Boston Early Music Festival | 2021–2022 Season: Ensemble Correspondances

2021-2022 Season Together again!

En sem ble Co rre sp o n da n ce s Sébastien Daucé, director

Friday, April 29, 2022 8pm | St. Paul Church, Cambridge

BEM F.or g

International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

C AR L PH I L I PP E M A N UE L BAC H

�he �omplete �orks

“The style of each composer may be more or less original; there is only one Bach, whose style is utterly original and utterly his own.”

—Johann Friedrich Reichardt on C. P. E. Bach in 

Published by The Packard Humanities Institute cpebach.org

Sébastien Daucé

Ensemble Correspondances

HMM 902350.51

Photo © Igor Studio

Sébastien Daucé and Ensemble Correspondances leave Paris and the other side of the English Channel for an excursion to the shores of the Baltic, between Lübeck and Stockholm, to explore Lutheran music before Bach, from Buxtehude to Schütz and the rarely heard Dijkman. The works devoted to the Passion of Christ, in particular, reflect a mystical universe imbued with a mysterious beauty.

2 CDs store.harmoniamundi.com

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Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Artistic Directors

2223

SEASON

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The Tallis Scholars Peter Phillips, director n

Friday, October 28, 2022 | 8pm

Philippe Jaroussky & Artaserse n

Friday, November 4, 2022 | 8pm

Vox Luminis

Masaaki Suzuki, director & harpsichord Roderick Williams, baritone

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Saturday, November 26, 2022 | 8pm Sunday, November 27, 2022 | 3pm

BEMF Chamber Opera Series

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Lully Idylle sur la Paix Charpentier La Fête de Rueil Paul O’Dette & Stephen Stubbs, Musical Directors Gilbert Blin, Stage Director Robert Mealy, Concertmaster Melinda Sullivan, Choreographer

Friday, March 10, 2023 | 8pm

Quicksilver

Robert Mealy & Julie Andrijeski, directors n

Friday, March 25, 2023 | 8pm

Chiaroscuro Quartet n

Lionel Meunier, director

Friday, February 10, 2023 | 8pm

Bach Collegium Japan

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Friday, December 9, 2022 | 8pm

Saturday, April 22, 2023 | 8pm

Ensemble Castor Mireille Lebel, mezzo-soprano Enrico Onofri, leader n

Friday, April 28, 2023 | 8pm

Stile Antico

LEARN MORE AT

BEMF.org

Welcom e Dear Friends, This evening we are thrilled to welcome the sublime singers and instrumentalists of Ensemble Correspondances, under the direction of Sébastien Daucé, for their third performance on the annual BEMF concert series, following their critically acclaimed North American début at the June 2017 Festival. Since their founding in 2009, this much-lauded ensemble has built a formidable reputation around the world for their masterful and eloquent interpretations of seventeenth-century French music. They return to BEMF with a program centered around Dieterich Buxtehude’s Membra Jesu nostri, an extraordinary seven-part cycle of Passion cantatas set to medieval texts in a new performing edition by Sébastien Daucé prepared from material held at the Uppsala University Library, interspersed with sacred motets by Buxtehude and Heinrich Schütz.

With tonight’s concert, our 2021–2022 concert season is brought to a satisfying and uplifting close. We are not resting on our laurels, however, and are excited to share with you our 2022–2023 Boston Early Music Festival Season early announcement, complete with subscription order form. You can be among the first to secure your tickets to another incomparable concert series. A full brochure with in-depth descriptions of all nine programs will be released in late spring. Please visit BEMF. org for the latest updates and information.

Thank you for joining us for tonight’s performance, whether live or virtually, and most especially for your patronage and support during this year of myriad challenges as we returned to in-person performances. Please accept our best wishes for health and prosperity throughout the spring and summer, and we look forward to seeing you again in the fall!

Kathleen Fay Executive Director

TABLE OF C ONTE NTS

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Concert Program Program Notes Artist Profiles Texts & Translations About BEMF Friends of BEMF

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Boson Early Music Fesival Man ag eme n t 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 Manager Andrew Sigel, Publications Editor Nina Stern, Director of Community Engagement

Ar tistic Lead er ship Paul O’Dette and Stephen Stubbs, Artistic Directors Gilbert Blin, Opera Director Robert Mealy, Orchestra Director Melinda Sullivan, Lucy Graham Dance Director

B oar d of Dir ec tor s Bernice K. Chen, Chairman | David Halstead, President Brit d’Arbeloff, Vice President | Lois A. Lampson, Vice President Susan L. Robinson, Vice President Adrian C. Touw, Treasurer | Peter L. Faber, Clerk Michael Ellmann | George L. Hardman | Glenn A. KnicKrehm | Miles Morgan Bettina A. Norton | Lee S. Ridgway | Ganesh Sundaram

B oar d of O ver seer s Diane Britton | Gregory E. Bulger | Robert E. Kulp, Jr. | James S. Nicolson Amanda Pond | Robert Strassler | Donald E. Vaughan

B oar d of T r us tees Marty Gottron & John Felton, Co-Chairs Mary Briggs | Deborah Ferro Burke | Mary Deissler | James A. Glazier Edward B. Kellogg | John Krzywicki | Douglas M. Robbe | Jacob Skowronek

B o St on E a rly M u s ic F e s t iva l , In c .

43 Thorndike Street, Suite 302, Cambridge, MA 02141-1764 Telephone: 617-661-1812 | Email: bemf@bemf.org | BEMF.org

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Engaging Communities

Boson Early Music Fesival

Y ou t h Rec o r d e r E vents n Saturday, May 21 12pm | Virtual Workshop

“Everything Recorder with Erik” With Erik Bosgraaf Learn to breathe new life into the music of Jacob van Eyck.

n Saturday, June 4 10am | Virtual Event

“Recorders Beyond Borders” With Nina Stern, Director of Community Engagement Young students from the United States, Kenya, Brazil, and the Netherlands perform for each other and for you.

Learn mor e at B E M F.o rg / En g a g in g 4

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M ember s of the B E M F Cor p oration 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 Joel I. Cohen David Cook† Brit d’Arbeloff Vivian Day Mary Deissler Peter L. DeWolf JoAnne W. Dickinson Richard J. Dix Alan Durfee Michael Ellmann Peter L. Faber Emily C. Farnsworth Dorothy R. Fay Kathleen Fay John Felton Frances C. Fitch Claire Fontijn Randolph J. Fuller James A. Glazier Marty Gottron Carol A. Haber David Halstead

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George L. Hardman Ellen T. Harris Richard Hester Jessica Honigberg Jennifer Ritvo Hughes Edward B. Kellogg Thomas F. Kelly Glenn A. KnicKrehm Christine Kodis John Krzywicki Kathryn Kucharski Robert E. Kulp, Jr. Ellen Kushner Christopher Laconi Lois A. Lampson Thomas G. MacCracken William Magretta Bill McJohn Miles Morgan Nancy Netzer Amy H. Nicholls James S. Nicolson Bettina A. Norton Scott Offen Lorna E. Oleck Henry P.M. Paap James M. Perrin Bici Pettit-Barron Amanda Pond Melvyn Pond Paul Rabin Christa Rakich Lee S. Ridgway Michael Rigsby

Douglas M. Robbe Michael Robbins Susan L. Robinson Patsy Rogers Wendy Rolfe-Dunham Loretto Roney Thomas Roney Ellen Rosand Valerie Sarles F. Williams Sarles† David W. Scudder Andrew Sigel Jacob Skowronek Arlene Snyder Jon Solins Robert Strassler Ganesh Sundaram Adrian C. Touw Peggy Ueda Donald E. Vaughan Ingeborg von Huene Nikolaus von Huene Howard J. Wagner Benjamin D. Weiss Ruth S. Westheimer Allan Winkler Hal Winslow Christoph Wolff Arnold B. Zetcher Ellen Zetcher † deceased

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Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of our 2021–2022 Season:

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David Halstead and Jay Santos

Sponsors of the October 2021 performance by the BEMF Vocal & Chamber Ensembles

Glenn KnicKrehm and the Constellation Center Charitable Foundation Sponsors of the April 2022 performance by Ensemble Correspondances

David M. Kozak and Anne Pistell

Sponsors of the February 2022 performance by Stile Antico

Susan L. Robinson

Sponsor of the March 2022 performance by Juilliard415

Joan Margot Smith

Sponsor of the April 2022 performance by Carolyn Sampson, soprano, and Kristian Bezuidenhout, fortepiano

George L. Hardman

Sponsor of the restoration of BEMF’s 5-octave fortepiano

by Robert Smith, Boston, 1984

Annemarie Altman

Sponsor of Kristian Bezuidenhout, fortepiano, for his April 2022 performance with soprano Carolyn Sampson, in memory of Dave Cook

Bernice K. Chen

Sponsor of Jordi Savall, director and bass viol, for the February 2022 performance by Le Concert des Nations

Amanda and Melvyn Pond

Partial Sponsors of Nina Stern, Director of Community Engagement, and the Engaging Communities program

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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.

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Boson Early Music Fesival

Presents

Ensemble Correspondances Sébastien Daucé, director

Membra Jesu Nostri

Music of Buxtehude and Schütz Membra Jesu nostri, BuxWV 75 Ad pedes Ad genua Ad manus Ad latus

Dieterich Buxtehude (ca. 1637–1707)

Mit Fried und Freud ich fahr dahin, BuxWV 76/1

Buxtehude

Die mit Tränen säen, SWV 378

Heinrich Schütz (1585–1672)

Membra Jesu nostri, BuxWV 75 Ad pectus Ad cor Ad faciem

Buxtehude

So far ich hin zu Jesu Christ, SWV 379 Herzlich lieb hab ich dich, o Herr, BuxWV 41

Schütz Buxtehude

Continuo Organ by Bennett & Giuttari, Rehoboth, Massachusetts, Op. 6, 1996.

The Boston Early Music Festival thanks Glenn KnicKrehm and the Constellation Center Charitable Foundation for their leadership support of tonight’s performance

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Live Concert Friday, April 29, 2022 at 8pm St. Paul Church in Harvard Square Bow and Arrow Streets, Cambridge, Massachusetts Virtual Concert Friday, May 13, 2022 – Friday, May 27, 2022 BEMF.org

E n s e m bl e Co r r e s p o n da nce s

Caroline Weynants & Jessica Petrus, soprano I Perrine Devillers & Marielou Jacquard, soprano II Vojtěch Semerád & Paul Figuier, alto Thibault Givaja & Antonin Rondepierre, tenor Étienne Bazola & Renaud Bres, bass Josèphe Cottet & Simon Pierre, violin Louise Bouedo, Étienne Floutier & Mathilde Vialle, viola da gamba Thibaut Roussel, theorbo Sébastien Daucé, organ & direction Program subject to change.

Ball Square Films & Kathy Wittman, Video Production Frank Cunningham, Recording Engineer

Ensemble Correspondances is in residence at the Théâtre de Caen. It is associate ensemble at the Opéra and Chapelle of the Château de Versailles, at the Louvre Museum, and at the Théâtre de l’Aquarium at the Cartoucherie de Vincennes.

Ensemble Correspondances is supported by the Ministère de la Culture – DRAC Normandie, Région Normandie, and the Ville and the Théâtre de Caen.

The ensemble receives assistance from Fondation Correspondances, under the aegis of Fondation Bullukian, a group of music lovers who give active support to research into and publication and performance of the music of the seventeenth century. It also receives regular support from Institut Français, Odia Normandie, and the Centre National de la Musique for its concerts and recordings.

Ensemble Correspondances is member of Arviva – Arts vivants, Arts durables, and gets involved in the environmental shift for performing arts. The ensemble is member of FEVIS, Profedim, and the European Early Music Network.

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Boson Early Music Fesival 2021 Chamber Opera Series Named Gift Sponsorships Boston Early Music Festival extends sincere thanks to the following individuals and institutions for their leadership support of Telemann’s Pimpinone and Ino:

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Glenn A. KnicKrehm and Constellation Center Partial Production Sponsors

Katie and Paul Buttenwieser Partial Production Sponsors

Lorna E. Oleck Sponsor of Robert Mealy, Concertmaster, Marie-Nathalie Lacoursière, Stage Co-Director, Laura Jeppesen, viola, and the Pre-Opera Video

Andrew Sigel Sponsor of Danielle Reutter-Harrah, Vespetta, and Amanda Forsythe, Ino

George L. Hardman Sponsor of Todd Williams and Nathanael Udell, natural horn

Bernice K. Chen Sponsor of Gilbert Blin, Stage Co-Director and Costume Co-Designer

John Felton and Marty Gottron Sponsors of Paul O’Dette, Artistic Co-Director

David Halstead and Jay Santos Sponsors of Stephen Stubbs, Artistic Co-Director

Susan L. Robinson Sponsor of Melinda Sullivan, Dance Director

Donald E. Vaughan and Lee S. Ridgway Sponsors of Douglas Williams, Pimpinone

Two Admirers Sponsors of Michael Sponseller, harpsichord 2 0 21–20 22 Se aso n

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PROGRAM Not e s

Dieterich Buxtehude

Detail of Musical Company by Johannes Voorhout (1674) of a viol player believed to be Dieterich Buxtehude

Membra Jesu nostri: Passion music of the seventeenth century The music of the seventeenth century is distinguished by a fascinating delight in experimentation and innovation, the boldness of which can still impress us today. Around and after 1600, numerous new genres emerged that were to mold the ensuing decades and even centuries. Composers discovered spatial effects and developed the foundations of a functional harmony with which large-scale formal relationships could be constructed; they recognized both the effectiveness of solo singing accompanied by polyphonic instruments alone and the beguiling splendor of large vocal and instrumental ensembles. And, last but not least, they learned to harness the dramatic power of human emotions for musical purposes and to portray them both on stage—in the opera—and in the ecclesiastical sphere—in the oratorio. Given the plethora of discoveries and developments that accompanied this virtually allencompassing renewal of the art of composition, it is surprising that attempts to depict the Passion of Christ in music appeared only relatively late and with a certain hesitancy. Instead, organists, choirmasters, and music directors—especially in the Protestant territories north of the Alps— remained faithful to the antiquated genre of the responsorial Passion, which had still barely crossed the threshold between liturgical practice and learned vocal style.

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The reasons for this reticence are complex.

First of all, since the Middle Ages the singing of the Passion story had been the domain of the liturgist in the sanctuary. Secondly, there was a dread of any hint of a dramatization of the Passion, which proved very difficult to overcome. Lutheran theologians immediately scented the infiltration of proscribed Roman Catholicism and feared that the licentiousness (and moral dubiousness) of opera might find its way into the most sacred realms of faith.

In many places it was not until the second decade of the eighteenth century that largescale oratorio passions by such composers as Johann Sebastian Bach and Georg Philipp Telemann could be heard. In the seventeenth century, other solutions were devised. As this program’s works by Dieterich Buxtehude and Heinrich Schütz show, the Passion narrative was set to music indirectly and in a decidedly undramatic context.

The music collection of Gustav Düben (ca.

1628–1690), music director to the Swedish court, which is now in the Uppsala University Library, preserves the autograph manuscript of a seven-part cycle of Passion cantatas

by Dieterich Buxtehude, organist of the Marienkirche in Lübeck, entitled Membra Jesu nostri (literally, The limbs of our Jesus). The 11

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title page of the large-format manuscript, in which the composer wrote out the work in the tablature notation (that is, with letters instead of notes) that was in widespread use in north Germany at the time, also provides detailed information about the date of composition and the transmission of the work. According to this, Buxtehude composed his cycle in 1680 and dedicated it to his “honored friend” Gustav Düben. It may be supposed that it was a formal commission from the Swedish court kapellmästare that prompted this sophisticated composition, but no evidence of this has so far been found. The first performance of the ambitious work most likely took place in the galleries of the German Church in Stockholm, which at that time served as the court church.

At the period mentioned in the dedication, the composer was at the height of his fame.

Dieterich Buxtehude was born in 1637, the son of an organist, and spent the first years of his life at Oldesloe in the Duchy of Holstein, then under Danish sovereignty. The Danish towns of Helsingborg and Helsingør, where his father subsequently held other musical appointments, were also to be the first staging posts in the son’s professional career. Then, in 1668, Buxtehude was appointed organist of the Marienkirche in Lübeck, which was regarded as one of the most important posts in North German church music. Here he soon attracted attention by organizing an annual series of church concerts held in the late afternoon on five Sundays during the pre-Christmas period, outwith the formal liturgical framework. These so-called Abendmusiken occasionally featured large-scale works resembling oratorios, but more often there was a mixture of instrumental pieces, hymns, psalm settings, and cantata-like works.

Unencumbered by the obligation of preparing the routine figural music for each Sunday, which at the Marienkirche—as was customary in north Germany at the time—was the responsibility of the Kantor, Buxtehude composed his works entirely on his own initiative and thus was able to achieve considerably higher standards of quality than a Kantor churning out new compositions from one Sunday to the next. The high artistic level 2 021–20 22 Se aso n

of his music was apparently also a decisive factor in getting him the commission from Stockholm. Gustav Düben must have become aware of Buxtehude’s vocal output right from the beginning of the latter’s activities in Lübeck; later he was to become the most prominently represented composer in Düben’s repertory, with more than one hundred cantatas.

Indeed, his unusually strong presence in the collection might almost lead one to believe that Buxtehude held an unofficial position as Swedish “court composer” in the 1670s and 1680s—a sign that his oeuvre enjoyed more than purely regional esteem.

The seven-part cycle of cantatas Membra Jesu nostri constitutes in both textual and stylistic respects a unique work of art, and one that is still insufficiently appreciated. The element that binds the seven cantatas together like a backbone is the medieval hymn cycle Salve mundi salutare—ardently mystical contemplations of the individual parts of the crucified Christ’s body. In the seventeenth century these poems were associated with Bernard of Clairvaux, but it has since been established that they are for the most part by Arnulf of Leuven (ca. 1200–1250). Buxtehude combined each of the poems with a framing biblical quotation, generally from the Old Testament. This arrangement corresponded to the form of the “concerto-aria cantata,” a type of cantata very common around 1680, in which the biblical words placed at the beginning and the end of the piece were set for the full instrumental and vocal forces, in the style of a sacred concerto, while the poetic texts that came in between were treated as strophic arias for soloists.

In the course of the cycle of cantatas, the imaginary observer of the scourged “Man of Sorrows” gradually raises his or her gaze, which initially is humbly lowered. The meditations are therefore devoted first to the feet (cantata 1: Ad pedes), then the knees (cantata 2: Ad genua), the hands (cantata 3: Ad manus), the side (cantata 4: Ad latus), the breast (cantata 5: Ad pectus), the heart (cantata 6: Ad cor), and finally the face (cantata 7: Ad faciem). The keys of the individual pieces move, mostly in intervals of a fifth, from the “low” area of the 13

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Heinrich Schütz

Portrait by Christoph Spetner (ca. 1660)

flat tonalities to the “high” sharps, although the last cantata is once again in the initial key of C minor, thus establishing the overarching unity of the cycle.

Buxtehude’s compositional style here was clearly inspired by Italian models. The delicately expressive melodic writing, the mostly bright and transparent-sounding textures, and the temperate, yearning harmonies are reminiscent of models in the work of the Dresden Kapellmeisters Vincenzo Albrici and especially Gioseppe Peranda. These two masters of the Roman school that had grown up around Giacomo Carissimi “set the tone” at the courts of central and northern Germany in the second half of the seventeenth century. If Buxtehude took up this exquisite style and developed it further in his own individual way in his Passion cycle, it must have been not least with an eye to his courtly listeners in Stockholm, who were probably better able to appreciate such experiments than the burghers of Lübeck.

The mourning music Buxtehude composed after the death of his father in 1674 and published under the title Fried- und Freudenreiche Hinfahrt des alten großgläubigen Simeons (The peaceful and joyful departure of the old, deeply devout Simeon) is more private in character. It consists of two skillful contrapuntal arrangements of Luther’s hymn “Mit Fried und Freud ich fahr dahin,” performed this evening, followed by an expressive setting of a poem by the composer himself.

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The chorale cantata Herzlich lieb hab ich dich, o Herr demonstrates the high artistic standards of Buxtehude’s vocal oeuvre, which frequently transcends the generic and stylistic conventions of its time and meets the requirements of the specific texts he sets with unusual musical solutions. In each strophe, this euphonious work explores a different aspect of the musical possibilities inherent in the chorale melody, but at the same time achieves a perfect balance between musical variety and formal unity—a highpoint of Buxtehude’s sacred vocal output, in which the composer deploys the full richness of his musical language.

The long-neglected field of German vocal music between Schütz and Bach proves to be an almost inexhaustible treasure trove of skillfully crafted, expressive compositions that have lost none of their original fascination even today. Through the unique fusion of old and new, there evolved an idiosyncratic, austerely beautiful musical idiom that is still capable of moving us. n —Peter Wollny Translation by Charles Johnston Reprinted with permission from Peter Wollny, Charles Johnston, and Harmonia Mundi Musique, France

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A r tis t Prof il e s

Founded in Lyon in 2009, Ensemble Correspondances brings together under the direction of the harpsichordist and organist Sébastien Daucé a group of singers and instrumentalists, all of whom are specialists in the music of the Grand Siècle. In a few short years of existence, Correspondances has become a benchmark ensemble in the seventeenth-century French repertory. Placing itself under the auspices of Baudelaire’s notion of correspondences between the arts, it performs music whose sonorities can still directly touch today’s listeners while presenting staged productions of rarer and more original forms such as the oratorio and the ballet de cour.

The ensemble’s twin commitments to breathing new life into already well-known composers and restoring the image of figures less familiar today but celebrated and frequently performed in their own time has already yielded seventeen critically acclaimed recordings, which have earned such distinctions as the Choc Classica of the Year, ffff de Télérama, the Diapason d’Or de l’Année, the ECHO Preis for the World Premiere Recording of the Year 2016, Editor’s Choice in Gramophone, Preis der deutschen Schallplattenkritik, Operatic Recording of the Year 2016 in Limelight magazine, and the Prix de l’Académie Charles Cros.

All these recordings bear witness to the ensemble’s fundamental values and its exploratory spirit, whether with Marc-Antoine Charpentier in O Maria ! (2010), the Litanies de la Vierge (2013), the Pastorale de Noël et O de l’Avent (2016), La Descente d’Orphée aux Enfers (2017), or his Histoires Sacrées (2019), Antoine Boësset with L’Archange et le Lys (2011), Etienne Moulinié and his Meslanges pour la Chapelle d’un Prince (2015), Henry du Mont in O Mysterium (2016), and Michel-Richard de Lalande in his Leçons de Ténèbres with Sophie Karthäuser (2015); or even Perpetual Night, Lucile Richardot’s first solo recording (2018), acclaimed by the national and international press (Preis der deutschen Schallplattenkritik, Choc Classica of the Year, ffff de Télérama, Diapason d’Or de l’Année, and Diamant d’Opéra Magazine, among others).

The exceptional reconstruction of the score of Le Ballet Royal de la Nuit, the result of three years of research, allowed modern audiences to discover a major musical event of the seventeenth century, the unprecedented moment that inaugurated the reign of the Sun King. After the public and critical success of the CD/book released on harmonia mundi (Le Concert Royal de la Nuit, 2015), the ensemble returned to this extraordinary spectacle in 2017 and 2020 with the Théâtre de Caen, in a contemporary production by Francesca Lattuada. This staged version was recently published in an exceptional box set gathering the complete music and the recording of the show. n 2 0 21–20 22 Se aso n

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The organist and harpsichordist Sébastien Daucé is lit up with the urge to revive an abundant yet littleknown repertory, the sacred and secular music of seventeenth-century France.

It was during his training at the Conservatoire National Supérieur de Musique de Lyon that he met the future members of Correspondances. Key influences among his teachers there were Françoise Lengellé and Yves Rechsteiner. Initially in demand as a continuo player and vocal répétiteur (with the Pygmalion ensemble, the Festival d’Aix-en-Provence, and the Maîtrise and Orchestre Philharmonique de Radio France, among others), he formed the Correspondances ensemble in Lyon in 2009, assembling around him singers and instrumentalists with a passion for the French sacred repertory of the Grand Siècle.

With this ensemble, which he directs from the harpsichord or the organ, he now travels throughout France and around the world, and frequently broadcasts on radio. Sébastien Daucé and Correspondances are in residence at the Théâtre de Caen, where they developed their first staged projects (Trois Femmes, directed by Vincent Huguet in 2016, and Le Ballet Royal de la Nuit, directed by Francesca Lattuada in November 2017), and are associate artists at the Opéra and Chapelle of the Château de Versailles, and at the Louvre Museum.

Significant stages in the ensemble’s career have been tours to Japan, Colombia, the United States, and China, alongside regular appearance in Europe (the United Kingdom, Germany, Benelux, Italy, and Poland). Its exploration of a little-performed and often unpublished repertory has led—with the support of the harmonia mundi label, a pioneer of the Baroque repertory in many respects—to a discography of seventeen recordings that have attracted considerable press attention and have received such distinctions as the Diapason d’Or de l’Année, ffff de Télérama, Editor’s Choice in Gramophone, Choc Classica of the Year, Preis der deutschen Schallplattenkritik, and IRR Outstanding.

Correspondances now enjoys international recognition: at the ECHO Preis ceremony in the Berlin Konzerthaus in 2016, it won the award categories of Best World Premiere Recording (for Le Concert Royal de la Nuit) and Best Young Conductor of the Year, while the Australian Limelight magazine named Le Concert Royal de la Nuit Operatic Recording of 2016.

Alongside his activities as a performing musician, Sébastien Daucé works with the leading scholars of seventeenth-century music, publishing regular articles and taking part in important performance practice projects. Passionately interested in questions of musical style, he edits the music that makes up the ensemble’s repertory, going so far as to recompose complete pieces when necessary, as was the case in Le Ballet Royal de la Nuit. He has taught at the Pôle Supérieur de Paris since 2012. In 2018 he was guest artistic director of the London Festival of Baroque Music. n 2 021–20 22 Se aso n

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TEXTS AND TRANSLATIONS Membra Jesu nostri — Buxtehude I. Ad pedes 1. Sonata

I. To the feet 1. Sonata

2. Concerto Ecce super montes pedes evangelizantis et annunciantis pacem.

2. Concerto Behold upon the mountains the feet of him that bringeth good tidings, and that preacheth peace.

3. Aria Salve mundi salutare, salve Jesu care!

Cruci tuae me aptare vellem vere, tu scis quare, da mihi tui copiam.

3. Aria Hail, Savior of the World, Hail, hail, dear Jesus!

To bind me myself to thy Cross I truly wish, thou knowest why; Grant me thy strength.

4. Aria Clavos pedum, plagas duras, et tam graves impressuras circumplector cum affectu, tuo pavens in aspectu, tuorum memor vulnerum.

4. Aria The nails in thy feet, thy weals so harsh And driven in so deeply I embrace with fervor, Trembling in thy sight, As I remember thy wounds.

5. Aria Dulcis Jesu, pie Deus, Ad te clamo licet reus, praebe mihi te benignum, ne repellas me indignum de tuis sanctis pedibus.

5. Aria Sweet Jesus, merciful God, I cry to thee, guilty though I am: Show me thy kindness, Cast not my unworthy person Away from thy holy feet.

6. Concerto Ecce super montes…

6. Concerto Behold upon the mountains…

II. Ad genua 1. Sonata

II. To the knees 1. Sonata

2. Concerto Ad ubera portabimini, et super genua blandicentur vobis.

2. Concerto You shall be carried at the breasts, and upon the knees they shall caress you.

3. Aria Salve Jesu, rex sanctorum, spes votiva peccatorum, crucis ligno tanquam reus, pendens homo verus Deus, caducis nutans genibus.

3. Aria Hail Jesus, King of the saints, Hope longed for by sinners, On the rood-tree, like a criminal, Hanging, Man yet True God, Swaying on frail knees!

4. Aria Quid sum tibi responsurus, actu vilis corde durus?

Quid rependam amatori,

4. Aria What can I answer thee, With my vile deeds, my hard heart?

How can I repay thee who lovest me,

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qui elegit pro me mori, ne dupla morte morerer.

Who hast chosen to die for me That I might not die a twofold death?

5. Aria Ut te quaeram mente pura, sit haec mea prima cura, non est labor et gravabor, sed sanabor et mundabor, cum te complexus fuero.

5. Aria To seek thee with a pure heart, Let that be my greatest care; There will be no travail, nor will I be oppressed, But will be healed and cleansed When I have embraced thee.

6. Concerto Ad ubera portabimini…

6. Concerto You shall be carried…

III. Ad manus 1. Sonata

III. To the hand 1. Sonata

2. Concerto Quid sunt plagae istae in medio manuum tuarum?

2. Concerto What are these wounds in the midst of thy hands?

3. Aria Salve Jesu, pastor bone, fatigatus in agone, qui per lignum es distractus et ad lignum es compactus expansis sanctis minibus.

3. Aria Hail Jesus, good Shepherd, Wearied by the struggle, Who hast been rent asunder by the tree And art bound to its wood With thy holy hands outspread.

4. Aria Manus sanctae, vos amplector, et gemendo condelector, grates ago plagis tantis, clavis duris guttis sanctis dans lacrymas cum oculis.

4. Aria Holy hands, I clasp you And delight in moaning; I give thanks to all these many wounds, To the hard nails, the holy drops of blood, Shedding tears as I kiss them.

5. Aria In cruore tuo lotum me commendo tibi totum, tuae sanctae manus istae me defendant, Jesu Christe, extremis in periculis.

5. Aria Washed in thy blood I entrust myself wholly to thee: Let these holy hands of thine Defend me, Jesus Christ, In the most extreme perils.

6. Concerto Quid sunt plagae istae…

6. Concerto What are these wounds…

IV. Ad latus 1. Sonata

IV. To the side 1. Sonata

2. Concerto Surge, amica mea, speciosa mea, et veni, columba mea in foraminibus petrae, in caverna maceriae.

2. Concerto Arise, my love, my beautiful one, and come: My dove in the clefts of the rock, in the hollow places of the wall.

3. Aria Salve latus salvatoris,

3. Aria Hail, side of the Savior,

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in quo latet mel dulcoris, in quo patet vis amoris, ex quo scatet fons cruoris, qui corda lavat sordida.

In which is concealed the sweetest honey, In which is revealed the power of love, From which springs the fountain of blood That washes unclean hearts.

4. Aria Ecce tibi appropinquo, parce, Jesu, si delinquo, verecunda quidem fronte, ad te tamen veni sponte scrutari tua vulnera.

4. Aria Behold, I approach thee: Spare me, Jesus, if I am wanting, For, even with shameful brow, Yet freely I come to thee To examine thy wounds.

5. Aria Hora mortis meus flatus intret Jesu, tuum latus, hinc expirans in te vadat, ne hunc leo trux invadat, sed apud te permaneat.

5. Aria At the hour of my death, let my breath, Jesus, penetrate thy side, That, expiring from hence, it may enter thee, Lest the fierce lion seize hold of it, And that it may remain with thee for ever.

6. Concerto Surge, amica mea…

6. Concerto Arise, my love…

—Translation by Charles Johnston

Mit Fried und Freud ich fahr dahin — Buxtehude Mit Fried und Freud ich fahr dahin in Gotts Wille; Getrost ist mir mein Herz und Sinn, sanft une stille, Wie Gott mir verheißen hat: der Tod ist mein Schlaf worden.

In peace and joy I now depart, According to God’s will; Comforted are my heart and mind, Calm and still.

As God did promise me, Death to me is become but a sleep.

Das macht Christus, wahr’ Gottes Sohn, der treu Heiland, Den du mich, Herr, hast sehen lan Und g’macht bekannt, Daß er sei das Leben mein Und Heil in Not und Sterben.

That is the doing of Christ, true Son of God, The faithful Savior, Whom thou hast suffered me, Lord, to see And made known to me, That He might be my Life And my salvation in distress and death.

Den hast du allen vorgestellt mit groß Gnaden, Zu seinem Reich die ganze Welt heißen laden Durch sein teuer heilsam Wort, an allem Ort erschollen.

Thou hast presented him before all people In thy great mercy To summon the whole world To His Kingdom Through His dear saving Word, Which has resounded in all lands.

Er ist das hell und selig Licht für die Heiden, Zu ’rleuchten, die dich kennen nicht, und zu weiden.

Er ist deins Volks Israel Preis, Ehre, Freud und Wonne.

He is the bright and blessed Light To lighten the Gentiles, Who know Him not, And to give them pasture.

He is the glory, the honor, the joy and bliss Of thy people Israel.

—Translation by Charles Johnston

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Die mit Tränen säen — Schütz Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen Samen und kommen mit Freuden und bringen ihre Garben.

Those who sow in tears will reap in joy.

They go out weeping carrying seed to sow and return in joy carrying sheaves.

—Translation by Camille Jordens

Membra Jesu nostri — Buxtehude V. Ad pectus 1. Sonata

V. To the breast 1. Sonata

2. Concerto a 3 voci Sicut modo geniti infantes rationabiles, et sine dolo [lac] concupiscite, ut in eo crescatis in salutem.

Si tamen gustatis, quoniam dulcis est Dominus.

2. Concerto for 3 voices As newborn babes, rational and without guile, desire the milk, that thereby you may grow unto salvation: if so be you have tasted that the Lord is sweet.

3. Aria Salve, salus mea, Deus, Jesu dulcis, amor meus, salve, pectus reverendum, cum tremore contingendum, amoris domicilium.

3. Aria Hail, my salvation, God, Sweet Jesus, my love; Hail, breast worthy to be revered, To be touched with trembling, Abode of love.

4. Aria Pectus mihi confer mundum, ardens, pium, gemebundum, voluntatem abnegatam, tibi semper conformatam, juncta virtutum copia.

4. Aria Grant me a pure breast, Ardent, pious, full of sighs, And a self-denying will, Ever submissive to thee, Joined with an abundance of virtues.

5. Aria Ave, verum templum Dei, precor miserere mei, tu totius arca boni, fac electis me apponi, vas dives Deus omnium.

5. Aria Hail, true Temple of God, I beg thee, have mercy on me, Thou receptacle of all that is good, Cause me to be assigned among the elect, Thou precious vessel, thou God of all things.

6. Concerto a 3 voci Sicut modo geniti…

6. Concerto for 3 voices As newborn babes…

VI. Ad cor 1. Sonata

VI. To the heart 1. Sonata

2. Concerto a 3 voci Vulnerasti cor meum, soror mea, sponsa.

2. Concerto for 3 voices Thou hast wounded my heart, my sister, my spouse.

3. Aria Summi regis cor, aveto, te saluto corde laeto, te complecti me delectat et hoc meum cor affectat, ut ad te loquar, animes.

3. Aria Heart of the supreme King, fare thee well!

I greet thee with gladsome heart, I delight in embracing thee, And this heart of mine aspires That thou mayest quicken it to speak to thee.

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4. Aria Per medullam cordis mei, peccatoris atque rei, tuus amor transferatur, quo cor tuum rapiatur languens amoris vulnere.

4. Aria Into the depths of my heart, Sinful and wicked, May thy love be transported, That thy heart, fainting from the wound of love, May thereby be ravished.

5. Aria Viva cordis voce clamo, dulce cor, te namque amo, ad cor meum inclinare, ut se possit applicare devoto tibi pectore.

5. Aria With the living voice of my heart I cry: Sweet heart, since I love thee, Incline thyself towards my heart, That it may cling To thy pious breast.

6. Concerto a 3 voci Vulnerasti cor meum…

6. Concerto for 3 voices Thou hast wounded my heart…

VII. Ad faciem 1. Sonata

VII. To the face 1. Sonata

2. Concerto Illustra faciem tuam super servum tuum, salvum me fac in misericordia tua.

2. Concerto Make thy face to shine upon thy servant; save me in thy mercy.

3. Aria Salve, caput cruentatum, totum spinis coronatum, conquassatum, vulneratum, arundine verberatum facie sputis illita.

3. Aria Hail, bloodstained head, All crowned with thorns, Shattered by blows, wounded, Scourged with the rod, O face besmeared with spittle.

4. Aria Dum me mori est necesse, noli mihi tunc deesse, in tremenda mortis hora veni, Jesu, absque mora, tuere me et libera.

4. Aria When I needs must die, Do not fail me, At the fearsome hour of death Come, Jesus, without tarrying, Protect and deliver me.

5. Aria Cum me jubes emigrare, Jesu care, tunc appare, o amator amplectende, temet ipsum tunc ostende in cruce salutifera.

5. Aria When thou dost bid me depart, Dear Jesus, then appear, O lover whom I would embrace, Then show thy very self Upon the saving Cross.

6. Concerto Amen.

6. Concerto Amen.

—Translation by Charles Johnston

So fahr ich hin zu Jesu Christ — Schütz So fahr ich hin zu Jesu Christ, Mein’ Arm tu ich ausstrecken; So schlaf ich ein und ruhe fein, 24

Thus I go away to Jesus Christ, Stretching out my arm; Thus I fall asleep and rest sweetly, B ost on E ar ly Mus i c F e st i val

Kein Mensch kann mich aufwecken, Denn Jesus Christus, Gottes Sohn, Der wird die Himmelstür auftun, Mich führn zum ewgen Leben.

No one can awaken me, For Jesus Christ, the Son of God, Will open the gate of heaven, Leading me to eternal life.

—Translation by Camille Jordens

Herzlich lieb hab’ ich dich, o Herr — Buxtehude Herzlich lieb hab’ ich dich, o Herr, Ich bitt’, woll’st sein von mir nicht fern Mit deiner Hilf und Gnaden Die ganze Welt nicht feuet mich, Nach Himmel und Erd’ nicht frag’ ich, Wenn ich dich nur kann haben.

Und wenn mir gleich mein Herz zerbricht, So bist doch du mein Zuversicht, Mein Teil und meines Herzens Trost, Der mich durch sein Blut hat erlöst.

Herr Jesu Christ, mein Gott und Herr, In Schanden laß mich nimmermehr!

Most dearly do I love thee, O Lord; I pray thee, be not far from me With thy help and thy mercy.

Nothing brings me joy in this world.

I desire nothing on earth or in heaven, Provided thou dost dwell in my heart, O Lord.

And if my heart should break, Yet art thou my trust, My portion and my heart’s consolation, That hast redeemed me with thy blood.

Lord Jesus Christ, my God and Lord, Do not ever bring me to shame!

Est is ja, Herr, dein Geschenk und Gab Mein Leib und Seel’ und was ich hab’ In diesem armen Leben.

Damit ich’s brauch’ zum Lobe dein.

Zu Nutz und Dienst des Nächsten mein, Woll’st mir dein’ Gnade geben.

Behüt mich, Herr, vor falscher Lehr’, Des Satans Mort und Lügen wehr, In allem Kreuz erhalte mich, Auf daß ich’s trag’ geduldiglich.

Herr Jesu Christ, mein Herr und Gott, Tröst mir mein’ Seel’ in Todesnot.

Truly, Lord, thy gift and thy charity Are my body and my soul and all that I possess In this poor life; That I may employ them to praise thee, To be of use and service to my neighbor, Vouchsafe me thy grace.

Protect me, Lord, from evil ways, From the danger of Satan’s murder and lies; In every cross do thou uphold me, That I may bear it patiently.

Lord Jesus Christ, my God and Lord, Comfort my soul in the peril of death!

Ach Herr, laß dein’ lieb’ Engelein Am letzten End’ die Seel mein In Abrahams Schoßtragen, Den Leib in sein’m Schlafkämmerlein Gar sanft, ohn einig’ Qual und Pein, Ruhn bis zum Jüngsten Tage.

Alsdann vom Tod erwecke mich Daß meine Augen sehen dich In aller Freud’, o Gottes Sohn, Mein Heiland und mein Gnadenthron!

Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich!

Amen.

—Martin Schalling

O Lord, let thy sweet angels At my last hour bear my soul Even to Abraham’s bosom, And let my body in its abode of sleep Quietly without torment and pain Rest until the Day of Judgment.

Raise me then from death, That my eyes may behold thee In blissful joy, O Son of God, My Savior and my Throne of Mercy, Lord Jesus Christ, hear my prayer.

I will praise thee in all eternity.

Amen.

—Translation by Derek Yeld

Reprinted with permission from Charles Johnston, Camille Jordens, Derek Yeld, and Harmonia Mundi Musique, France 2 021–20 22 Se aso n

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2011 | Niobe, Regina di Tebe | Philippe Jaroussky

Make a Difference

Boson Early Music Fesival Planned Giving

Play a vital and permanent role in BEMF’s future with a planned gift. Your generous support will create unforgettable musical experiences for years to come, and may provide you and your loved ones with considerable tax benefits.

Join the BEMF ORPHEUS SOCIETY by investing in the future of the Boston Early Music Festival through a charitable annuity, bequest, or other planned gift. With many ways to give and to direct your gift, our staff will work together with you and your advisors to create a legacy that is personally meaningful to you.

To learn more, please call us at 617-661-1812, email us at kathy@bemf.org, or visit us online at BEMF.org/plannedgiving.

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Aaron Sheehan in BEMF’s 2017 production of Campra’s Le Carnaval de Venise Photo: Kathy Wittman

Boson Early Music Fesival International Baroque Opera • Celebrated Concerts • World-Famous Exhibition

The Boston Early Music Festival (BEMF) is universally recognized as a leader in the field of early music. Since its founding in 1980 by leading practitioners of historical performance in the United States and abroad, BEMF has promoted early music through a variety of diverse programs and activities, including an annual concert series that brings early music’s brightest stars to the Boston and New York concert stages, and the biennial weeklong Festival and Exhibition, recognized as “the world’s leading festival of early music” (The Times, London).

Through its programs BEMF has earned its place as North America’s premier presenting organization for music of the Medieval, Renaissance, and Baroque periods and has secured Boston’s reputation as “America’s early music capital” (Boston Globe).

In te r nat i onal Ba ro q u e Op e ra 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.

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The twenty-first biennial Boston Early Music Festival in June 2021 took place virtually, and featured a video presentation of André Campra’s extraordinary Le Carnaval de Venise from the June 2017 Festival. The twenty-second Festival, in June 2023, will have as its centerpiece Henry Desmarest’s 1694 opera Circé from a libretto by Louise-Geneviève Gillot de Saintonge, which will feature the Boston Early Music Festival Dance Company, a troupe of dancers under the guidance of BEMF Dance Director Melinda Sullivan.

BEMF introduced its Chamber Opera Series during its annual concert season in 29

November 2008, with a performance of John Blow’s Venus and Adonis and MarcAntoine Charpentier’s Actéon. The series 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 Lully, Francesca Caccini’s Alcina, the first opera written by a woman, and most recently a combination of Telemann’s Pimpinone and Ino. 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.

Danielle Reutter-Harrah in BEMF’s 2021 production of Telemann’s Pimpinone Photo: Kathy Wittman

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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; Jean-Baptiste 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, four-country European concert tour of the opera, has been nominated for a Grammy Award, was named Gramophone’s Recording of the 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 B ost on E ar ly Mus i c F e st i val

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.

Ce leb r ate d C on ce rt s

Some of the most thrilling musical moments at the biennial Festival occur during one of the dozen or more concerts presented around the clock, which always include the acclaimed Boston Early Music Festival Orchestra led by Orchestra Director Robert Mealy, and which often feature unique, once-in-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 early-music scene” (New York Times).

Wo r l d - fa m ous E xh i b it ion

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 first-ever 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

A standing ovation for La storia di Orfeo in November 2019 Photo: Kathy Wittman

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B e c o me a F r i e n d o f t h e

Boson Early Music Fesival 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: • • • • • • • • •

Friend Partner Associate Patron Guarantor Benefactor Leadership Circle Artistic Director’s Circle Festival Angel

$45 $100 $250 $500 $1,000 $2,500 $5,000 $10,000 $25,000

T hr ee way s t o g ive:

• 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

Oth e r way s t o sho w y our suppor t:

• 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!

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Friends of the

Boson Early Music Fesival

This list reflects donations received from July 1, 2020 to April 11, 2022 FESTIVAL ANGELS ($25,000 or more) Anonymous (4) Bernice K. & Ted† Chen Brit d’Arbeloff Susan Donaldson David R. Elliott† Peter L. & Joan S. Faber Donald Goldstein David Halstead & Jay Santos George L. Hardman Glenn A. KnicKrehm Miles Morgan Susan L. Robinson Andrew Sigel, in memory of Richard Sigel & Carol Davis Joan Margot Smith Donald E. Vaughan & Lee S. Ridgway ARTISTIC DIRECTORS’ CIRCLE ($10,000 or more) Anonymous (4) Annemarie Altman, in memory of Dave Cook Katie & Paul Buttenwieser Susan Denison Tony Elitcher & Andrea Taras Marie-Pierre & Michael Ellmann James A. Glazier Ellen T. & John T. Harris Barbara & Amos Hostetter David M. Kozak & Anne Pistell Mr. & Mrs. Thomas G. MacCracken Heather Mac Donald & Erich Eichman Victor & Ruth McElheny Bill McJohn Lorna E. Oleck Fritz Onion Nina & Timothy Rose 2 021–20 22 Se aso n

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Bruce A. Garetz Sarah M. Gates David & Harriet Griesinger Peter B. & Harriette Griffin Phillip Hanvy Dr. Robert L. Harris Rebecca & Ronald Harris-Warrick H. Jan & Ruth H. Heespelink Michael Herz & Jean Roiphe James & Ina Heup Jane Hoover Thomas & Sonja Ellingson Hout Ronald Karr Barry Kernfeld & Sally McMurry Alan M. King Fran & Tom Knight Robert & Mary La Porte Amelia J. LeClair & Garrow Throop John Leen & Eileen Koven Catherine Liddell Shenkiat Lim MAFAA William & Joan Magretta John S. Major & Valerie Steele David McCarthy Amy Meyer Marilyn Miller Robert Neer & Ann Eldridge John M. & Bettina A. Norton Keith Ohmart & Helen Chen Clara M. & John S. O’Shea John R. Palys Neal J. Plotkin & Deborah Malamud Amanda & Melvyn Pond Tracy Powers Harold I. Pratt Paul Rabin & Arlene Snyder Alice Robbins & Walter Denny, in honor of Kathy Fay Jose M. Rodriguez & Richard A. Duffy Patsy Rogers Thomas & Loretto Roney Kevin Ryan & Ozerk Gogus Irwin Sarason, in memory of Suzanne Sarason Suzanne Sarason† Len & Louise Schaper Lynne & Ralph Schatz Arah Schuur Wendy Shattuck & Sam Plimpton Cynthia Siebert Dr. Glenn Sigl & Mr. John Self 34

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Ellen R. Delany Jeffrey Del Papa Robert Dennis Katharine B. Desai Mr. & Mrs. Dennis Dewitt Michael DiSabatino, in honor of Nancy Olson Tamar & Jeremy Kaim Doniger John F. Dooley Mark Elenko David & Noel English Lori Fay & Christopher Cherry, in memory of Gerry Weber Janet G. Fink Gary Freeman Sarah French Anne & Walter Gamble Stephen L. Gencarello Hans Gesell Barbara Godard The Goldsmith Family Nancy L. Graham The Graver Family Lorraine & William Graves Winifred Gray Mary Greer Laury Gutierrez & Elsa Gelin Suzanne & Easley Hamner Eric & Dee Hansen Joseph & Elizabeth Hare G. Neil & Anne Harper Barbara & Samuel L. Hayes III Catherine & John Henn Roderick J. Holland Jessica Honigberg Sterling & Margaret Hopkins David Howlett John Hsia Keith & Catherine Hughes Francesco Iachello Laura Jeppesen & Daniel Stepner Paul & Alice Johnson Robin Johnson David K. Jordan Dian Kahn Lorraine Kaimal, in memory of Jagadish C. Kaimal Elizabeth Kaplan Robert Kauffman & Susan Porter Thomas F. Kelly & Peggy Badenhausen Louis & Susan Kern Peggy Kimball 35

George Kocur Crystal Komm & Christopher Potter Scott-Martin Kosofsky & Betsy Sarles Benjamin Krepp & Virginia Webb Joseph Kung Katharine Kush Bruce Larkin Tom Law Jasper Lawson William & Betsy Leitch Rob & Mary Joan Leith Diana Lempel Philip Le Quesne Alison Leslie Ricardo & Marla Lewitus Mary Maarbjerg Rodolfo Machado & Jorge Silvetti Peter G. Manson & Peter A. Durfee Marietta Marchitelli Carol & Pedro Martinez Margaret Matlin, Ph.D. James McBride Lee McClelland William McLaughlin John McLeod & Margaret Angelini David Montanari & Sara Rubin Randall E. & Karen Moore Rodney & Barbara Myrvaagnes Debra Nagy, in honor of Robert Mealy Lindsay & Mark Nelsen Paul & Rebecca Nemser Nancy Nicholson Caroline Niemira Nancy Olson & Charles Di Sabatino Louise Oremland John & Sandra Owens Kevin Oye & June Hsiao Cosmo & Jane Papa Tony & Kathy Pell Joseph L. Pennacchio Pauline & Mark Peters Bici Pettit-Barron Elizabeth V. Phillips Hon. W. Glen Pierson & Mr. Charles P. Reed Anne & François Poulet Rodney J. Regier Sandy Reismann & Dr. Nanu Brates Michael Robbins Marge Roberts 36

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Nevin C. Brown L.T. Bryan Susan Bryant Russell & Dee Burgett Jean C. Burke John H. Burkhalter III Sally & Harold Burman Judi Burten, in honor of Phoebe Larkey’s 95th birthday Susan H. Bush Kevin J. Bylsma Pauline Ho Bynum Lisa Cacciabaudo Nicholas Calapa John Caldwell Daniela Cammack Joseph Cantey Dennis J. & Barbara Carboni Pamela Carley & Lawrence Zukof James & Angela Carrington R. Cassels-Brown Verne & Madeline Caviness, in honor of Hildegard von Bingen Robert B. Christian Edward Clark & Joan Pritchard John Clark Alan Clayton-Matthews Joel I. Cohen, in honor of Anne Azéma, Officier, Ordre des arts et des lettres de la République française Joel I. Cohen & Anne Azéma Maria & Charles Coldwell Matthew Coleman Carol & Alex Collier Lois Evelyn Conley, in memory of Philip R. Conley Dorothea Cook & Peter Winkler Rita & Norman Corey, in honor of Jeanne Crowgey Robert Cornell Nelson Correa Mary C. Coward & John Empey Dan & Sidnie Crawford David Croll & Lynne Ausman Matthew & Ellen Cron Katherine Crosier, in memory of Carl C. Crosier Ruth Cross Gray F. Crouse Edwina J. Cruise 2 021–20 22 Se aso n

Donna Cubit-Swoyer Frank Cunningham & Anne Black Daniel Curtis William David Curtis Warren R. Cutler James Cyphers Matthew Dahl Gilbert Daniels Ruta Daugela Karen Davis, in honor of Amanda Forsythe Judith & Robert DeIasi Kate Delaney Richard DesRosiers Deborah & Forrest Dillon Sarah Dillon & Peter Kantor Kathryn Disney Mark Dodd & Linda Brock Charles & Beverly Donohue Annette I. Dorsky Priscilla Drucker Laura Duffy Rev. S. Blake Duncan Ben Dunham & Wendy Rolfe-Dunham John Dunton & Carol McKeen Robert Echols Philip & Deborah Edmundson Ms. Helen A. Edwards Karen M. El-Chaar, Esq. Anne Engelhart & Douglas Durant Charles Epstein Jane Epstein Paula Erikson Jake Esher Laureen Esser Richard Fabian Susan Farr Lila M. Farrar Marilyn Farwell Peter Fejer Grace A. Feldman, in memory of J.P. Feldman Kevin Feltz Annette Fern Janine Ferretti Robert & Janeth Filgate Carol L. Fishman Jocelyn Forbush Deborah Fox & Ron Epstein Patrick Joseph Fox, in honor of Dr. Nancy Olsen Lillian Fraker

Matthew P. Fraleigh Elizabeth Fraser Peter Frick Carole Friedman Friends R. Andrew Garthwaite William Gasperini Dr. Aisling Gaughan & Kent Russel Thatcher Lane Gearhart Ronald & Gisela Geiger Gary Gengo Monica & David Gerber David & Susan Gerstein Michael Goldberg Susan Goldhor, in memory of Aron Bernstein Diane Goldsmith Jeffrey Goldsmith Lisa Goldstein Robert & Day Gotschall Joseph Grafwallner Kim T. Grant Frances Gratz John C. Gray Jr. Ellen & James Green Margaret Griffin & Roger Weiss Thomas H. & Lori B. Griswold John Gruver & Lynn Tilley Peter F. Gustafson Christine Guth Joshua Guttman Richard & Les Hadsell Harry & Sharen Hafner Barbara & Markos Hankin Patrick & Judith Hanlon Benjamin F. Harris David J. Harris, MD Elizabeth Harris Jill B. Hartman Donatus Hayes Elwood Headley Deborah Healey Diane Hellens Karin Hemmingsen Elizabeth Durfee Hengen Steve Herbert & Ursula Ziegler Olmo Heredia-Blanco Katherine A. Hesse Raymond Hirschkop John & Olivann Hobbie Ellsworth Hood, in memory of Margaret Hood 37

Victoria Hoover Margaret Hornick Valerie Horst & Benjamin Peck Chris Marie R. Hudson Judith & Alan Hudson Michelle Humphreys Priscilla Hunt & Victor Lesser Robert Hunt & Irene Winter Joe Hunter & Esther Schlorholtz Charles & Nan Husbands, in honor of Paul O’Dette Willemien Insinger Charlotte Isaacs Susan L. Jackson Deborah L. Jameson Susan Jaster & Ishmael Stefanov-Wagner Donna Jeker Gayle Johnson Robert & Selina Johnson June Kagdis Robert & Susan Kaim Joan Kapfer & Michael Jorrin Ward Keeler Martha Keith Alison Kelley Seamus & Marjorie Kelly Roger & Mary Jane Kelsey Joseph J. Kesselman, Jr. David Kessler David P. Kiaunis John R. Kimball Jeremy Kindall Leslie & Kimberly King John N. Kirk Gerhart & Brigitte Klein Naomi Reed Kline Kathryn Kling Carol & Arnold Klukas Sara M. Knight Christine Kodis Ellen Kranzer Barbara & Paul Krieger Katherine Krueger Jan Krzywicki & Susan Nowicki Bob Kunzendorf & Liz Ritvo David Laibstain Dennis G. Lamser Peter A. Lans Charles E. Larmore Alan LaRue, Pam Wolfson & Therese LaRue David A. Leach & Laurie J. LaChapelle Stephen J. Leahy 38

Drs. Lynne & Sid Levitsky Michael Lew Calien Lewis & Martha Mickles Ellen R. Lewis Jo-Lin Liang Susan & Walter Lichtenstein Rebecca Lightcap Signe Lindberg Jose & Rebecca Lora Liz Loveland Daniel Lynch & Elaine Dow Deidre Lynch Sandra & David Lyons Mary Malloy & Stuart Frank Thomas & Susan Mancuso Douglas & Amanda Maple Judith Mason Sally Mayer Donna McCampbell Dr. & Mrs. James R. McCarty, in memory of William R. Dowd Peter McCormick Kathleen McDougald George McKee Sharon McKinley Dave & Jeannette McLellan Mr. Daniel P. Melish, in honor of William Paul Melish, from whom my love of music came Cynthia Merritt Gerald & Susan Metz Ruth Milburn George D. & Barbara A. Miller Margo Miller Mary Lou Miller Myron Miller Nicolas Minutillo Nathaniel & Judith Mishkin Robert C. Mitchell Richard Molitor Kathleen Moore Martha Morton Wes & Sandy Mott, in memory of Harry Nargiss Mouatta Jennifer Moxley & Steve Evans Lynn Mulheron Seanan Murphy Elizabeth Murray Myrna Nachman Arthur Ness & Charlotte Kolczynski Katharine Newhouse

Amy Nicholls Jeffrey Nicolich Lyle & Patricia Nordstrom Nancy Nuzzo Karen Oakley & John Merrick Herbert G. Ogden & Catherine Thomas Clifford & Frances Olsen Monika Otter David & Claire Oxtoby Gene & Cheryl Pace Faith Parker Beth Parkhurst, in memory of Cheryl M. Parkhurst Susan Patrick, in memory of Don Partridge Susan Patrick Sally & Rand Peabody Jim Pendleton Phillip Petree John Petrowsky Rebecca Petteys Andrea Phan Lys McLaughlin Pike Mary Platt Theodore Popoff & Dorothy Silverstein Susan Porter Charles & Elizabeth Possidente David Posson Stephen Poteet & Anne Kao Susanne & John Potts Dr. Olena Prokopovych Virginia Raguin Christa Rakich & Janis Milroy Marian Rambelle Sarah & Eben Rauhut Sandra Ray John & Sue Reed John Regier Ruth E. Reiner Susan Reutter-Harrah Emery & Joyce Rice Julia & Stephen Roberts Julia W. Robinson Randy Robinson Sue Robinson Richard Rodgers Michael Rogan & Hugh Wilburn Paul Rosenberg & Harriet Moss Barbara Roth Peter & Linda Rubenstein Lisa & Gary Rucinski James V. Ryan B ost on E ar ly Mus i c F e st i val

Cheryl K. Ryder Kate Salfelder Gregory Salzman Susan Sargent & Tom Peters Josef Schmee David Schneider & Klára Móricz Raymond Schneider R.F. Scholz & M.B. Kempers Elly Schottman Michael Schreiner Lynn & Mary Schultz Peter Schuntermann Susan Schuur Judith Arlene Schwantes Jeffrey Schwotzer Janet Scudder & Carl Fristrom David Sears Jean Seiler Maureen Shea Ann Shedd & Mark Meess Aaron Sheehan & Adam Pearl Kathy Sherrick Marilyn Shesko Kazuki Shintani Daniel & Ruth Shoskes Barbara Sidley, in memory of Nathan T. Sidley Michael & Rena Silevitch Hana Sittler Sandra Sizer John & Carolyn Skelton Ellen & Jay Sklar Elizabeth Wade Smith Elliott Smith & Wendy Gilmore Gregory Smith Jennifer Farley Smith & Samuel Rubin Jim Smith & Joan Miller David Snead & Kate Prescott William & Barbara Sommerfield Piroska Soos Gabriella Spatolisano Kathleen Moretto Spencer Joseph & Kelley Spoerl Scott Sprinzen George Stalker & Jean Keskulla Douglas H. Steely & Palma A. Bickford Kathryn Steely Bruce Steiner Esther & Daniel Steinhauer Ann Stewart Mary Stokey Helen Stott 2 021–20 22 Se aso n

Elliott & Barbara Strizhak Alan & Caroline Strout Imogene A. Stulken & Bruce Brolsma Richard Stultz Richard Stumpf Elizabeth C. Sulak Jacek & Margaret Sulanowski Ronald Suleski Bob & Eileen Sullivan Richard & Louise Sullivan Robert G. Sullivan & Meriem Pages Jack Summers Ganesh & Monika Sundaram Timothy Swain Nancy Rutledge Swan Lois Swirnoff Elizabeth Sylvester Jeffrey & Boryana Tacconi, in memory of Nikolay Tonev Margaret W. Taft, in memory of Seymour Hayden Jocelyn R. Tager, Ph.D. & Michael Fredrickson Ryan Taliaferro Lee & Judith Talner Eleanor H. Tejirian Roy W. & Ute Tellini Lisa Terry John Thier, in honor of Essential Workers Judith Ogden Thomson Donald Trageser Joseph Tulchin, in memory of Kate Heery Tulchin John & Anne Turtle Barbara & John VanScoyoc Judy von Loewe Mandy Waddell & Irene Cramer Robert & Therese Wagenknecht Rosemary Waldrop Sonia Wallenberg Hilary & John Ward Marian M. Warden Prof. Eldon L. Wegner Thomas & LeRose Weikert Cheryl S. Weinstein Ronald Weintraub The Westner Family Peter White Rev. Roger B. White, in memory of Joseph P. Hough Marina & Robert Whitman

Robert Williams, in honor of Annette Fern David L. Williamson Phyllis Wilner Dr. & Mrs. Randall S. Winn Charlotte Winslow Renate Wolter-Seevers Jeff & Lisa Woodruff Mr. & Mrs. Dwayne Wrightsman John H. & Susan Yost Kurt-Alexander Zeller † deceased FOUNDATIONS & CORPORATE SPONSORS Anonymous (2) Aequa Foundation American Endowment Foundation Applied Technology Investors BNY Mellon Charitable Gift Fund Bank of America Charitable Gift Fund The Barrington Foundation, Inc. The Bel-Ami 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 MA Connecticut Community Foundation Constellation Charitable Foundation The Fannie Cox Foundation The Crawford Foundation CRB Classical 99.5, a GBH station The Dusky Fund at Essex County Community Foundation Eastern Bank Charitable Foundation Fidelity Charitable Fiduciary Trust Charitable 39

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 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

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B os t on E ar ly Mus i c F e st i val

“Absolutely superb.”

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b Internat io

nal

M ic h e l-R i ch a rd d e L al and e

Les Fontaines de Versailles Le Concert d’Esculape

ALSO AVAILABLE

Boson Early Music Fesival

Paul O’Dette & Stephen Stubbs, Musical Directors

I n t ern atio n ally Award- Winning

Opera CDs

O RD E R To d ay at BE MF.O RG

Photo: Rolf Schoellkopf

of “Nothing short

revelatory.”

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hone

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Antiochus und Stratonica ALSO AVAILABLE

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Paul O’Dette & Stephen Stubbs, Musical Directors

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Boson Early Music Fesival Opera • Concerts • Exhibition June 4–11, 2023 in Boston Our 22nd biennial extravaganza is

A CELEBRATION OF WOMEN CENTERPIECE OPERA: Circé

Music by Henry Desmarest (1661–1741) Libretto by Louise-Geneviève Gillot de Saintonge (1650–1718)

CHAMBER OPERA: Alcina Music by Francesca Caccini (1587–ca. 1641) Libretto by Ferdinando Saracinelli (d. 1640)

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