K. & Kerala J. Snyder

Adrian & Michelle Touw

Paula & Peter Tyack

John C. Wiecking

GUARANTORS

($1,000 or more)

Anonymous (6)

Jonathan B. Aibel & Julie I. Rohwein, in honor of James Glazier

Annemarie Altman, in memory of Dave Cook

A.M. Askew

Ann Beha & Robert Radloff

The Honorable Leonie M. Brinkema & Mr. John R. Brinkema

Pamela & Lee Bromberg

Julie Brown & Zachary Morowitz

James Burr

Betty Canick

Robert & Elizabeth Carroll

David J. Chavolla

Carla Chrisfield & Benjamin D. Weiss

Peter Ciampi, in memory of John Rutherfurd, Jr.

Charles E. Clark, in memory of Diane Britton

Dr. & Mrs. Franklyn Commisso

Mary Cowden

Geoffrey Craddock

Richard & Constance Culley

Eric & Margaret Darling

The Davison-Twomey Family

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

Jeffrey Del Papa

Charles Durfee, Elizabeth Durfee Hengen & William Durfee, in memory of Alan Durfee

Helen Edwards

John W. Ehrlich

Henk Elderhorst

Charles & Elizabeth Emerson

Claire Fontijn, in memory of Arthur Fontijn & Sylvia Elvin

Bruce A. Garetz

Alexander Garthwaite & Julie Brown-Garthwaite

Dr. Robert L. Harris

Rebecca & Ronald Harris-Warrick

H. Jan & Ruth H. Heespelink

Michael Herz & Jean Roiphe

James & Ina Heup

Jessica Honigberg

Thomas M. Hout & Sonja Ellingson Hout

Wayne & Laurell Huber

Alex & Jean Humez

Jean Jackson, in memory of Louis Kampf

Thomas F. Kelly & Peggy Badenhausen

Barry D. Kernfeld & Sally A. McMurry

Art & Linda Kingdon

Fran & Tom Knight

Jason Knutson & Eleena Zhelezov

Neal & Catherine Konstantin

Kathryn Mary Kucharski

Robert & Mary La Porte

Amelia J. LeClair & Garrow Throop

John Leen & Eileen Koven

Lawrence & Susan Liden

James Liu & Alexandra Bowers

Kenneth Loveday & Ellen Hoffman

Mark & Mary Lunsford

William & Joan Magretta

John S. Major & Valerie Steele

Carol Marsh

David McCarthy & John Kolody

Amy & Brian McCreath

Michael P. McDonald

Victor† & Ruth† McElheny

Kati Mitchell

Louise Oremland

Richard & Julia Osborne

William J. Pananos

Gene & Margaret Pokorny

Amanda & Melvyn Pond, in honor of everything that BEMF does

Tracy Powers

Susan Pundt

Christa Rakich & Janis Milroy

Lois & Quentin Regestein, in memory of Jim Nicolson

Sandy Reismann & Dr. Nanu Brates

Alice Robbins & Walter Denny

Arthur & Elaine Robins

Patsy Rogers

Lois Rosow

Michael & Karen Rotenberg

Carlton & Lorna Russell

Kevin Ryan & Ozerk Gogus, in memory of Dorothy Fay

Susan Sargent

Lynne & Ralph Schatz

Richard Schroeder & Dr. Jane Burns

Maryann & Charles Schultz

Susan Schuur

David Scudder & Betsy Ridge, in memory of Diane Britton

Wendy Shattuck & Sam Plimpton

Laila Awar Shouhayib

Cynthia Siebert

Murray & Hazel Somerville

Louisa C. Spottswood

Ted St. Antoine

Catherine & Keith Stevenson

Paola Stone, in memory of Edmondo Malanotte

Theresa & Charles Stone

Lisa Teot

Lonice Thomas

Judie C. Toti, in memory of Carroll Ann Bottino

Prof. Van Orden

Patrick Wallace & Laurie McNeil

Louella Krueger Ward, in memory of Dr. Alan J. Ward, PhD, ABPP

Peter J. Wender

PATRONS

($500 or more)

Anonymous (6)

Morton Abromson & Joan Nissman

Tom & Judy Anderson Allen

Nicholas Altenbernd

Mrs. Debra K.S. Anderson & Mr. Brian P. Anderson

Susan P. Bachelder

Carl C. Baker & Susan R. Haynes

Louise Basbas

William & Ann Bein

Lawrence Bell

Michael & Sheila Berke

Barbara R. Bishop

Robert Burger

Frederick Byron

John Campbell & Susanna Peyton

JoAnne Chernow

Sherry & Gerry Cohen

Mary Cook, in memory of Diane Britton

David Cooke

Linzee Coolidge

Nancy Coolidge

Elizabeth & David Cregger

Tekla Cunningham & David Sawyer

Warren R. Cutler

Belden & Pamela Daniels

Anuradha Desai & Michael Sheridan, in memory of Carroll Ann Bottino

Kathryn Disney

Ross Duffin & Beverly Simmons

Austin & Eileen Farrar

Elizabeth Forman

Jonathan Friedes & Qian Huang

Sandy Gadsby & Nancy Brown

Sarah M. Gates

Tom Golden

Thomas & Lori Griswold

Laury Gutierrez & Elsa Gelin

Deborah Haraldson

Joan E. Hartman

Catherine & John Henn

Ian Hinchliffe & Marjorie Shapiro

Linda Hodgkinson

Phyllis Hoffman, in memory of Robert J. Hoffman

Charles Bowditch Hunter

Paul & Alice Johnson

Richard Johnson & Annmarie Linnane

Patrick Jordan & Margaret Gay

Barbara & Paul Krieger

Tom & Kate Kush, in honor of Michael Ellmann

Jasper Lawson

Susan Lewinnek

Catherine Liddell

Roger & Susan Lipsey

Mary Maarbjerg

Quinn MacKenzie

Sarah P. Marsh

Carol & Pedro Martinez

Anne H. Matthews

Marilyn Miller

Ray C. Mitzel, Jr.

Nancy Morgenstern, in memory of William & Marjorie Pressman

Gene Murrow

Debra Nagy

Nancy Nicholson

Nancy Nuzzo

John Parisi

David & Beth Pendery

Joseph L. Pennacchio

Hon. W. Glen Pierson & Hon. Charles P. Reed

Brandon Qualls

Virginia Raguin, in honor of Kathy Fay

Mahadev & Ambika Raman

Julia M. Reade & Robert A. Duncan

Hadley Reynolds

Michael J. Rogan & Hugh Wilburn

Ellen Rosand

Rusty Russell, in memory of Alan Durfee

Phil & Catherine Saines

Harvey A. Silverglate, in memory of Elsa Dorfman

Mark Slotkin

Elizabeth Snow

Ronald W. Stoia

Carl Swanson

Michael Frazier Thompson

Mark S. Thurber & Susan M. Galli

Reed & Peggy Ueda

Robert Warren

The Westner Family

Polly Wheat & John Cole

Michael & Margery Whiteman

Allan & Joann Winkler

Scott & Barbara Winkler

Janet Zander & Mark Ellenberger

The Zucker Family

ASSOCIATES

($250 or more)

Anonymous (9)

Karen Atkinson, in honor of Gretchen Atkinson

Tim Barber & Joel Krajewski

Helen Benham

Judith Bergson

Larry & Sara Mae Berman

Jesse Blumberg & Johanna Novom

Deborah Boldin & Gabriel Rice

James Bowman

Sally & Charlie Boynton

C. Anthony Broh & Jennifer L. Hochschild

Jane K. Brown

Deborah & Richard Burke

Derek Campbell

Joseph Cantey

Anne Chalmers† & Holly Gunner

Mary Chamberlain

Peter Charig & Amy Briemer

Floyd & Aleeta Christian

John K. Clark & Judith M. Stoughton

Derek Cottier & Lauren Tilly

Gray F. Crouse

Alicia Curtis & Kathy Pratt

Steven C. & Shirley A. Davis

William DePeter

Deborah & Forrest Dillon

Michael DiSabatino, in honor of Nancy Olson

Ellen Dokton & Stephen Schmidt

Charles & Sheila Donahue

Chuck Epstein & Melia Bensussen

The Rev’d Richard Fabian

Deborah Fegan

Gregg & Abby Wolf Feigelson

Mary Fillman & Mary Otis Stevens

Janet G. Fink

Dr. Patrick J. Fox, in honor of Nancy Olson, M.D.

Fred Franklin, in memory of Kaaren Grimstad

Robert Freeman

Elizabeth French

Fred & Barbara Gable

Barbara Gauditz

George & Marla Gearhart

Gisela & Ronald Geiger

The Graver Family

Mary Greer

Eric Haas, in memory of Janet Haas

Eric & Dee Hansen

Diane Hellens

Rebecca Herter

David Hoglund

Keith L. & Catherine B. Hughes

Chris & Klavs Jensen

Karen Johansen & Gardner Hendrie

Robin Johnson

David K. Jordan

David P. Kiaunis

Peggy Kimball

Robert L. Kleinberg

George Kocur

Christopher Larossa

Frederick V. Lawrence, in memory of Rosemarie Maag Lawrence

Dr. Bruce C. MacIntyre

Marietta Marchitelli

June Matthews

Donna McCampbell

Anne McCants

Andrew Modest & Beth Arndtsen

Agatha Morrell

Michael J. Normile

Eugene Papa

Jane P. Papa

Henry Paulus

Phillip Petree

John Petrowsky

Bici Pettit-Barron

Elizabeth V. Phillips

Stephen Poteet

Anne & François Poulet

Lawrence Pratt & Rosalind Forber

Rod Regier

David Rehm

Marge Roberts

Sherry & William Rogers

Paul Rutz

Cheryl K. Ryder

Richard L. Schmeidler

David Schneider & Klára Móricz

Clem Schoenebeck, in memory of Bill Schoenebeck

Maria Schreiber

Alison M. Scott

Miriam N. Seltzer

Mr. Terry Shea & Dr. Seigo Nakao

Michael & Judy Sherer

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

Jon Solins & Mary Peterson

Jeffrey Soucy

Daniel Stepner & Laura Jeppesen

Ann Stewart

Richard Stumpf

Victoria Sujata

Jonathan Swartz

Ralph & Jeanine Swick, in memory of Alan & Judie Kotok

Tim & Ann Szczesuil

Ken & Margo Taylor

Shelburne Thurber, in honor of Mark Pevsner

Edward Todd

John & Dorothy Truman

Elizabeth Trumpler, in memory of Donald Trumpler

Peter & Kathleen Van Demark

Robert & Therese Wagenknecht

Juanita H. Wetherell

Sarah Whittaker

Beverly Woodward & Paul Monsky

J. Yavarkovsky & C. Lowe

PARTNERS

($100 or more)

Anonymous (15)

Joseph Aieta III

Neale Ainsfield & Dr. Donna Sieckmann

Joanne Algarin

Ken Allen & Hugh Russell

Gene Arnould

Neil R. Ayer, Jr. & Linda Ayer

Judith Bairstow

Eric & Rebecca Bank

Dr. David Barnert & Julie Raskin

Rev. & Mrs. Joseph Bassett

Alan Bates & Michele Mandrioli

Alan Benenfeld

Susan Benua

Noel & Paula Berggren

John Birks

Sarah Bixler & Christopher Tonkin

Dan Bloomberg & Irene Beardsley

Wes Bockley & Amy Markus

John Boesen & Janne Hellgren

Claire Bonfilio

Louise Bourgault

Sibel Bozdogan

James Bradley

David Breitman & Kathryn Stuart

Joel Bresler

Andrew Brethauer

Derick & Jennifer Brinkerhoff

David C. Brown

David L. Brown

Lawrence Brown

David & Barbara Burke, in memory of Carroll Ann Sheridan Bottino

John H. Burkhalter III

Judi Burten, in memory of Phoebe Larkey

Alice Butler, in memory of Carroll Ann Sheridan Bottino

Pamela Carley & Lawrence Zukof

Verne & Madeline Caviness

Robert B. Christian

Daniel Church & Roger Cuevas

Melanie Clarke

Alan Clayton-Matthews

Carol & Alex Collier

Robert B. Crane

Francine Crawford

Donna Cubit-Swoyer

James Cyphers

Carl & May Daw, in memory of Ned Kellogg

Leigh Deacon

Alison Desimone

Jim Diamond

Paul Doerr

Duane R. Downey

Diane L. Droste

John Dunton & Carol McKeen

Peter A. Durfee & Peter G. Manson

Michael Durgin, in memory of Lisle Kulbach

Jane Edwards

Mark Elenko

Thomas Engel

Anne Engelhart & Douglas Durant

David English

Jake Esher

Seth Estrin

Lila M. Farrar

Marilyn Farwell

Russel Feldman & Anne Kane

Annette Fern

Mary B. Findley

Carol L. Fishman

Frances Conover Fitch, in memory of James Nicolson

Dr. Jonathan Florman

Howard C. Floyd

Frederick S. Frank

Gary Freeman

Marica & Jeff Freyman

R. Andrew Garthwaite

Stephen L. Gencarello

Barbara Godard

The Goldsmith Family

Lisa Goldstein

Nancy L. Graham

Winifred Gray

Judith Green & James Kurtz

Janet Grogan

Deborah Grose

John Gruver & Lynn Tilley

Peter F. Gustafson

Sonia Guterman, in memory of Martin Guterman

Quang Ha

Richard & Les Hadsell

Peter Hainer

Jimmy M. Hamamoto

Tunie Hamlen

Suzanne & Easley Hamner

Judith & Patrick Hanlon

Jasjit & Donald L. Heckathorn

Karin Hemmingsen

Katherine A. Hesse

Carole Hilton

Patricia G. Hoffman

Margaret Hornick

Valerie Horst & Ben Peck

Judith & Alan Hudson

Constance Huff

Joe Hunter & Esther Schlorholtz

Francesco Iachello

Willemien Insinger

Susan L. Jackson

Michele Jerison

Mary Parke Johnson

Judith L. Johnston & Bruce L. Bush

Lucy Johnston

James Kaddaras

George Kaminsky

David Keating

Patricia Keating

Thomas Keirstead

Kathleen O’Dea Kelly

Seamus & Marjorie Kelly

Louis & Susan Kern

Joseph J. Kesselman, Jr.

David & Alice Kidder

Maryanne King

Pat Kline

Valerie & Karl KnicKrehm

Ellen Kranzer

Benjamin Krepp & Virginia Webb

Robert W. Kruszyna

Jay Carlton Kuhn, Jr.

Claire Laporte

Bruce Larkin & Donna Jarlenski

David A. Leach & Laurie J. LaChapelle

William Lebow

Ellen R. Lewis

Robert & Janice Locke

Laura Loehr

John Longstreth

William Loutrel & Thomas Fynan

Sandra & David Lyons

Desmarest Lloyd MacDonald, in memory of Ned Kellogg

Michael J. Moran, in memory of Francis D. & Marcella A. Moran

Stefanie Moritz

Rodney & Barbara Myrvaagnes

David Nadvorney

Amelia Nagoski

Jennie Needleman

Cindy Hannig Neels

Avi Nelson

Arthur J. Ness

Gerald & Carol Neuman

Jeffrey Nicolich

Caroline Niemira

Leslie Nyman

Clara M. & John S. O’Shea

David & Claire Oxtoby

Gene & Cheryl Pace

William Packard

Valerie Palms

John R. Palys

Theodore Parent, in memory of Ruth Parent

Susan Patrick

John Percy

Andrea Phan

Susan Porter & Robert Kauffman

Helen Powell

RELEASING THIS FALL FROM THE

Mary Mackay & Edward Wheatley, in memory of Carroll Ann Sheridan Bottino

Anna Mansbridge

Robert Marshall

Peter Martin

Barbara Mauer

Ms. Sally Mayer

Mary McCallum

Lee McClelland

Heidi & George McEvoy

George McKee

Dave & Jeannette McLellan

Cynthia Merritt

Karen Metcalf

Susan Metz, in memory of Gerald Metz

Julie Middleton

Dennis Lee Milford

Thomas & Barbara Prescott

Annette & Michael Pringle

Jacob & Lisa Skowronek

Elliott Smith & Wendy Gilmore

Jennifer Farley Smith & Sam Rubin

Dr. Karen Patricia Smith

David Snead & Kate Prescott

William & Barbara Sommerfield

Jayne Sportelli

Scott Sprinzen

Scott Stansbury

Esther & Daniel Steinhauer

Steve Stelovich

Francine Stieglitz

John Strasswimmer

Barbara Strizhak, in memory of Elliott Strizhak

Jacek & Margaret Sulanowski

Jeffrey & Boryana Tacconi

Lee & Judith Talner

Richard Tarrant

John & Barbara Tatum

Pierre Trepagnier & Louise Mundinger

Carol Tsang

Lynette Tsiang, in memory of Joel van Lennep

Ruth W. Tucker

Nancy Turner, in memory of Carroll Ann Bottino

John Tyler

Konstantin & Kirsten Tyurin

Richard Urena

Barbara R & Larry M

George Raff

Susan Reutter-Harrah

Sue Robinson

Richard Rodgers

Wendy Rolfe & Benjamin Dunham

Paul Rosenberg & Harriet Moss

Barbara Roth

Sara Rubin & David Montanari

Charlotte Rutherfurd

Gregory Salzman

Robert & Barbara Schneider

R. Scholz & M. Kempers

Lynn & Mary Schultz

Fred Schulze

Boston Early Music Festival MARCO

Marg Miller

Deborah Mintz

Nicolas Minutillo

Rosalind Mohnsen

Michael Schwartz

David Sears

Jean Seiler

Aaron Sheehan & Adam Pearl

Kathy Sherrick

Hana Sittler

John & Carolyn Skelton

Nancy E. Van Baak, in memory of Edward B. Kellogg

Richard & Virginia von Rueden

Stephen Wallace

Sonia Wallenberg

Susan Walters

Terry Ward

Thomas & LeRose Weikert

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

Susan & Charles Wilkes

David L. Williamson

Michael Winter

John Wolff & Helen Berger

Susan Wyatt

Paulette York & Richard Borts

David Yutzler

Ros & Andy Zimmerman, in memory of Carroll Ann Sheridan

† deceased

FRIENDS OF THE BOSTON EARLY MUSIC FESTIVAL

FOUNDATIONS & CORPORATE

SPONSORS

Anonymous (2)

Aequa Foundation

American Endowment Foundation

Appleby Charitable Foundation

Applied Technology Investors

BNY Mellon Charitable Gift Fund

Bank of America Charitable Gift Fund

The Barrington Foundation, Inc.

The Bel-Ami Foundation

Blue Grass Community Foundation

The Boston Foundation

Boston Private Bank & Trust Company

Lynde and Harry Bradley Foundation, Inc.

Gregory E. Bulger Foundation

Burns & Levinson LLP

The Catherine and Paul Buttenwieser Foundation

Cabot Family Charitable Trust

Cambridge Community Foundation

Cambridge Trust Company

Cedar Tree Foundation

Cembaloworks of Washington

City of Cambridge

The Columbus Foundation

Combined Jewish Philanthropies

Community Foundation of Western Massachusetts

Connecticut Community Foundation

Constellation Charitable Foundation

The Fannie Cox Foundation

The Crawford Foundation

CRB Classical 99.5, a GBH station

Daffy Charitable Fund

The Dusky Fund at Essex County Community Foundation

Eastern Bank Charitable Foundation

Fidelity Charitable

Fiduciary Trust Charitable

French Cultural Center / Alliance Française of Boston

Ann and Gordon Getty Foundation

GlaxoSmithKline Foundation

Goethe-Institut Boston

The Goldman Sachs Philanthropy Fund

The Florence Gould Foundation

GTC Law Group

Haber Family Charitable Foundation

Hausman Family Charitable Trust

The High Meadow Foundation

Houghton Mifflin Harcourt

The Isaacson-Draper Foundation

The Richard and Natalie Jacoff Foundation, Inc.

Jewish Communal Fund

Key Biscayne Community Foundation

Konstantin Family Foundation

Maine Community Foundation

Makromed, Inc.

Massachusetts Cultural Council

Mastwood Foundation

MLE Foundation, Inc.

Morgan Stanley

National Endowment for the Arts

Newstead Foundation

Barbro Osher Pro Suecia Foundation

The Packard Humanities Institute

Plimpton-Shattuck Fund at The Boston Foundation

The Mattina R. Proctor Foundation

REALOGY Corporation

Renaissance Charitable

The Saffeir Family Fund of the Maine Community Foundation

David Schneider & Klára Móricz Fund at Community Foundation of Western Massachusetts

Schwab Charitable

Schwalbe & Partners, Inc.

Scofield Auctions, Inc.

The Seattle Foundation

Shalon Fund

Kathy & Alexander Silbiger Fund of the Triangle Community Foundation

TIAA Charitable Giving Fund Program

The Trust for Mutual Understanding

The Tzedekah Fund at Combined Jewish Philanthropies

The Upland Farm Fund

U.S. Small Business Administration

U.S. Trust/Bank of America

Private Wealth Management

Vanguard Charitable

Walker Family Trust at Fidelity Charitable

Archie D. & Bertha H. Walker Foundation

Marian M. Warden Fund of The Foundation for Enhancing Communities

The Windover Foundation

Women On The Move LLC

MATCHING CORPORATIONS

21st Century Fox

Allegro MicroSystems

Amazon Smile

AmFam

Analog Devices

Aspect Global

Automatic Data Processing, Inc.

Biogen

Carrier Global

Dell, Inc.

Exelon Foundation

FleetBoston Financial Corporation

Genentech, Inc.

Google

Grantham, Mayo, van Otterloo & Co. LLC

John Hancock Financial Services, Inc.

Community Gifts Through Harvard University

Houghton Mifflin Harcourt

IBM Corporation

Intel Foundation

Investment Technology Group, Inc. (ITG)

Microsoft Corporation

Natixis Global Asset Management

Novartis US Foundation

NVIDIA

Pfizer

Pitney Bowes

Salesforce.org

Silicon Valley Community Foundation

Takeda

Tetra Tech

United Technologies Corporation

Verizon Foundation

Vertex Pharmaceuticals

Xerox Foundation

SalonEra is a webseries and podcast from Cleveland's early music ensembles

SalonEra is a webseries and podcast from Cleveland's early music ensembles

Les Délices. Every episode streams FREE and features top early music artists.

Les Délices Every episode streams FREE and features top early music artists v i s i t s a l o n e r a . o rg

MUSICAL VISION

Exploring the legacies of blind and visuallyimpaired historical composer-performers

VIDEO EPISODES STREAMING NOW: PODCAST EXCLUSIVES STREAMING NOW:

BOHEMIAN RHAPSODY

Colorful 18th-century chamber music by Bohemian composers

MUSIC AND LABOR

Probing the history and evolution of sea shanties and work songs

Find SE video eps on YouTube! Search @lesdelicesmusic

Find audio-only versions of all SE episodes on all major podcast platforms, including Apple, Spotify, and Castos

MUSICAL MENAGERIE

Baroque music inspired by the Animal Kingdom

Amherst Early Music

Cloth of gold Music of France & England

July 12-19 & 19-26, 2026

Muhlenberg College Allentown, PA

Central Program

❦ CityRecorder! New York City, NY October 25-26, 2025 ❦ Renaissance Flute Workshop Longy School of Music Cambridge, MA

Jan. 30-Feb. 1, 2026

Baroque Opera Baroque Academy Ensemble Singing Intensive Choral Workshop New London Assembly Medieval Project

May 22-25, 2026

❦ Amherst Early Music Festival Muhlenberg College Allentown, PA

Two weeks of classes, concerts, and events

❦ Spring Break Workshop St George’s Episcopal Arlington VA April 11-12, 2026 ❦ Memorial Day Weekend Workshop Wisdom House Litchfield CT

July 12-26, 2026

AmherstEarlyMusic.org

Boston Early Music Festival

PAUL O’DETTE & STEPHEN STUBBS , Artistic Directors

2026 GRAMMY WINNER

BEST CLASSICAL SOLO VOCAL ALBUM

“Exceptional stylish elegance and theatrical vitality.” —GRAMOPHONE

“Perfect Telemann recording.” —CLASSICS TODAY

“Forsythe handles this music with grace and ease.” —FANFARE

KATHY WITTMAN