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• Bruce Hangen, Artistic Director and Conductor

Orchestra of Indian Hill Melissa Maranda 2016 ad_1 6/1/2016 9:55 AM Page 1

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Some restrictions apply: discount excludes alcoholic beverages and gratuity; cannot be combined with other discounts or promotions. Reservations are recommended.


Your future music center! Indian Hill Music is creating a world-class education and performance center where your concert experience will be second to none. Anticipated to open in late 2020, the new Music Center at Indian Hill in Groton will integrate a wide range of performances with our educational and outreach programs to ensure everyone can access the many facets of music.

Concept Rendering Š Epstein Joslin Architects


Enjoy chamber music? Then come to one of the concerts at Groton’s Kalliroscope Gallery or our own chamber series at Indian Hill Music featuring a wide assortment of composers and themes. Like jazz and contemporary music? Spend your weekend listening to modern masters, from Gershwin to Coltrane, performed by our talented faculty and Orchestra musicians. Within these pages you will discover more about the depth and breadth of our work, including the many ways in which we give music generously to the communities we serve. Our new music center is still about three years away from completion. In the meantime we want to continue to attract new people to experience Indian Hill Music for the first time. Come explore, bring your friends, and expand our community. We are so pleased you are here with us today. Join us throughout the season and experience the awesome connections that music can bring! Sincerely,

Susan Randazzo Carole Prest Executive Director Chair, Board of Directors

2017 – 2018 SEASON

At our core, Indian Hill Music is all about the integration of music education and performance. We seek to educate and engage students of every age because we believe that music encourages the growth and development of the whole person. Deepen your understanding of the music performed by our Orchestra by attending our pre-concert talks with Maestro Bruce Hangen. After the concert, join us for coffee in the Encore Café with Bruce and our soloists as they reflect on the performance you’ve just heard. Attend a Discovery Lecture to learn more about a particular aspect of music. Stop by to witness a masterclass and you’ll hear wisdom pass from generation to generation as a world-class performer coaches gifted students. But don’t just listen. Consider enrolling as an Indian Hill Music School student, regardless of your age or ability level, and you will experience the joy of making music.


At Indian Hill Music, we talk about Making Music, Creating Community. What does that really mean? To us, it means that among the things we value most are the connections and relationships that develop from experiencing live music together.




About Indian Hill Music


2017 – 2018 SEASON

Making Music ... Creating Community


Now in its 32nd year, Indian Hill Music is a thriving non-profit regional center for music education and performance located in Littleton, Massachusetts. One of only a small group of non-profit organizations nationwide that encompasses a community music school, professional orchestra, and outreach programs, Indian Hill Music serves 79 communities ranging from Greater Boston to Southern New Hampshire. We are motivated by the belief that music inspires both our hearts and our minds, encourages the growth and development of the “whole person,� and is integral to the lives of the individuals and communities we serve. Our comprehensive music education program serves a community of 1,000+ students of all ages, abilities and backgrounds, where studying music, attending performances, participating in workshops, and performing with others are key components. Through the integration of the music school and our professional performance series, the transformative power of music is fully realized.

About Indian Hill Music

Indian Hill Music is very important to my family, and I feel a part of the family created by Indian Hill. We attend concerts, recitals, and social events. My young grandchildren have attended early childhood classes, my grandson studied piano here, and my daughter sings with the Threshold Singers. And, I’m taking piano lessons!

Dedicated to enriching the communities we serve by making music accessible to all, Indian Hill Music has developed strong and flourishing relationships through a full complement of outreach programming, serving some 7,000 people annually. We provide over $120,000 in need-based scholarships and community outreach programs, including performances and educational programs for public schools and free concerts for seniors. We also offer bedside singing for healing and comfort through our Threshold Singers.


Indian Hill Music’s professional performance season is anchored by concerts of the critically-acclaimed, 70-member Orchestra of Indian Hill, led by Artistic Director and Conductor, Bruce Hangen. We also present live performances by Music School faculty, Orchestra of Indian Hill musicians, and other renowned guest artists in our Jazz and Contemporary Series, Chamber Music at Indian Hill, and the Kalliroscope Gallery Chamber Music Series.

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– Judith S. Harvard, MA


Orchestra of Indian Hill Musicians 43rd Season Bruce Hangen, Artistic Director Stone Family Endowed Music Director’s Chair Violin I *Alice Hallstrom, Concertmaster The Reynolds Chair, endowed in perpetuity Li-Mei Liang, Associate Concertmaster The Charles Lincoln Gagnebin Memorial Chair, endowed in perpetuity Jane Dimitry Egle Jarkova Allan Espinosa Sponsored by Randy Steere and Paul Landry +Bethany Landby Stephan Mona Rashad Kay Rooney-Matthews Stuart Schulman Sponsored by Carole and Art Prest


2017 – 2018 SEASON

+Anabelle Tirado


Violin II *Stanley Silverman  Sponsored by John R. McBee in memory of Warren D. McBee Lynn Basila  Sponsored by Priscilla Endicott Julia Erhard +Todd Hamelin +Angel Hernandez Laura Papandrea Nicki Payne Susan Turcotte-Gavriel Viola **Peter Sulski **Amelia Hollander Ames Sponsored by Simon S. Jones and Richard Gioiosa Robert Kennedy Jiali Li +Dorcas Mccall

Darcy Montaldi Oleg Soloviev Jennifer Tanzer Jing-Huey Wei Cello *Aristides Rivas Sponsored by Bob and Sue Lotz Priscilla Chew George Hughen Nathan Kimball Scott Lesser Colleen McGary-Smith Susan Randazzo Sponsored by Phil and Dorothy Robbins Shay Rudolph Sponsored by Bruce and Sue Bonner Bass *Kevin Ann Green Sponsored by Sheila LaFarge Robb Aistrup Joseph Higgins Justin McCarty Michael Simon John Wall Flute *Melissa Mielens Sponsored by Connie Keeran and Ted Lapres Jessica Lizak Sponsored by Christine and Fred Faulkner in honor of Claudia Castro

Bass Clarinet William Kirkley Bassoon *TBA Wren Saunders  Sponsored by Pam and Griff Resor Horn *Clark Matthews Nancy Hudgins Kimberly Harriman Sheffra Spiridopoulos Trumpet *Mary-Lynne Bohn  Sponsored by John and Barbara Chickosky Mark Emery Anthony Gimenez Trombone *Peter Cirelli Sponsored by Mary Jennings and Jim Simko Alexei Doohovskoy Bass Trombone Donald Robinson Tuba *Michael Stephan Sponsored by Bobbie and David Spiegelman Timpani *Karl Seyferth Percussion *Michael Ambroszewski

Piccolo Ona Jonaityte Sponsored by Dave and Karen Riggert

Harp *Deborah Feld-Fabisiewicz

Oboe *Nancy Dimock Sponsored by Bernice Goldman and David Gaynor in memory of Toby Goldman Jennifer Slowik

Librarian Kate Weiss-Gordon

Clarinet *+Steven Jackson Sandra Halberstadt

String section musicians are listed alphabetically after the principals.

Piano *Bonnie Anderson

* Principal ** Co-Principals + IHM School Faculty Endowed Chairs Red Chair Society

From the Artistic Director

Most importantly, be open to the myriad fantastic sounds an orchestra can produce. Our musicians are all working musicians who come together half-a-dozen times a year for your enjoyment and entertainment. Share the pleasure of the experience with others and, of course, come back for more! Musically yours,

Bruce Hangen, Artistic Director & Conductor

Hear recent Orchestra of Indian Hill performances on Instant Encore the world’s leading resource for enjoying live classical music. Visit and enter Orchestra of Indian Hill in the search box.

2017 – 2018 SEASON

Is this your first professional orchestra encounter? If so, my recommendation is to just allow the experience of great music to embrace you as it did me so long ago. Remain attentive to the musical and the physical/psychological dynamics as they course through each piece as well as throughout the entire program. Ignore the fact that you’re sitting in a high school auditorium –– at least it is an auditorium, and our orchestra has learned to make the best of it! Consider yourself lucky that the auditorium is small enough to allow for direct sightlines from your seat to almost anyone in the orchestra. Remind yourself that because the Boston area is so saturated with a terrific talent pool of musicians that even a smaller town like Littleton can have such a high-level, professional, symphony orchestra in its midst!


I attended only one professional orchestra concert before turning 18 years of age. What an amazing experience that was! My hometown of Great Falls, Montana, was fortunate to be on the circuit of a presenting series known as Community Concerts. Internationally-renowned solo recitalists, chamber music ensembles, and once a real, live orchestra (there was only one in all my years there!) found their touring schedules coming to Great Falls. I attended a performance of the Indianapolis Symphony, Izler Solomon, conducting, and was awestruck. To be there in the room: live, present, watching, and listening to that great orchestra’s music embracing every cell of my being was an experience I shall never forget! Even today I regard that experience as seminal to my conducting career.


Welcome to our 43rd Season!


Add Color to Your Orchestra!

Join our Red Chair Society by sponsoring an Orchestra of Indian Hill musician. • Sponsor a Principal or Section chair • Memorialize or honor a loved one • Receive recognition in Indian Hill Music publications • Connect personally with your musician For further information, please contact Catherine Coleman, Director of Development, at

Making Music ... Creating Community 12

Orchestra of Indian Hill

Opening Night at Symphony September 23, 2017 at 7:30 PM

Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor

HECTOR BERLIOZ (1803-1869)


Overture to Benvenuto Cellini

Piano Concerto No. 1 in B-flat Minor, Op. 23 Yun-Chin Zhou, piano

Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo Allegro con fuoco

Sponsored By:


ANTONÍN DVOŘÁK Symphony No 6 in D Major, Op. 60 (1865-1957) Allegro non tanto Adagio Scherzo (Furiant), Presto Finale, Allegro con spirito

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About Our Guest Artist

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Yun-Chin Zhou, piano

A native of Shenyang, China, pianist Yun-Chin Zhou, whose given name means ‘pure melody,’ has been hailed as a “dashing virtuoso … complete with dazzling fingerwork and shapely phrasing” (Cleveland Plain Dealer). In addition to his acclaimed New York and Washington, D.C. recital debuts, Mr. Zhou has performed at venues around the U.S., including the Center for Arts in Natick, the Lied Center of Kansas, the Jewish Community Alliance, the Isabella Stewart Gardner Museum, Carnegie’s Weill Recital Hall, the Bedford Chamber Concert Series, and the Oneonta Concert Association. Last season, The New York Times extolled his “sensational” and “brilliant” performance of Prokofiev’s Concerto No. 3 with the Orchestra of St. Luke’s at Alice Tully Hall with conductor Michael Stern. He has also appeared as soloist with orchestras throughout China, including the China National Symphony Orchestra in Beijing. Mr. Zhou won First Prize at the 2013 Young Concert Artists International Auditions, as well as the John Browning Memorial Prize, Ruth Laredo Memorial Award, and the Slomovic Prize. He also captured First Prize in the 2013 Gina Bachauer Piano Competition at Juilliard, which brought him a full scholarship and an appearance on WQXR’s Young Artist Showcase with Robert Sherman. Mr. Zhou began his piano studies at the age of seven. He has studied at the Curtis Institute of Music with Gary Graffman and presently studies with Robert McDonald at the Juilliard School.


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Program Notes



Overture to Benvenuto Cellini Hector Berlioz was born in La Côte-SaintAndré, France in 1803 and died in Paris in 1869. He composed his first opera, Benvenuto Cellini in 1834-1837, and it was first given in 1838 by the Paris Opera under the direction of François Habeneck. The score of the Overture calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 4 bassoons, 4 horns, 4 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, and strings. The premiere of Berlioz’ first opera, Benvenuto Cellini, was a flop. The audience loved the Overture, Berlioz said, “but the rest was hissed with admirable energy and

unanimity.” The proto-romantic composer was getting used to this: he was ahead of his time, and he knew it. Some say that Berlioz found a kindred spirit in Cellini, the sixteenth-century Florentine sculptor, goldsmith, musician, and heroic military man. He certainly saw himself as an artist-hero. Cellini’s Memoires inspired the opera and some of Berlioz’ most daring writing. The Overture begins with an explosion of sound, an expression, no doubt, of Cellini’s fiery personality. The slow pizzicato section that follows comes from the opera itself, where the Cardinal gives Cellini absolution in return for the artist’s casting of the stature of Perseus. Other bits from


Concerto for Piano & Orchestra No. 1 in B-flat minor, Op. 23

Peter Ilyich Tchaikovsky was born in Votkinsk, Russia, in 1840 and died in St. Petersburg in 1893. He completed this concerto in 1875 and the work was first performed by Hans von Bülow, piano, and conductor B. J. Lang with a freelance orchestra in Boston the same year. The concerto is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. When Tchaikovsky completed his First Piano Concerto in December of 1875, he wanted to play it for a piano virtuoso— which he was not—to see if any parts of it “might be ineffective, impracticable, and ungrateful” in the piano writing. “I needed a severe but at the same time friendly critic to point out just these external blemishes.” The natural choice for such advice was Nicolai Rubinstein, the director of the Moscow Conservatory and a renowned

pianist, conductor, and teacher. He had conducted the premieres of several of Tchaikovsky’s orchestral works, and he was also the work’s intended soloist and dedicatee. So it was that on Christmas Eve, Tchaikovsky played the work for Rubinstein on the piano in one of the Conservatory’s classrooms. Tchaikovsky later wrote: “I played the first movement. Not a single word, not a single comment! If you knew how stupid and intolerable the situation of a man is who cooks and sets a meal before a friend, a meal the friend then proceeds to eat—in silence! I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’ “Then a torrent poured from Nicolai Gregorievich’s mouth, gentle to begin with, but growing more and more into the sound and fury of Jupiter. My concerto, it turned out, was worthless and unplayable—passages so fragmented, so clumsy, so badly written as to be beyond rescue—the music itself was bad, vulgar—only two or three pages were worth preserving—the rest must be thrown out or completely rewritten. An independent witness in the room might have concluded that I was a maniac, an untalented, senseless hack who had come to submit his rubbish to an eminent musician. “I was not just astounded but outraged by the whole scene. I left the room without a word and went upstairs: in my agitation and rage I could not have said a thing. Presently Rubinstein joined me and, seeing how upset I was, asked me into one of the other rooms. There he repeated that my concerto was impossible and said that if I reworked the concerto according to his demands, then he would do me the honor


the opera ensue, including a grand love theme. As the Overture reaches a climax, the Cardinal’s theme returns and the piece comes to a noisy close. Benvenuto Cellini had a rocky first reception, and has since been only rarely revived. But the Overture, then as now, was an audience favorite, and it remains solidly in the orchestral repertory. This isn’t so unusual when you consider Berlioz’ unique capacity to delight and enrage his audience in the same concert program. Not everyone could cope with his angular melodies, jolting rhythms, forbidden harmonies, and hyperbolic passion. But those are the very qualities that make him sound so fresh— and fun—today.

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Program Notes



2017 – 2018 SEASON

Program Notes


of playing this thing of mine at his concert. ‘I shall not alter a single note,’ I replied, ‘I shall publish the work exactly as it stands!’ And this I did.” As it turned out, both Nicolai Gregorievich and Piotr Ilyich were wrong. Whether or not the concerto is vulgar is best left to others; it certainly is not “worthless and unplayable.” Within a short time, Rubinstein changed his mind about the concerto, and eventually became one of its best advocates. As for Tchaikovsky, he didn’t change a single note: he changed lots of them, through several revisions, mostly intended to make the piano part more “grateful.” Since this fantastic story occurred, the piece has become, as everyone knows, the most popular piano concerto ever written. The introduction to the first movement has become one of the single most widely-recognized passages of classical music, right behind the opening bars of Beethoven’s Fifth. And not just because it leads off most of those late-night television commercials for the “100 Greatest Classical Melodies.” This opening is sheer genius. The stentorian horn calls are punctuated by massive orchestral chords. The piano enters with thunderous, eight-octave-wide arpeggios. We soon realize that, for now, the piano is playing an accompaniment to a rich, opulent melody in the strings’ lower registers. The piano picks up this tune and plays with it in a way that seems so right. The irony of it all is that this remarkable device, this unforgettable tune, is part of the first movement’s introduction, and is never heard from again! This bothers some people, but it is easy to let it pass when what follows is so incredibly inventive, so endlessly melodic. Listen for the “real” main theme of the first movement, which Tchaikovsky took from a common beggar’s

tune. Listen for how Tchaikovsky incorporates a “scherzo” into the second movement. And enjoy the bumptious Ukrainian folk song that forms the basis of the last movement. We may “eat in silence,” as Tchaikovsky said, but there’s plenty of time for praise at the end.


Symphony No. 6 in D major, Op. 60 Antonín Dvořák was born in Mühlhausen, Bohemia in 1841 and died in Prague in 1904. He composed this work in 1880, and it was first performed by the Prague Philharmonic under the direction of Adolf Čech the following year. The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. Dvořák originally composed this symphony for the Vienna Philharmonic and its director, Hans Richter, who had performed his Slavonic Rhapsody No. 3 in 1879 with some success. Richter had been delighted by the work and had asked Dvořák for a symphony for the following season. Dvořák happily complied—Vienna was the musical capital of the world—but at this point Richter started making excuses. His mother had just died; his wife was about to have a baby; his other children were sick; and besides, the Philharmonic players were overworked. Those were the good reasons, but Dvořák eventually learned the real reason: that the players of the Philharmonic—then, as now, that most conservative of orchestras—had objected to performing works by a little-known Czech composer two seasons in a row. Undaunted (and with the score still dedicated to Richter), Dvořák gave the premiere to his friend Adolf Čech and the Prague Philharmonic. The first theme of the first movement

Program Notes

About Mark Rohr Mark Rohr, who writes our program notes, has been a professional bass trombone player and teacher of low brass for over thirty years, performing with nearly every group in the Boston area and in numerous Broadway shows. He also writes concert programs, teachers’ guides, and notes for young people. Mr. Rohr’s clients include several symphony orchestras as well as the Boston Conservatory of Music.

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the music that opened the movement. Dvořák’s Scherzo is a furiant, a swaggering Bohemian folk dance with bracing offkilter rhythms. The fun of a furiant is how it leads you into rhythmic expectations that prove to be all wrong. This movement sounds as if it begins in a duple meter—or alternatively, a slowish triple meter—only to reveal itself as a wickedly fast three. This ambiguity keeps us on our toes until the calmer trio arrives and the piccolo—silent in the symphony until now—gives us a solo turn worth waiting for. The Finale begins quietly, barely holding its energy back until it can wait no more. Once under way it maintains its high spirits and, as always with Dvořák, an effusion of wonderful tunes and grand moments. —Mark Rohr Questions or comments?


grows from two notes, then three, then extended by the violins into a phrase leading to a grand statement based on those first two notes. The second theme is a genteel melody heard in the horns and cellos, extended by a solo oboe. The transition to the development is wonderfully mysterious and the development itself unique in its long-sustained pianissimo. Listen for the second violins and violas briefly playing sul ponticello—with bows nearly on top of the bridge, producing a ghostly, brittle sound—an effect we associate with music written much later. After the recapitulation, the coda is full of delightful surprises. The woodwinds lead us into the Adagio, whose main theme derives from the twonote rising-fourth motive that opened the first movement. Much like a rondo, this theme reappears, varied somewhat each time, to separate contrasting sections. After a final restatement of the theme—very simple now—the woodwinds close with



Orchestra of Indian Hill

A Feast of Anniversaries November 4, 2017 at 7:30 PM

Littleton High School Performing Arts Center, Littleton, MA

Bruce Hangen, Conductor J OHANN SEBASTIAN BACH Suite No. 3 in D major, BWV 1068 (1685-1750) Ouverture Air Gavotte Bourrée Gigue


Overture to La Cenerentola (Cinderella)

JOHANN STRAUSS, JR. (1825-1899)

On the Beautiful Blue Danube, Op. 314

KAROL SZYMANOWSKI Violin Concerto No. 1, Op. 35 (1882-1937) Robyn Bollinger, violin Vivace assai Subito vivace assai scherzando Cadenza Allegro moderato Sponsored By:


OTTORINO RESPIGHI The Fountains of Rome (1879-1936) The Fountain of Valle Giulia at Dawn The Triton Fountain in the Morning The Trevi Fountain at Noon The Villa Medici Fountain at Sunset

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About Our Guest Artist


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Robyn Bollinger, violin


A young artist on the rise, American violinist Robyn Bollinger has already been recognized for her musical creativity, rich tones, emotional depth, and technical mastery. After making her debut at age 12 with the Philadelphia Orchestra, Ms. Bollinger has since performed with orchestras and at festivals nationwide, among them the Boston Pops, the Grand Tetons Music Festival Orchestra, and the Aspen Music Festival. A sought after collaborator, she is a member of the renowned, Grammy-nominated Boston-based ensemble A Far Cry, a former member of the Newman String Quartet, and the Lake Champlain Chamber Music Festival’s Young Trio in Residence. Additionally, she has collaborated with the Jupiter Chamber Players at Lincoln Center, Chameleon Ensemble in Boston, and members of the Borromeo, Johannes, and Cleveland quartets, among others. Ms. Bollinger has received top prizes at the many international competitions, including the International Fritz Kreisler Competition in Vienna, the Yehudi Menuhin International Competition for Young Violinists in France, and the Louis Spohr International Competition in Germany. In 2016 she won a prestigious grant from the Leonore Annenberg Fellowship Fund for her multimedia performance project entitled “CIACCONA: The Bass of Time,” which she will tour in an upcoming season. A Philadelphia native, Ms. Bollinger is a recipient of the Laurence Lesser Presidential Scholarship at the New England Conservatory of Music, where she received both her Bachelor’s and Master’s degrees with honors. Her former teachers include Miriam Fried, Soovin Kim, and Paul Kantor. She plays a 1778 Joseph and Antonio Gagliano violin on generous loan from the Ravinia Festival’s Steans Institute Instrument Bank.


Suite No. 3 for Orchestra in D Major, BWV 1068

J.S. Bach was born in Eisenach, Germany in 1685 and died in Leipzig in 1750. His Suite No. 3 was probably composed and first performed in Köthen before 1723. The score calls for 2 oboes, 3 trumpets, timpani, continuo, and strings. Orchestral suites were known as “overtures” in Bach’s day, because the first movement of the suite closely followed the form of the French overture; this served as

a prelude to a set of dance movements. By the late Baroque the dances had gone out of fashion, but composers continued to use the stylized dance forms for concert music. No evidence clearly shows us when Bach’s Suites for Orchestra were written. We know that they were performed at Leipzig, but there is reason to believe they were adapted from works composed previously at Köthen. The Third Suite appears to have been drawn from a work with violin solo; Bach expanded it to suit an orchestra, with newly-composed parts for winds, trumpets, and drums.


Overture to La Cenerentola (Cinderella) Gioacchino Rossini was born in Pesaro, Italy in 1792 and died in Paris in 1868. He composed his opera La Cenerentola in 18161817 to a libretto by Jacopo Ferretti after the fairy tale by Perrault; it was first performed at the Teatro Valle in Rome the same year. The Overture is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, timpani, percussion, and strings. Rossini was 25 when he wrote this opera; he was at the height of his powers and had already achieved recognition for having “reformed” opera nearly single-handedly. Of his quick rise, Rossini quipped, “I woke up one morning and found myself famous.” In the next few years he composed many more operas, over forty in all. Then, having become the most famous opera composer in the world—and making a fortune in the process—he abruptly laid down his pen and composed no more. He had said all he wanted to say. His opera La Cenerentola was based on the fairy tale Cinderella, but Rossini eschewed the magical portions of the

story: there are no ill-fitting glass slippers and no pumpkin coach transforming itself at midnight. What’s more, he did some transforming of his own, turning the role of the Fairy Godmother into a philosopher, sung by a bass! As usual he was running late when it came time to compose the Overture, so he pressed his Overture to La gazzetta (composed the year before) into service. Recycled or not, a Rossini overture always contains delights. Several are in the opening bars: we hear the low strings break the silence with a tentative phrase, followed by stentorian tutti chords. A pair of clarinets brings in a mellifluous solo in the bassoon, whereupon the orchestra leads us to a short (but sweet!) clarinet solo. The horns then set up a little march rhythm, soon taken up by all and leading to the main Allegro. All this in the first three minutes, mind you! The Allegro itself is buoyant and full of life. It is replete with those sparkling touches—including a long, “Rossini crescendo”— that make it obvious why Rossini woke up famous at such an early age.


On the Beautiful Blue Danube, Op. 314 Johann Strauss Jr., was born in Vienna in 1825 and died there in 1899. He composed this waltz in 1866 and it was first performed the following year, in a version with chorus, by the Vienna Men’s Choral Association. The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, trombone, tuba, timpani, percussion, harp, and strings. Although he gave them their first lessons in music, Johann Strauss Sr. forbade his sons Johann Jr. and Josef from becoming professional musicians. So, naturally enough, that’s just what they did. Johann


The Overture follows the traditional ABA form, with slow, majestic sections surrounding a lively fugue. Listeners will recognize the second movement Air as the source of the so-called “Air on the G String,” and will no doubt appreciate its original setting. The three-part Gavotte can trace its ancestry to a French folk dance, later updated for the ballroom before passing out of style. The Bourée has similar origins; both it and the concluding Gigue are sprightly dances that close out the Suite worlds away from the serious-sounding Overture.

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Program Notes


Program Notes Jr. took advanced violin and composition lessons without his father’s knowledge, and before long was leading his own orchestra in competition with him. By the time he had reached his mid-twenties he was the toast of Vienna, touring the world, and on his way to composing over 150 waltzes. He was the Waltz King, and none are so well known as his Blue Danube Waltz. The piece began life as a waltz for chorus and orchestra—as hard as that is to believe—and was only mildly successful. Once Johann Jr. rewrote it for orchestra alone, however, it became wildly popular. Whether it evokes the images of men and women in fancy dress whirling about the ballroom—or perhaps the soundtrack of a certain science fiction film—it takes us far from the worries of the day.



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The Fountains of Rome


Ottorino Respighi was born in Bologna, Italy in 1879, and died in Rome in 1936. He completed The Fountains of Rome in 1916, and it was first performed in Rome in 1917 at a benefit concert for artists disabled in World War I. The work is scored for large orchestra: 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, piano, optional organ, and strings. Respighi is sometimes derided for composing music that broke no new ground, addressed no burning social or philosophical issues, and being, of all things, relentlessly pleasant. Concert-goers have had a different opinion, and works such as The Fountains of Rome remain in the orchestral repertory not because they are pleasant, but because they are good. Respighi was unashamed of his musical

conservatism. He called the prevailing trends in music in the early twentieth century “the biblical confusion of Babel” and essentially ignored them, composing in the same lateromantic style that had been handed down to him. He composed works in nearly all genres, including operas, ballets, concertos, chamber music, choral and vocal works, as well as works for orchestra. His music remains his personal manifesto: it is unabashedly accessible, descriptive and opulent. The present work is part of Respighi’s socalled “Roman Trilogy,” which includes The Pines of Rome and Roman Festivals. While The Pines of Rome does include a look back at the greatness of Classical Rome, these pieces are more about the Rome Respighi himself knew and loved. The Fountains of Rome describes some of his favorite places in the city, and he explained his work in the following note: “In this symphonic poem the composer has endeavored to give expression to the sentiments and vision suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer. “The first part of the poem, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape; droves of cattle pass and disappear in the fresh, damp mists of the Roman dawn. “A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, The Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up pursuing each other and mingling in a frenzied dance between the jets of water. “Next there appears a solemn theme,


Concerto for Violin & Orchestra No. 1, Op. 35 Karol Szymanowski was born in Tymoszówka in the Kiev district of the Ukraine in 1882, and died in Lausanne, Switzerland in 1937. He composed this work in 1916, and it was first performed in Warsaw in 1922 by Jozef Oziminski, violin with the Warsaw National Philharmonic Orchestra under the direction of Emil Mylnarski. The score calls for solo violin, 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, piano, and strings. Karol Szymanowski may be the most interesting Polish composer you’ve never heard. Born to a wealthy family with a lively interest in the arts, Szymanowski had his first music lessons from his father, then at the local conservatory. Later he attended the National Conservatory at Warsaw, where he would later serve as Director from 1926-32. The smallness of the musical

world in Warsaw led him to travel widely throughout Europe, the Middle East, and the US. Before his premature death from tuberculosis he produced several symphonies, an opera, two violin concertos, many songs, much piano and chamber music, a good deal of poetry, and a novel. When Szymanowski composed this concerto, romanticism was still hanging on (as it does to this day), while composers such as Bartók, Stravinsky, Debussy, Ravel, and others were reevaluating first principles to the delight of some and chagrin of others. Szymanowski’s earlier compositional style owed much to romanticism (with a dollop of Scriabin thrown in), but by this time he was breaking away from it as had the others. This concerto, he said, had some of what was new, “and yet a little bit of a return to the old. The whole is terribly fantastical and unexpected.” The Concerto’s form is much like a tone poem: continuous, but with easily discernible movements—perhaps we should call them phases—within. The first of these, an Allegro assai, is an exotic night music full of fairy tale giddiness and dramatic passion. The Andantino that follows is rapt with glowing color and tender, amorous gestures. The central Vivace lasts only a minute, its perpetual-motion outer sections surrounding a short, rhapsodic passage for the soloist. A sometimes languid, sometimes passionate Allegretto returns to a more introspective tone. The final fast section sounds like a synthesis of all that has come before, and leads us to an eerie cadenza. A grand orchestral climax returns us to a fairy tale nocturne and a deliciously surprising ending. —Mark Rohr Questions or comments?


borne on the undulations of the orchestra. It is the Fountain of Trevi at midday. The solemn theme, passing from the wood to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance. “The fourth part, the Villa Medici Fountain, is announced by a sad theme, which rises above a subdued warbling. It is the nostalgic hour of sunset, the air is full of the sound of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.”

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Program Notes



Indian Hill Music Discovery Lectures Experience a new level of musical insight as our distinguished guest speakers share their knowledge of music history and culture. Saturday, September 16, 2017 Through the Musicologist’s Lens: 19th Century Romanticism and Nationalism Dr. Jacqueline Sholes Musicology Faculty, Boston University; Visiting Faculty, Brown University; President, N.E. Chapter, American Musicological Society Tuesday, October 24, 2017 From Copland to Cage – and Beyond Dr. Stephen Drury

Pianist, Conductor, and Champion of Contemporary Music; Artistic Director and Conductor, Callithumpian Consort; Faculty Member, New England Conservatory

Tuesday, January 9, 2018

How Do We Know It’s Mozart? Eric Kamen Composer, Performer, and Piano Faculty, Indian Hill Music School

Saturday, February 3, 2018

A History of the Village Vanguard Bob Blumenthal Legendary Boston Globe Jazz Critic, Author, and Consultant at Marsalis Music

Saturday, April 14, 2018 A History of the Concerto Dr. Daniel Felsenfeld Composer and Author; Pre-Concert Lecturer, New York Philharmonic Lectures begin at noon at Indian Hill Music School, 36 King Street, Littleton, MA.

TICKETS $10 • • (978) 486-9524 24

Orchestra of Indian Hill

Amadeus! January 20, 2018 at 7:30 PM

Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor


Overture to La Clemenza di Tito

Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364 Alice Hallstrom, violin Peter Sulski, viola Allegro maestoso Andante Presto

Serenade in D major, K.320 “Posthorn

Adagio maestoso – Allegro con spirito Menuetto – Trio Concertante: Andante grazioso Rondeau: Allegro ma non troppo Andantino in D minor Menuetto – Trio 1, 2 Finale: Presto

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About Our Guest Artists Alice Hallstrom, violin

A third-generation musician, violinist Alice Hallstrom serves as Concertmaster of the Orchestra of Indian Hill and as interim Assistant Concertmaster of the Portland Symphony Orchestra. She is also Principal Second Violinist with Camerata New England and performs with the Camerata New England Piano Trio. Ms. Hallstrom has appeared with the Northeastern Pennsylvania Philharmonic, Atlanta Ballet Orchestra, Atlanta Symphony, Utah Symphony, Orchestra at Temple Square, and Nashville Chamber Orchestra. Her featured solo performances include concerti with the Juilliard Baroque Ensemble, Southwest Symphony, Purchase Symphony Orchestra, and Chamber Orchestra of Tennessee. She has also recorded with the Mormon Tabernacle Choir and Orchestra at Temple Square, Josh Groban, Natalie Cole, Chamber Music Atlanta, Train, Ephraim’s Harp, and The Cartoon Network. Ms. Hallstrom received her Master’s degree from The Juilliard School in 2004 where she was a student of Robert Mann, founding first violinist of the Juilliard String Quartet. She graduated summa cum laude with a B. M. from SUNY Purchase in 2002, where she studied with Laurie Smukler. Ms. Hallstrom is currently studying with Malcolm Lowe, concertmaster of the Boston Symphony Orchestra, and is on the faculties of Indian Hill Music School and the Groton School.


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Peter Sulski, viola


A member of the London Symphony Orchestra for seven years, violist Peter Sulski served on the faculty of the Britain’s Royal College of Music and Trinity College of Music and Drama, as well as being Artistic Director of Chapel Royal Concerts, which he founded in 1993. He gave the annual Viola Masterclass for many years at the Dartington International Summer School, along with many solo recitals and chamber music concerts. Mr. Sulski made his Carnegie Hall debut in 1999, and his first London South Bank appearance in 2001. After a brief stint in the Middle East as Head of Strings of the National Palestinian Conservatory, Bi-Communal Coordinator for Chamber Music for the Cyprus Fulbright Commission, and Principal Violist of the Cyprus Chamber Orchestra, he returned to his native Worcester in 2002. Mr. Sulski is currently on the violin/viola/chamber music faculty at Clark University and College of the Holy Cross. A member of QX and Mistral, Mr. Sulski is also Artistic Director of the Thayer Festival in Lancaster. He records for Centaur Records.

Program Notes

Wolfgang Amadè Mozart (he never used “Amadeus” except when making a joke) was born in Salzburg, Austria in 1756 and died in Vienna in 1791. He composed his opera La Clemenza di Tito in 1791, and it was first performed in Prague the same year. The score of the Overture calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The subject matter of most opera seria seems stilted to those of us today who live under democratic governments, particularly as we view the demise of tyrannical regimes in places just discovering rule “by the people.” Traditionally, the plot of opera seria involved a rather unsubtle heroic theme intended to demonstrate the wisdom and benevolence of the ruling class. La Clemenza di Tito (The Clemency of Titus) K. 621 was Mozart’s last opera, and with opera seria already waning in popularity, one of the last of the genre. Mozart received the commission in mid-July of 1791 for an opera to celebrate the coronation of Emperor Leopold II to be held in Prague on September 6. The cast had not yet been hired, so Mozart could only begin work on the choruses and ensemble numbers. He learned the identities and capabilities of his cast only in mid-August, a bare eighteen days before the first performance. Substantial portions of the opera were probably composed on the journey to Prague itself (in his head, as usual) and upon his arrival; Mozart likely composed the Overture at the very last minute. Despite its theme, the first performance was not well-received by the royal couple, particularly the Emperor’s

Sinfonia Concertante for Violin, Viola & Orchestra in E-flat major, K. 364 Scholars believe that Mozart composed this work in 1779, but no record of a first performance is known. The score calls for solo violin, solo viola, 2 oboes, 2 horns, and strings with divided violas. As a young man Mozart hated his hometown of Salzburg, which he considered a musical backwater. He hated his job in the service of the Archbishop and, no doubt, he hated living with his father. In the late 1770s he took leaves from his work in Salzburg to tour places like Mannheim and Paris in search of a musical post that would allow him to escape. No such post was found, to his utter disappointment, but the exposure to modern musical trends was of inestimable value. Paris in particular was both brimming with fine instrumentalists and home to a growing music-publishing industry. The concerto form served the needs of both

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Overture to La Clemenza di Tito K. 621

wife, Queen Maria Louisa of Spain, who pronounced it “German swinishness.” The Overture possesses that deceptive simplicity that only a master can produce. Its first subject is an alternately stoic and impulsive theme for the strings. This contrasts with the sweet second subject for the winds, and both are ingeniously interwoven in the development. Although La Clemenza di Tito was performed fairly widely after Mozart’s death, it has remained obscure until the last thirty years. Where audiences have become reacquainted with it, they have learned of its special Mozartean warmth and nobility. Its Overture stands as a metaphor for the whole, and an invitation to partake of more.





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Program Notes


and had become hugely popular with the public as well. The sinfonia concertante sprang up as a means of including more than one soloist in the concerto format. Mozart tried his hand at several of these; the present work is, perhaps, the greatest of his Salzburg works, looking very much forward to the symphonies and concertos he would produce later in Vienna. Mozart went out of his way to give each soloist an equal voice in the conversation. To this end, he wrote the viola part in the key of D-major and asked that its strings be raised a half-step. This increased the brilliance of the instrument and put its open strings onto notes common to the key of E-flat. (Since the advent of steel strings and bigger violas this practice is usually dispensed with today.) As if to emphasize their equality, the soloists play exactly the same melody an octave apart in their first entrance in the opening Allegro maestoso. This movement shows one of the distinctions between an ordinary concerto and the sinfonia concertante: the imposing length. It is as long and wide-ranging (especially in the development) as many of Mozart’s symphonic first movements. Listen for the “Mannheim crescendo” in the movement’s introduction, another device Mozart picked up in his travels. The slow movement is a wonderment. Its minor key is rare for a concerto, and the frequent dissonances create a poignancy that Mozart had not attained in prior works. The concluding Presto is in the expected rondo form, and with it comes a lighter mood. The soloists banter in much shorter phrases, lively and full of writtenout ornamentation. The last iteration of the rondo’s theme is given to the soloists, an unusual touch.

The Parisian sinfonia concertante was conceived as light entertainment and it served the circumstances of the day. It had a short life span, lasting only into the beginning of the nineteenth century. Great composers would write “double concertos” in the future, but they are quite rare. Mozart’s work here is, in a word, symphonic. Its sheer size and scope make it singular among the hundreds of pieces written by others to the same formula; the depth of feeling in its middle movement makes it the most beloved.

Serenade in D major, K.320, “Posthorn” Mozart composed this work in 1779 and it was likely first performed the same year. The score calls for 2 flutes, piccolo, 2 oboes, 2 bassoons, 2 horns, posthorn, 2 trumpets, and strings. In between their “serious” projects like operas, symphonies, and concertos, composers like Mozart also wrote music for dancing, dining, and general entertainment. The forms might have names like divertimento or serenade, but the object was the same: a collection of light (if not inconsequential) movements designed not to be played all at once, but interspersed amidst an afternoon’s (or evening’s) entertainment. Because the movements were meant to be sampled one at a time, they tended to be longer and more involved than symphonic movements, and works like the “Posthorn” Serenade might run longer than a symphony when played start to finish. The posthorn was a small valveless brass instrument, usually coiled like a French horn. They were used to announce the arrival or departure of the mail coach as far back as the 16th century. The earliest examples were quite small, though over

Program Notes the years larger instruments were built. It is considered to be the ancestor of the modern day cornet, which is now used in its place. Why Mozart would use such an instrument in the sixth movement of this serenade is unknown, but historians have ventured a plausible guess. It was a tradition at the University of Salzburg for the students to commission a serenade (called finalmusik) to be played for their professors after final exams, which were held in August. Since Mozart referred to his “most recent finalmusik” in a letter from about the same time, it’s a good bet he composed the Serenade for that purpose. The posthorn would have symbolically announced the

departure of the students rather than the mail coach. And the many musical jokes in the work might have delighted the professors. For years, Mozart had been anxious to leave Salzburg, mainly because he considered it a musical backwater, but also to escape his domineering father. As it turns out, he composed the “Posthorn” Serenade, with its image of the coach leaving town, shortly before he purposely got himself fired from his Salzburg post and struck out for Vienna. Coincidence? —Mark Rohr Questions or comments?

Indian Hill Music extends a warm thank-you to all of our volunteers who generously give their time and talents throughout the season! We have volunteer opportunities for everyone, whether it’s being an usher, assisting with events, or stuffing envelopes. Let us know your interest and skills and we’ll find a good fit for them. If you are interested in lending a hand, call 978.486.9524 x104.


Make Things Happen!

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Indian Hill Volunteers


Did You Know? Nearly 60% of Orchestra of Indian Hill musicians have been playing with us for over 10 years! 30+ years—Susan Randazzo, cello; Stuart Schulman, violin; Susan TurcotteGavriel, violin; Jane Dimitry, violin; Nathan Kimball, cello; Robert Kennedy, viola; Stanley Silverman, violin; Kevin Green, bass; Steven Jackson, clarinet; Don Robinson, trombone; Laura Papandrea, violin 25+ years—Dorcas Mccall, viola; George Hughen, cello; Melissa Mielens, flute; Mary-Lynne Bohn, trumpet; Joe Higgins, bass; Jennifer Slowik, oboe & English horn; Karl Seyferth, timpani; Bonnie Anderson, piano & celeste 20+ years—Deb Feld-Fabisiewicz, harp; Sandi Halberstadt, clarinet; Tony Gimenez, 30

trumpet; Peter Cirelli, trombone; Priscilla Chew, cello; Nancy Dimock, oboe; Nancy Hudgins, French horn 15+ years—Darcy Montaldi, viola; Jennifer Tanzer, viola; Kimberly Harriman, French horn; Todd Hamelin, violin; Shay Rudolph, cello 10+ years—Oleg Soloviev, viola; JinHuey Wei, viola; Jessica Lizak, flute; Sheffra Spiridopoulos, French horn; Lynn Basila, violin; Mark Emery, trumpet; Mona Rashad, violin; John Wall, bass; Allan Espinosa, violin; Wren Saunders, bassoon Musicians are listed alphabetically by number of years.

Orchestra of Indian Hill

Soaring Spirits February 25, 2018 at 3:00 PM

Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor


Overture to Der Freischütz

Greenwich Village Portraits World Premiere Kenneth Radnofsky, alto saxophone

Andante (Invocation) Dance of Spirits of Earth (Moderato – Andante) Dance of Spirits of Water (Allegro) Dance of Spirits of Fire (Allegro moderato – Andante)

DAVID AMRAM (b. 1930)


SERGEI PROKOFIEV Symphony No. 5 in B-flat major, Op. 100 (1891-1953) Andante

Allegro marcato Adagio Allegro giocoso

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II. Bleecker Street, for Odetta III. Christopher Street, for Frank McCourt

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I. MacDougal Street, for Arthur Miller


About Our Guest Artist Kenneth Radnofsky, saxophone


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Saxophonist Kenneth Radnofsky has appeared as soloist with leading orchestras and ensembles throughout the world, including the Leipzig Gewandhaus Orchestra and New York Philharmonic (under the direction of Maestro Kurt Masur), Jerusalem Symphony, Dresden Staatskapelle, Boston Pops (under John Williams), the Taipei and Taiwan Symphonies, New World Symphony, BBC Concert Orchestra, Marlboro Festival, Portland String Quartet, the Chatauqua and Dearborn Symphonies, Istanbul State Symphony, and Moscow Autumn, a Russian new music festival. He made his Carnegie Hall debut with the New York premiere of Gunther Schuller’s Concerto with the National Orchestral Association. Mr. Radnofsky has also performed on numerous occasions for the Boston Symphony, the Boston Modern Orchestra Project with conductor Gil Rose, and the Boston Classical Orchestra under conductor Steven Lipsitt.


Of his 100+ commissions, American composers who have written for Mr. Radnofsky include Gunther Schuller, David Amram, James Yannatos, Michael Gandolfi, Michael Colgrass, Donald Martino, Milton Babbitt, Ezra Sims, Chris Theofanidis, Michael Horvit, John McDonald, Larry Bell, Roger Bourland, Allen Johnson, Elliott Schwartz, Pasquale Tassone, Armand Qualliotine, and John Harbison. In particular, Amram has written four works for Mr. Radnofsky, including today’s Greenwich Village Portraits, American Love Stories, and Ode to Lord Buckley, which he premiered with the Portland Symphony under Bruce Hangen’s direction. His current CD releases include Amram’s Ode to Lord Buckley (Newport Classic Recordings), Debussy’s Rhapsody with the New York Philharmonic (Teldec), Fascinatin’ Rhythms (Boston Records), Martino’s Saxophone Concerto (New World), Colgrass’ Sax Concerto Dream Dancer (Mode), and Schwartz’s Mehitabel’s Serenade (Albany-Troy). He is also featured sax soloist with the Hollywood Bowl Orchestra in Franz Waxman’s ‘A Place in the Sun,’ under John Mauceri (Philips). Concurrent with his performing and teaching, Mr. Radnofsky is committed to outreach and has designed and implemented a saxophone program for Venezuela with saxophone professor Claudio Dioguardi, as well as teaching in Brazil, Israel, China, and Turkey. He is also President of the Boston Woodwind Society, an organization dedicated to fostering the development of talented young woodwind players, succeeding its founder, the late Matthew Ruggiero. Mr. Radnofsky’s principal teachers were Joseph Allard, Jeffrey Lerner, David Salge, Steven Hoyle, Terry Anderson, and Duncan Hale. He is on the faculty at New England Conservatory, Boston University, and Longy School of Bard College. Mr. Radnofsky is a Selmer Artist.

Program Notes

Carl Maria von Weber was born in Oldenburg, Germany in 1786 and died in London in 1826. He completed his opera Der Freischütz in 1821 and conducted the premiere performance in Berlin the same year. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Carl Maria von Weber was the quintessential romantic artist: he was a virtuoso pianist, the most important conductor of his day (and the first to insist on complete control of every aspect of an opera production), a music critic, novelist, and artist. As a composer his effect on the music world was wide and deep. After Beethoven, Weber was the name cited by composers such as Mendelssohn, Berlioz, and Liszt as their greatest influence. The only wonder of it all is why his music is so rarely performed today. With Der Freischütz, Weber invented the German romantic opera in a single stroke and set it on a path that led straight to Wagner. In Weber’s time opera was considered to be an Italian art form; but here was a central European story, sung in German, laced with the atmosphere of Teutonic legend. “Der Freischütz” means, very loosely, “The Free-Shooter.” The story concerns a man who sells his soul to the devil to obtain magic bullets that unerringly hit their targets. There is a love story and some comic elements as well, but the theme is the struggle between the forces of good and evil—Weber saw it as a long descent into darkness and a return to the light. You can hear the elements of that struggle clearly in the Overture. Most of the music is taken directly from the opera


Greenwich Village Portraits David Amram was born in Philadelphia in 1930. He originally composed this work for saxophone and piano in 2013 on a commission from the World-Wide Concurrent Premieres and Commissioning Fund, and it was first performed by Kenneth Radnofsky in 2014 in New York City. Today we hear the premiere performance of Amram’s arrangement of the work for saxophone and strings. Such an eclectic musician as David Amram is essentially indescribable. He first made his mark as a French horn player: he played Latin music with Buddy Rowell, jazz with Charles Mingus and Oscar Pettiford, and classical with the National Symphony Orchestra. That kind of diversity marks his range as a composer, too. He was the New York Philharmonic’s first composer-inresidence, and he won a Pulitzer Prize for his film score to Archibald MacLeish’s J.B. His experiences, influences, and insights are as wide as the sky. Amram writes the following about his Greenwich Village Portraits: “This piece was inspired by three Greenwich Village legends, Arthur Miller, Odetta, and Frank McCourt, who were close friends and collaborators with me over the years, all of whom I first met and whom I often worked and spent years together with during the forty years I lived in the Village. The three movements are dedicated to three of the

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Overture to Der Freischütz

itself—an innovation soon to be widely copied—and its themes are juxtaposed as they will be when the drama unfolds. A key exception is the gorgeous horn quartet near the beginning, which is never heard again but which draws us into the magic of the forest.





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Program Notes


streets in the Village where we spent so many joyous hours. “I. MacDougal Street, for Arthur Miller. (Music based on jazz, Latin, folk, NYC urban flavors, and traditional styles of Middle Eastern music, all of which could be heard every night on one block of MacDougal Street.) It was inspired by our nights out after hours of rehearsing during our collaborations in the Village for the Lincoln Center Theater (1964-66), where I composed scores for the premieres of Miller’s plays After the Fall and Incident at Vichy. Since Lincoln Center hadn’t yet completed the construction of their theater uptown in 1964 when the company began performing the first play, the early productions were moved to the ANTA Washington Square Theater on 45 West 4th Street in Greenwich Village, minutes away from MacDougal Street’s rich musical tapestry. “II. Bleecker Street, for Odetta. (Music based on blues, folk, and spirituals which Odetta championed.) This movement honors our friendship and countless nights playing together all over the Village, as well as at festivals in the US and Canada, from the 1960s until she passed away. On many nights we often went to the Village Gate to hear and see our friends who were performing there. “III. Christopher Street, for Frank McCourt. (Music inspired by Irish reels, jigs, and airs.) This final movement celebrates my friendship with Frank and many of his Irish-American musical friends, during the many years while he was still a high school teacher, as we gathered nightly in the Village at the Lion’s Head on Christopher Street, as well as at his brother Malachy McCourt’s bar, The Bells of Hell, from the late 1960s until he

left us. Frank passed away before we could start work on his idea for a modern-day mass to celebrate the history of New York, which he called Missa Manhattan. The only traditional melody in the entire three movements appears in the middle of this final movement of the piece, where I set an old air, Will Ya Go, Lassie, Go, taught to me by Frank’s brother, Malachy McCourt.”


Symphony No. 5 in B-flat major, Op. 100 Sergei Prokofiev was born in Sontsovka, Ukraine in 1891 and died near Moscow in 1953. He completed this symphony in 1944, though he used some materials that had been composed several years before. Prokofiev led the premiere performance with the Moscow State Philharmonic Orchestra in 1945. The score calls for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, piano, harp, timpani, percussion, and strings. During World War II, the Soviet government moved its most prominent artists to the countryside, away from all the noise—and danger—of Moscow and Leningrad. Prokofiev spent most of 1944 at a “house of creative work” in Ivanovo, about 150 miles from Moscow, along with Glière (his former teacher), Khachaturian, Kabalevsky, Shostakovich, and others. And “creative work” was what the no-nonsense Prokofiev was all about: while he was at Ivanovo he composed his Eighth Piano Sonata, music for the film Ivan the Terrible, and his Fifth Symphony. Prokofiev said that he had been working on the Fifth “for several years,” but by that he meant that he had been gathering

Program Notes second movement scherzo. This movement has some of the vinegar we expect from Prokofiev, but it is more sarcastic than bitter. The third movement is broad, dense, richly scored, and has a hair-raising climax. After a brief reminiscence of the first movement’s opening motto, the Finale takes off in a whirlwind. As always with this composer, the melodies take you to unexpected places and the harmonies are both slippery and bracing. The Fifth Symphony’s premiere was a triumph, but a few days later Prokofiev suffered a concussion in a fall and was never truly healthy again. He continued to compose, but none of his later works would achieve the combination of critical acclaim and popular enthusiasm of the Fifth Symphony.

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—Mark Rohr Questions or comments?


themes for it in a special notebook. “I always work that way,” he said, “and probably that is why I write so fast. The entire score of the Fifth was written in one month in the summer of 1944; it took another month to orchestrate it.” The symphony has no program, but Prokofiev said, “I conceived it as a symphony of the grandeur of the human spirit, praising the free and happy man— his strength, his generosity, and the purity of his soul. I did not choose this theme deliberately; it just came into my head and insisted on being expressed.” One shouldn’t make too much of this. Soviet composers learned to attach this kind of boiler-plate rhetoric to their works as an act of selfpreservation: better to suggest a fictitious (but politically acceptable) program than to leave the interpretation of a work’s meaning open to the authorities. (Even that didn’t always work. In 1948, Prokofiev, Shostakovich, Khachaturian, and others were denounced by the Soviet government for their music’s “decadent modernist and formalist” tendencies. All were made to publicly apologize for their errors and promise to repent by embracing Soviet Realism as their artistic credo. Prokofiev’s Fifth Symphony was spared specific condemnation in this purge, and in fact it later won the Stalin Prize.) Prokofiev had learned to tone down his style, too. The fifth has less of the biting dissonance of his early works and more of the lyricism that made Romeo and Juliet so affecting. From the opening motto in the woodwinds—one of those melodies only Prokofiev could write—the first movement is ardently lyrical. This theme is given an austere treatment at first, but it is full of latent power, as will be seen later on. A rather impolite clarinet tune opens the


Bringing Life to Music!


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The Orchestra performs symphonic classics as well as works by living composers, such as Tan Dun, Auerbach, Previn, Shchedrin, and Knussen. Guest soloists have included principal musicians from the Boston, Philadelphia, and St. Louis Symphonies, plus international soloists James Walker, Anoushka Shankar, Eliot Fisk, Irina Muresanu, Ryu Goto, R. Carlos Nakai, and the Quartetto Gelato.


Our concerts offer an interesting and diverse range of repertoire, from well-known works by your favorite composers to lesser-known gems and new works that we think you will enjoy. Our distinctive concert experience represents a partnership between our artists and our audience as we embark on a musical journey together. Our pre- and post-concert events, and Maestro Hangen’s engaging commentary, are all aimed at helping you understand the music, the intentions of the composers, the rationale for our programming, and the personalities of our musicians. We don’t want you just to be a passive recipient of the music; we want you to engage with the creative process and find the joy that comes from a deeper understanding of the artistic product. The achievements of the Orchestra of Indian Hill have been recognized through numerous awards and grants from the Massachusetts Cultural Council, major corporations and foundations, and the National Endowment for the Arts. The Orchestra is a member of the League of American Orchestras.


The critically-acclaimed Orchestra of Indian Hill, under the direction of Maestro Bruce Hangen, is comprised of 70 experienced musicians who also perform and teach in highcaliber organizations and ensembles throughout New England.

Orchestra of Indian Hill

Sounds & Sweet Airs March 24, 2018 at 7:30 PM

Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor FANNY MENDELSSOHN-HENSEL Overture in C major (1805-1847)


CLARA SCHUMANN (1907-1994)

Nocturne Piano Concerto in A minor, Op. 7 Janice Weber, piano

Allegro maestoso Romanze. Andante non troppo, con grazia Finale. Allegro non troppo


LILI BOULANGER (1893-1918)

Proud Thames Overture D’un soir triste

AMY BEACH Bal masqué, Op. 22 (1867-1944) PEGGY STUART COOLIDGE Spirituals in Sunshine and Shadow (1913-1981) Sponsored By:

Supported By:

Scheier Katin & Epstein, P.C.


2017 – 2018 SEASON



About Our Guest Artist

lynn wayne

Janice Weber, piano

Pianist Janice Weber’s New York recital debut, performed under the pseudonym Lily von Ballmoos, was an early indication of the eclecticism and fluency for which she has become known. A summa cum laude graduate of the Eastman School of Music, Ms. Weber has performed at the White House, Carnegie Hall, Wigmore Hall, National Gallery of Art, and Boston’s Symphony Hall. She has appeared with the Boston Pops, Chautauqua Symphony, New Jersey Symphony, Hilton Head Orchestra, Sarajevo Philharmonic, and Syracuse Symphony. She has also performed at the Bard, Newport, La Gesse, Husum, and Monadnock summer festivals and has twice toured China under the auspices of the American Liszt Society. Ms. Weber’s interest in the uncommon avenues of the piano literature led to a world premiere recording of Liszt’s 1838 Transcendental Etudes. Her other noteworthy recordings include Rachmaninoff ’s complete transcriptions; with the Lydian Quartet, Leo Ornstein’s vast Piano Quintet; flute and piano works of Sigfrid Karg-Elert; waltz transcriptions of Godowsky, Rosenthal, and Friedman; Messiaen’s Quartet for the End of Time; and Liszt’s last Hungarian Rhapsody in an award-winning compendium of historic performances. Her newest disc, Cascade of Roses (Dorian Sono Luminus), features works of twenty-one composers from Adolf Jensen to Billy Mayerl. Ms. Weber is a member of the piano faculty at Boston Conservatory and MIT. She is a Steinway artist.


2017 – 2018 SEASON

Program Notes



Overture in C major

Felix Mendelssohn was a child prodigy in the Mozartean class—and so was his sister, Fanny. Their parents provided them with equal musical training: both studied piano and composition. The Mendelssohn family also established a series of regular Sunday salon concerts in their home, hiring a private orchestra for the entertainment of their friends among the intellectual elite of Berlin. In those days it was out of the question for Fanny to become a professional anything, other than a wife and mother. She married an artist, had one child, and

meanwhile composed over 400 pieces, including a string quartet, a piano trio, four cantatas, organ works, and music for chorus. She was a master composer of lieder and piano music. She may well have been a better composer of lieder than her brother. Her husband encouraged her to publish her work and she finally relented. Alas, her long-awaited emergence into the world of music was cut short by her death, probably from a stroke, less than two years later. A devastated Felix died from the same cause within a few months. They are buried sideby-side in Berlin. As soon as the Overture starts we know we are in the presence of an assured, Continued on page 43

Orchestra Concert Patron Information

To order tickets or season subscriptions: By Phone: 978.486.9524 x116 In Person: Indian Hill Music, 36 King Street, Littleton, MA Monday–Friday, 9am – 8pm | Saturday, 9am – 3pm Online: (additional fees apply on online orders) Recycle Your Concert Tickets

If you find you can’t attend a concert as planned, please consider donating your tickets for re-sale. You not only allow someone else to enjoy the concert, but your donation benefits Indian Hill Music and you receive a donation receipt for tax purposes. Call 978.486.9524 at least two business days before the concert. For the Enjoyment of All

Late Seating or Re-Entry: In consideration of both artists and audiences, latecomers and patrons seeking re-entry into the hall will be seated only after the completion of a work. Quiet Please: Be sure mobile phones and other devices are silenced during the performance. Other Notes: Smoking is prohibited in all areas of our concert venues. Our concerts are appropriate for children ages six and up. Cameras, video and recording equipment may not be brought into the concert venue.

For Your Safety

In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest exit, or according to instructions. Before and After the Concert

Preferred Restaurants: The Orchestra of Indian Hill has partnered with select area restaurants to offer a 15% discount on meals the day of the concert when you present your Orchestra ticket or ticket confirmation. See page 4 for details. Know the Score features Artistic Director Bruce Hangen in an informal talk one hour prior to each concert in the cafeteria. Open to all concert-goers. Encore Café serves complimentary coffee and desserts in the cafeteria after evening concerts. Enjoy a casual Q&A with Bruce, Orchestra musicians, and guest artists. Stage Talk is held after the Sunday afternoon concert. Bruce, musicians, and guest artists will take your questions stage-side.


Restrooms are located on the main level. The concert venue is fully accessible. For more information, please call 978.486.9524.

2017 – 2018 SEASON

For Your Comfort and Convenience


Indian Hill Music Concerts & Events For more information call 978.486.9524 or visit

September 14 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

15 Friday

Chamber Music: Romantic Gestures, 7:00 pm (CBH)

16 Saturday

Discovery Lecture: Romanticism & Nationalism, Noon (CBH)

23 Saturday

Orchestra of Indian Hill: Opening Night, 7:30pm (LHS)

October 1 Sunday

Jazz: Pamela Hines Trio, 3:00 pm (CBH)

13 Friday

Contemporary: Singer/Songwriter Dan Masterson, 7:00pm (CBH)

14 Saturday

Chamber Music: Borromeo String Quartet, 8:00pm (KG)

19 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

22 Sunday

NE Flute Orchestra of IHM: Bachtoberfest, 3:00 pm (CBH)

24 Tuesday

Discovery Lecture: From Copland to Cage, Noon (CBH)

27 Friday

Chamber Music: Modern Classics, 7:00 pm (CBH)

29 Sunday

Contemporary: All Gershwin, 3:00 pm (CBH)

November Orchestra of Indian Hill: Bach, Respighi, Szymanowski, 7:30pm (LHS)

14 Tuesday

IHM Youth Orchestra: Fall Concert, 7:00 pm (LHS)

16 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH) Chamber Music: Boston Trio, 8:00pm (KG)

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Friday Night Jazz: Masako Yotsugi, piano, 7:00pm (CBH)

4 Saturday

18 Saturday

9 Tuesday

Discovery Lecture: How Do We Know It’s Mozart? Noon (CBH)

12 Friday

Chamber Music: Much Ado About Mozart, 7:00 pm (CBH)


3 Friday

18 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

20 Saturday

Orchestra of Indian Hill: All Mozart, 7:30pm (LHS)

Concert and Event Venues


December 10 Sunday

NE Flute Orchestra of IHM: Holiday Concert, 3:00 pm (CBH)

21 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)



Camilla Blackman Hall at Indian Hill Music School 36 King Street, Littleton, MA


Littleton High School Performing Arts Center 56 King Street, Littleton, MA

The Kalliroscope Gallery, 264 Main Street (Rte. 119), Groton, MA


2017 – 2018 Season

February 2 Friday

Friday Night Jazz: Pamela Hines, piano, 7:00pm (CBH)

3 Saturday

Discovery Lecture: History of the Village Vanguard, Noon (CBH)

9 Friday

Jazz: Jazz at the Village Vanguard, 7:00 pm (CBH)

11 Sunday

Chamber Music: Boston Cello Quartet, 3:00pm (KG)

15 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

25 Sunday

Orchestra of Indian Hill: Weber, Amram, Prokofiev, 3:00pm (LHS)

March 4 Sunday

Chamber Music: The Power of Strings, 3:00 pm (CBH)

6 Tuesday

IHM Youth Orchestra: Winter Concert, 7:00 pm (LHS)

10 Saturday

Chamber Music: Sergey Schepkin, piano, 8:00pm (KG)

11 Sunday

NE Flute Orchestra of IHM: All That Jazz, 3:00 pm (CBH)

15 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

16 Friday

Chamber Music: Celebrating Women Composers, 7:00 pm (CBH)

24 Saturday

Orchestra of Indian Hill: Music of Women Composers, 7:30pm (LHS)

Performathon Fundraiser: Student & Faculty Concerts, Evening (CBH)

7 Saturday

Performathon Fundraiser: Student & Faculty Concerts, All day (CBH)

14 Saturday

Discovery Lecture: History of the Concerto, Noon (CBH)

14 Saturday

Chamber Music: Boston Chamber Music Society, 8:00pm (KG)

19 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

20 Friday

Chamber Music: Springtime Sojourn, 7:00pm (CBH)

28 Saturday

Orchestra of Indian Hill: Tan Dun, Vaughan Williams, Falla, 7:30pm (LHS)

May 4 Friday

Friday Night Jazz: Eric Baldwin, guitar, 7:00pm (CBH)

6 Sunday

Contemporary: Classical Meets Jazz, 3:00 pm (CBH)

17 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

20 Sunday

NE Flute Orchestra of IHM: Spring Forward, 3:00 pm (CBH)

21 Monday

IHM Youth Orchestra: Spring Concert, 7:00 pm (LHS)

June 21 Thursday

“Bach’s Lunch” Concert, 11:00am & 1:30pm (CBH)

For more information, call 978.486.9524 or visit Programs and artists subject to change.


6 Friday

2017 – 2018 SEASON



So many ways to SUPPORT

Indian Hill Music!

Indian Hill Music is a vital non-profit organization that provides countless opportunities for individuals to connect through music. All of our concerts, events and programs are designed to make music accessible to every member of our community.

Your contribution helps us transform lives through music… Annual Fund – Help Indian Hill Music invest in the best musicians, programs, and the proper maintenance of our instruments and facility. Make a one-time gift or consider joining our MusicLovers monthly giving program. Scholarship Fund – Inspire students of all ages who need financial assistance to follow their musical passion. Business Partnership & Concert Sponsorship – Join other businesses, small and large, who support Indian Hill Music by partnering with us for mutual benefit. Red Chair Society – Sponsor an Orchestra musician in your name or in honor/memory of a loved one. Outreach Support – Support our community outreach to seniors, underserved children and families, and the terminally ill. Orchestra Program Book – Place an ad that will be viewed by 5,000 concertgoers and community members throughout the year. Proceeds help support the Orchestra of Indian Hill. Legacy Giving – Bequests, appreciated assets, donor advised funds and annuities enable you to make a donation that provides greater tax advantages to you and maximizes your charitable donation to Indian Hill (consult your financial advisor).

To make a donation, or for additional information, please contact Catherine Coleman, Director of Development, at or (978) 486-9524 x 127 42

Program Notes

Nocturne for Orchestra Overture: Proud Thames

Born in England to Irish parents, Elizabeth Maconchy grew up in Ireland, having piano lessons and composing by the age of six. In her teens she entered the Royal College of Music, where she studied composition with Ralph Vaughan Williams; she later studied with K. B. Jirák. When she returned to England she embarked on a long and successful career as a composer. Her first big break came when one of her pieces was featured on a Proms concert in 1930, after which her music—mostly string quartets, chamber music, and orchestral pieces—were heard regularly in England and Europe. Maconchy composed her Nocturne for Orchestra in 1950. It is a short work, atmospheric and dreamlike as its title implies, though with a menacing undercurrent that emerges from time to time. The music seems to drive itself towards a sweeping melody in the trumpet and the loud brass fanfares that follow; after this the music gradually returns to the silence with which it began. Maconchy composed her Overture: Proud Thames as her entry in a competition for a Coronation Overture for the new queen in 1953; it was the winning entry. Although it begins humbly, with


Concerto for Piano & Orchestra in A minor, Op. 7

When Clara Wieck married Robert Schumann she was a world-renowned pianist, while hardly anyone had ever heard of her new husband. Her father had taught her piano, violin, voice, theory, harmony, counterpoint, and composition, and she was expected to practice for two hours after each lesson. He also bitterly opposed her marriage. Clara continued her composing and her concert career, as indeed she had to, for she was the breadwinner of the family. She personally managed her own career, and increasingly managed Robert’s as well. She composed 66 works altogether, including much piano music, songs, the piano concerto, a piano trio, and works for chorus. She began this concerto at the age of 13. She composed it originally as a konzertsatz, a one-movement work, and later expanded it to three movements that are connected without pause. It is a stunning achievement for a teenager, even in a world that contained a Felix Mendelssohn (who conducted the premiere). The first movement is a fantasy-like theme and variations, the second is a Romanze scored for piano and cello alone, and the Finale begins sounding very much like a polonaise, but turns out to be more like a rondo. Her gift for lyricism shines through it all, along with immense power and virtuosity.

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snippets of melody, this overture—a tone poem, really—becomes bolder and more majestic as the river winds its way from its origins to its stately course past London.


confident artist. The opening fanfare and slow introduction give way to a vigorous and tuneful Allegro. The development is particularly effective. Scholars who analyze this work invariably compare it to this or that work by Felix, but there’s no need: the work stands on its own two feet with no help necessary.




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D’un soir triste


Lili Boulanger was the younger sister of the great composer and teacher Nadia. After tagging along with her sister to classes at the Paris Conservatoire, Lili studied composition with her sister, then with Gabriel Fauré, among others. She played piano, organ, violin, cello, and harp. In 1913, at the age of 19, she became the first woman to win the Prix de Rome with her cantata Faust et Hélène. Sadly, she was chronically ill for most of her life; it was Crohn’s disease that took her life at age 24. In between her illnesses came bursts of creativity. She composed around fifty works, many of them for chorus and many on religious subjects. Her D’un soir triste (Of a Sad Evening) was the penultimate piece she composed and the last she could score in her own hand. (She had to dictate her last work, Pie Jesu, to her sister Nadia.) It is the companion piece to her D’un matin de Printemps (Of a Spring Morning); although the tone of these two works couldn’t be more different, they both begin with the very same musical motive. D’un soir triste is a sad evening indeed. Its dark, impressionistic opening leads to a number of hair-raising climaxes, powerful and even terrifying. There is much here that is exquisitely beautiful, yet there also the foreboding sense that she knew that her tragically premature death was near.


Bal masqué, Op. 22 Amy Beach may be the most important American composer you’ve never heard of. Born in New Hampshire and raised in Boston, she started composing at age four, performing (on the piano) at age seven,

and published her first song at age sixteen. When she married she ceased performing but with the encouragement of her husband she continued to compose. Beach is best known for her songs and chamber music, but she wrote for the orchestra with equal skill. She was the first American woman to compose a symphony; that work (“Gaelic Symphony”) and her Piano Concerto were premiered by no less than the Boston Symphony Orchestra. Beach’s early works were in a late-romantic style, but her later music is harder to classify. Her interests drew her to such diverse elements as Eskimo music on the one hand and bird-song on the other. It is safe to say that Beach’s later works grew more dissonant, and occasionally “impressionistic.” Beach originally composed her Bal masqué (Masked Ball) for the piano in 1893, later scoring it for full orchestra. This is a grand waltz in the tradition of the Strauss brothers, a succession of great tunes (listen for the wonderful cello melody in the second episode) all bound together by grace, wit, and no small amount of fun.


Spirituals in Sunshine and Shadow

Born in Swampscott, MA, Peggy Stuart Coolidge began piano lessons at five, began composing at nine, and later studied composition at the Boston University School of Music and the New England Conservatory. Although she had appeared as a piano soloist with the Boston Symphony Orchestra and various European orchestras, Coolidge eventually concentrated her efforts on composing and conducting. Arthur Fiedler and the Boston Pops

Program Notes premiered a number of her works. After befriending Aram Khachaturian and his wife Nina, Coolidge became the first American composer—male or female—to have a concert dedicated entirely to her works presented in the Soviet Union. She composed the film score to The Silken Affair in 1956 and the incidental music to the Broadway production of Red Roses for Me in 1946. Her connection to Boston showed itself in titles such as her Boston Concerto and Isabella, written in memory of Isabella Stewart Gardner. Coolidge also had the distinction of writing a ballet for performance on ice skates, called Cracked Ice.

Coolidge often emulated the folk musics of America in her works, though she seldom quoted actual songs. This is true of her Spirituals in Sunshine and Shadow, composed in 1969, which was inspired by Negro spirituals and the blues. As the work opens you may be forgiven for hearing cowboy music in it, but this is typical Coolidge Americana music to set the stage. What follows are a series of gorgeous tunes that are hugely evocative of the African-American experience in America, delivered with grace and élan. —Mark Rohr Questions or comments?

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Artistic Director and Conductor of the Orchestra of Indian Hill since 1997, Bruce Hangen is known for his ability to make music come alive. He is also Director of Orchestral Activities at The Boston Conservatory, serving as principal orchestral conductor and director of conducting programs. A frequent guest conductor of the country’s leading orchestras, from New York to Dallas, Hangen led the Boston Pops in almost 300 performances in the last 30 years, and most recently served as Principal Pops Guest Conductor. Guest appearances have also taken him to Canada, Japan, Albania, Taiwan, and New Zealand. Hangen was formerly affiliated with the Portland (ME) Opera Repertory Theatre as its founder and Artistic/General Director from 1995-2003. He was also Music Director of the Omaha Symphony (1984-96) and Music Director and Conductor of the Portland (ME) Symphony (1976-86), among several other posts. A graduate of the Eastman School of Music, Hangen was a conducting fellow at the Berkshire Music Center at Tanglewood for two summers where his teachers included Gunther Schuller, Seiji Ozawa, Leonard Bernstein, Michael Tilson Thomas, Stanislaw Skrowaczewski, Bruno Maderna, and Joseph Silverstein. He was awarded an Honorary Doctor of Fine Arts degree from University of New England in 1981 and was the recipient of the ICAN Foundation of Omaha’s 1990 Browning Award for Career Excellence and Vision. Hangen was born in Pottstown, Pennsylvania, and raised in Great Falls, Montana.



About Maestro Bruce Hangen


Your Path to a Lifetime of Music At Indian Hill Music School, we embrace “lessons for a lifetime.” With programs for all ages, at all stages, we offer you a comprehensive path to a lifetime of music engagement and enjoyment.



Indian Hill Music School • 36 King St., Littleton, MA 01460 (978) 486-9524 •

Orchestra of Indian Hill

Showcase Showstoppers April 28, 2018 at 7:30 PM

Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor Also featuring Indian Hill Music School Student Concerto Competition winner

TAN DUN (b. 1957)

Symphonic Poem on 3 Notes

MICHAEL DAUGHERTY Trail of Tears for Flute and Orchestra (b. 1954) Melissa Mielens, flute where the wind blew free incantation sun dance — INTERMISSION —

Romanian Rhapsody No. 1 in A major, Op. 11


Concerto for Tuba & Orchestra in F minor (1872-1958) Michael Stephan, tuba Prelude: Allegro moderato Romanza: Andante sostenuto Finale - Rondo alla tedesca: Allegro MANUEL DE FALLA Suite No. 2 from The Three-Cornered Hat (1876-1946) The Neighbor’s Dance (Seguidillas): Allegro ma non troppo Miller’s Dance: Poco vivo – Moderato assai, molto ritmico e pesante Final Dance: Poco mosso – Allegro ritmico

Premier Sponsor:

2017 – 2018 SEASON

GEORGE ENESCU (1881-1955)



About our Guest Artists Melissa Mielens, flute

Hailed in reviews as for her “eloquence” and “ethereal flute lines,” Melissa Mielens is Principal Flutist of Orchestra of Indian Hill. She has also played principal flute with the Vermont Symphony, Pro Arte Chamber Orchestra, Rhode Island Philharmonic, Springfield Symphony, and Portland Symphony. Ms. Mielens has toured abroad with various orchestras, including Japan with the Pacific Music Festival Orchestra, United Kingdom with the New World Symphony, and Europe and South America with the Jeunesses Musicales World Orchestra. Her radio appearances include live performances on WGBH and WVPR. Ms. Mielens is a prizewinner in several national and regional competitions, including the James Pappoutsakis Flute Competition and the National Flute Association Young Artist Competition. As one of the youngest recipients of a Fulbright Grant, she studied in Paris with Alain Marion. Ms. Mielens received her B.M. and M.M. from New England Conservatory, both with distinction in performance. Dedicated to music education, she is currently on the faculty of Phillips Exeter Academy and maintains an active private studio. Former students have attended the Curtis School of Music, Tanglewood Music Festival, and Interlochen. In her free time Ms. Mielens enjoys cycling and spending time with her family and three large dogs.


2017 – 2018 SEASON

Michael Stephan, tuba


Michael Stephan is Principal Tuba of the Orchestra of Indian Hill as well as the Santo Domingo Festival Orchestra, Cape Ann Symphony, New England Brass, and the Occasional Brass and Strings. An active freelance musician, he has performed with numerous ensembles across the country, including the Pittsburgh Symphony, Boston Ballet Orchestra, Pittsburgh Opera Orchestra, Boston Chamber Orchestra, Charlotte Symphony, New Jersey Symphony, Louisiana Philharmonic, American Symphony, New World Symphony, Portland Symphony, Naples Philharmonic, Albany Symphony, Boston Philharmonic, West Virginia Symphony, Vermont Symphony, South Florida Orchestra, and Symphony New Hampshire. He has also held principal and acting principal positions with the Berkshire Symphony, Youngstown Symphony, Canton Symphony, Boston Civic Orchestra, Pittsburgh Civic Orchestra, and Manchester Music Festival. Mr. Stephan’s charismatic personality, versatile performance experience, and desire to share his passion for music have taken him on extensive performance tours of Europe, Canada, the Dominican Republic, and the U.S. In addition to serving as an adjunct faculty at Duquesne University, Amherst College, and Williams College, he has coached many youth orchestras from around the world and continues to share his talent and love of music through outreach performances in nursing homes, hospitals, and public schools. Mr. Stephan earned an Artist Diploma from Duquesne University, an M.M. from New England Conservatory, and a B. M. from UMass Amherst. He maintains a highly selective small private studio and also works as a medical device salesman for Insulet Corporation.

Tan Dun was born in 1957 in the Hunan province of China. He composed this work in 2011 on a commission from the Teatro Real Opera, and it was first performed the same year in Madrid by the Teatro Real Orchestra under the direction of James Conlon. The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, and strings. Tan Dun’s life story and musical development are bound together as one. He was born in 1957 to middle-class parents in the Hunan province of China. When the commissars of the Cultural Revolution decreed that his white-collar parents might better serve the State by working in the rice fields, he was sent to live with his grandmother in the country. She taught him to play the erhu, the traditional Chinese fiddle, and also taught him the ritual-laden ways of Chinese peasant culture. His fiddling earned him the leadership of a local Peking opera troupe and eventually a place at the Central Conservatory. It was there, at age 19, that he first heard Western music, performed by the Philadelphia Orchestra on a cultural exchange tour. “From that moment,” Tan says, “I wanted to be a composer like Beethoven.” He eventually left China to study composition at Columbia University in 1986. Since that time his works have been performed and recorded by orchestras all over the world, and he has received music’s highest honors, including the Bartók Prize, the Suntory Prize, the Grawemeyer Award, and both an Academy Award and a Grammy Award for his film score for

Crouching Tiger, Hidden Dragon (2000). He currently lives in New York. Tan writes the following about this work: “One day I received a phone call from the Teatro Real Opera in Madrid, they were planning a surprise seventieth birthday celebration for Plácido Domingo and called me to ask whether I could write a work for the occasion. Instantly I said yes! Since working with Plácido on my opera The First Emperor, he has truly become one of my dear friends. When first imagining the piece, I thought it very celebratory to use Plácido’s name as part of the music—when you rap his name ‘Plácido’ it sounds like LA SI DO. I used the notes LA SI DO/A-B-C to form the musical theme of this symphonic poem. The beginning of the piece echoes the start of new life, like a dream it unfolds with the sounds of birds, incense, wind and rain—the tubular chimes start to sing and LA SI DO appears for the first time. This theme then unfolds in a variety of textures: symphonic rapping, instrumental and vocal hip-hop, blowing sounds and stones. Through the course of the piece, the industrial brake drums and car wheel sounds join in representing nature and life growing and progressing into cities and societies. The climax erupts with the rapping and shouting of PLA-CI-DO and falls with chanting and foot stamping as these three notes return back to nature, back to the origin and back to the future. In the end, I called it Symphonic Poem on 3 Notes in celebration of my friend Pla-ci-do.”


Trail of Tears for Flute & Orchestra

Michael Daugherty was born in Cedar Rapids, Iowa in 1954. He composed this



Symphonic Poem on 3 Notes

2017 – 2018 SEASON

Program Notes


Program Notes


2017 – 2018 SEASON

work in 2010 on a co-commission from the American Composers Orchestra, Ann Arbor Symphony Orchestra, Delaware Symphony Orchestra, Omaha Symphony, and the Tupelo Symphony. The work was first performed in Omaha the same year by flutist Amy Porter and the Omaha Symphony under the direction of Thomas Wilkins. The score calls for solo flute, 2 horns, 2 trumpets, timpani, percussion, harp, and strings.


Michael Daugherty has distinguished himself—and delighted his audiences—by creating serious music inspired by pop culture icons. A mere perusal of his titles (Route 66, Desi, Dead Elvis, La tombeau de Liberace, Jackie O, Elvis Everywhere) lets us know that something unique and wonderfully wacky is afoot. But this is one of Daugherty’s works that looks far beyond pop culture for its inspiration. Of Trail of Tears he writes: “One of the tragedies of human history is the forced removal of peoples from their homeland for political, economic, racial, religious, or cultural reasons. In America, the forced removal of all Native Americans living east of the Mississippi River began with the passage of President Andrew Jackson’s Indian Removal Act of 1830. In 1838, 15,000 Cherokee men, women, and children were forcefully taken from their homes by the U.S Army and placed in stockades and camps in Tennessee. From November 1838 to March 1839, the Cherokee, with scant clothing and many without shoes, were forced to make an 800mile march for relocation in Oklahoma during the bitter cold of winter. Suffering from exposure, disease, and starvation, nearly 4,000 Cherokee died during the five-month march known as the ‘Trail of Tears.’ “My flute concerto is a musical journey

into how the human spirit discovers ways to deal with upheaval, adversity and adapting to a new environment. The first movement reflects on meaningful memories of things past, inspired by a quotation from the Native American leader, Geronimo (1829-1909): ‘I was born on the prairies where the wind blew free and there was nothing to break the light of the sun.’ The second movement, entitled ‘incantation,’ meditates on the passing of loved ones and the hope for a better life in the world beyond. The third and final movement, ‘sun dance,’ evokes the most spectacular and important religious dance ceremony of the Plains Indians of 19th-century North America. Banned for a century by the U.S. government, the dance is now practiced again today. I have composed a fiery musical dance to suggest how reconnecting with rituals of the past might create a path to a new and brighter future.”


Romanian Rhapsody No. 1 in A major, Op. 11 George Enescu (known also as Georges Enesco) was born in 1881 in Liveni, Romania, and died in Paris in 1955. He composed this work in 1901, and led the first performance in Bucharest in 1903. The score calls for 3 flutes, piccolo, 3 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. George Enescu was a child prodigy in the Mozartean class: he played the violin at age four and began composing at five. He was admitted—by special dispensation—to the Vienna Conservatory at age seven and later studied at the Paris

Program Notes

Concerto for Tuba & Orchestra in F minor Ralph Vaughan Williams was born in Down Ampney, Gloucestershire, England in 1872 and died in London in 1958. He composed this concerto in 1954 for the London Symphony Orchestra’s 50th anniversary, and it was first performed the same year by Philip Catelinet, tuba, and the LSO under the direction of John

No one knows, exactly, how Vaughan Williams came to compose a concerto for the tuba, the first of its kind from a major composer. He seems to have come by the idea himself. The first soloist, Philip Catelinet, recounts the panicinducing telephone call he received from the London Symphony Orchestra’s management: “Ralph Vaughan Williams has written a tuba concerto and wants you to play it at our Jubilee Concert in June.” In the hands of another composer, such a project might have been seen as an opportunity to exploit the instrument’s capacity for comedy and to indulge in various grotesqueries. But while Vaughan Williams’ concerto is often lighthearted, the composer took the work seriously. For him it was a challenge: to create a showcase for an instrument that was seldom given the center stage. He did that, and more. The jaunty first movement has an easy gait, with the tuba giving us its affable tune. The cadenza plays against type, with high, delicate writing. The central Romanza is simply gorgeous, with the soloist proving that not only can the tuba play expressively, but that it sounds beautiful when it does. The Finale is a delightful romp that shows us an agility from the tuba that we never knew it had. After the contemplative cadenza the orchestra provides an exclamation point, and we realize that Vaughan Williams met his challenge with both integrity and panache.

2017 – 2018 SEASON


Barbirolli. The score calls for solo tuba, 2 flutes, piccolo, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, and strings.


Conservatoire. Enescu became a violinist, pianist, composer, conductor, musicologist, and teacher. He was world-renowned as a violinist, and a violin teacher to some of the most famous violinists of the twentieth century, including Yehudi Menuhin and Ivry Gitlis. He appeared as a soloist and conductor all over the world. Although he composed steadily throughout his career, Enescu’s output was relatively small, for he was a very busy man. He composed symphonies, concertos, songs, chamber music, music for piano, works for violin, an opera, and various works for orchestra. His Romanian Rhapsody No. 1 is the best known of all of these, and the only one still played with any frequency. He composed the work at the age of nineteen, using authentic Romanian folk tunes in the Gypsy style. After the work opens with an inspired call-and-response between the clarinet and oboe, these are cannily arrayed in a sequence of everaccelerating tempi—the serene calmness of the opening is transformed, by the end, into a frenzy of enormous energy and excitement. All along the way we hear the assurance of a master craftsman and a brilliant orchestrator, and a piece that leaves us wishing for more.



Suite No. 2 from El sombrero de tres picos (The Three-cornered Hat), G. 59


2017 – 2018 SEASON

Manuel de Falla was born in Cádiz, Spain in 1876 and died in Alta Gracia, Córdoba, Argentina in 1946. He composed the first version of this work—then called El corregidor y la molinera, based on a story by Alarcón—in 1917. He revised that work, now calling it The Three-cornered Hat, for use as a ballet first given in London in 1919 by the Ballets Russes under the direction of Ernest Ansermet. In 1921 Falla extracted two orchestral suites from the ballet. The score of the Suite No. 2 calls for 3 flutes, piccolo, 3 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, celeste, and strings.


A case of mistaken identity in a sex comedy—there’s a hardy perennial for you! Such a thought may have crossed impresario Serge Diaghilev’s mind as he saw Falla’s “pantomime” in Madrid, but not for long. He had been looking for a story with a Spanish flavor to it for some time and knew that Falla’s work could be the basis for the Ballets Russes’ next big hit. Diaghilev asked Falla to expand his work into a one-act ballet, with choreography to be created by Massine and

sets by Picasso. Falla had recently spent a good deal of time in Paris soaking up the sounds (and techniques) of Debussy, Ravel, and Stravinsky, but given Diaghalev’s desire for an authentic Spanish sound he took the opportunity to return to the forms and idioms of his homeland. The story was a variation on an old theme, but a good one: a screwball comedy based on love and mistaken identity. The result became not only a hit for Diaghilev but Falla’s bestknown work, in the form of this suite taken from the ballet. The three numbers of Falla’s Suite No. 2 are all taken from the second scene of the ballet. The first is “The Neighbors’ Dance,” the lively seguidilla that opens the scene. A French horn call and an improvisatory English horn solo open “The Miller’s Dance,” a farruca that alternates strutting, macho music with gentler interludes. The “Final Dance” begins with a short episode of furtive excitement, then becomes a celebratory jota with incredible rhythmic drive and vertigo-inducing changes of pace. The music is cinematic, bold, and indescribably colorful. A real treat! —Mark Rohr Questions or comments?



2017-18 SEASON

MRT.ORG/1718SEASON | 978-654-4678 | 50 E. MERRIMACK ST., LOWELL, MA Pictured: Vichet Chum (KNYUM) | John Gregorio and Aaron Muñoz (Lost Laughs) | Dan Finnerty (Little Orphan Danny)



Concord Chamber Music Society Sunday, October 22, 3:00 PM

Shai Wosner, piano Wendy Putnam, violin Sunday, November 26, 3:00 PM

Calidore String Quartet Sunday, January 7, 3:00 PM

Concord Chamber Players, members of the BSO and Axel Strauss, violin Sunday, March18, 3:00 PM

St. Lawrence String Quartet

All concerts at the Concord Academy Performing Arts Center 166 Main St., Concord MA Wendy Putnam, Director | 978-405-0130


 

Holiday Concert: Music for Chorus, Brass Quartet and Organ including pieces by Daniel Pinkham, Eric Whitacre, Morten Lauridsen Dec 9 at 7:30 PM, United Methodist Church, Westford Dec 10 at 3:00 PM, All Saints Episcopal Church, Chelmsford

Spring Concert: Jazz Music for Chorus, Piano, Double Bass and Drums April 28 at 7:30 PM, United Methodist Church, Westford April 29 at 3:00 PM, venue TBD (check website)

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100 Newbury Court • Concord, MA 58

87 Great Road, Acton MA (978) 263-7775 Colonial Spirits has the largest selection of beer, wine and liquor in the area. Inside the store you will find over 16,000 bottles of wine, an extensive collection of beers and ales from over 40 countries, and all the ingredients of your favorite drinks and cocktails. We strive to give our customers the best possible experience by offering personal recommendations and time to chat with our knowledgeable staff. We’re here to help you plan your alcohol menu for a holiday gathering, wedding, or graduation party; find the perfect wine for your dinner; or even obtain that sought after beer. Visit our website for tasngs, events, and specials.

Nashoba Valley Chorale

Our Annual Messiah Sing is December 3, 2017, 2:30 pm, First Parish Church of Groton.

Anne Watson Born, Music Director

Franz Joseph Haydn Missa in tempore belli (Paukenmesse) Morten Lauridsen Lux aeterna

Ralph Vaughan Williams In Windsor Forest

With members of the Orchestra of Indian Hill. January 27, 2018

for chorus & orchestra. Special guest artists, the Katie McNally Trio. April 21, 2018

Both concerts are at 8 pm at the Littleton High School.


Carlisle Chamber Orchestra Alan Yost, Conductor

Friday, Oct. 27: Sarah Whitney, violin: Piazzolla Four Seasons of Buenos Aires; Beethoven 5th Sat. Dec. 2: Holiday Concert Friday, Feb 2: Concert POPS Bonnie Anderson: Gershwin Friday. March 9: ALL MOZART The Impresario (Concert) Flute & Harp Concerto Friday, May 11: Brahms Var’s …. Poulenc Two Piano Concerto

Kathleen Forgac & Shaylor Lindsay


Presenting the 72nd season of the





Kevin Leong, Music Director


Concord Chorus







Holiday ConCerts

Haydn’s nelson Mass

Heavenly music for the season, Composed “in troubled times,” this including works by Victoria, Quarter Mendelssohn, dramatic is Joseph Haydn’s Page Horizontal: 4.75masterpiece x 1.75 Brahms, and favorite carols powerful response to a turbulent world December 9, 2017 2:00 & 5:00 pm

May 19, 2018 8:00 pm

Middlesex School Chapel 1400 Lowell Road Concord, Massachusetts

Church of St. Brigid 1981 Massachusetts Avenue Lexington, Massachusetts

v v For tickets and more information, please visit

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Annual Support Indian Hill Music gratefully acknowledges the following individuals whose generous financial contributions have provided critical support for our performance, education and community outreach programming. This list reflects gifts made from July 1, 2016 - June 30, 2017 and does not include donors who invested in our Leadership Gifts Initiative. Please refer to page 66 for that listing. MAESTRO ($100,000 and above) Anonymous (2) ¯ Priscilla Endicott ¯ DIRECTOR ($25,000 and above) Anonymous (1) ¯ Camilla C. Blackman ¯ PRODIGY ($15,000 and above) Bradford Endicott Samuel C. Endicott Fund E Peter Endicott, Priscilla Endicott, and Cricket Potter, Trustees


2017 – 2018 SEASON

Sheila LaFarge ¯ Margaret Magnus * Jonathan and Jessie Panek E


COMPOSER ($10,000 and above) Michael Acton and Miriam Smith Priscilla Endicott Charitable Foundation Priscilla Endicott, Katrina Wollenberg, Trustees

Jeff and Mary Fuhrer E Harrill Family Foundation James and Donna Harrill, Trustees

Connie Keeran and Ted Lapres ¯ Carole and Art Prest

CONCERTMASTER ($5,000 and above) George and Annette Allison E Bruce and Sue Bonner E Peter and Karen Burk Catherine Coleman and Tom Mullen Stephen and Suzanne Irish Mary Jennings and Jim Simko

Bob and Sue Lotz ¯ David Moulton ¯ Dave and Karen Riggert E Phil and Dorothy Robbins ¯ William G. Wilkinson E BENEFACTOR ($2,500 and above) Bob and Judy Anderson ¯ Peter and Mary Ann Ashton John and Barbara Chickosky E Kirsta and Chris Davey Christine and Fred Faulkner Bernice Goldman and David Gaynor ¯ Simon S. Jones and Richard Gioiosa Bob Knowlton * John R. McBee Susan Randazzo and Stuart Schulman ¯ Pam and Griff Resor E Bobbie and David Spiegelman E Randy Steere and Paul Landry David and Pamela Stone ¯ Steven and Jennifer Stone ¯ PATRON ($1,500 and above) Anonymous (2) Jean-Pierre and Cheryl Boissy Geoffrey and Harriet Schwartz Crew E Faith Cross ¯ Thomas Crow and Terri Ragot ¯ John Cunney and Jared Wollaston Hugh Fortmiller and Francie Nolde E June Adams Johnson and Stephen Lieman E Julie Merritt and Amy Kumpel * Sue Murray and Ralph Brown E John and Judy Robinson Ed and Liz Strachan E

PARTNER ($600 and above) Anonymous (2) The Benevity Community Impact Fund Bob Blanck and Jud Ratliff Nancy Burdine Frank and Emilie Coolidge ¯ Cheryl DaSilva Chip and Carly Detwiller Jessica Engels * Pam and Glen Frederick E Sandra and Bruce Garvin John Grady Erica Reynolds Hager and DJ Hager Frank and Nancy Haydu Lisa Hicks and Ken Kolodziej Virginia Koslow and Louis DiMola E Michael and Christine Knupp Charles Learoyd ¯ Steve Levitsky E Marilyn and Don Malpass Mr. and Mrs. William P. Marshall Ted and Kay Martland Karen and Dave McCloskey Bo and Chris Murphy Russ and Wanfang Murray E Subrat and Geeta Pani E Cricket Potter Kevin Prudente Jane and Bob Puffer ¯ Leslie and Gordon Row Steven and Anne Marie Rowse Ted and Mary Shasta E John Sheehan E Cindy and Andy Smith John Spinello Don and Janet Stevens E Anabelle Tirado and Bruce Hangen ¯ The Westerheim-Kazman Family Elizabeth Wilson Linda and Brooks Zug

Annual Support Rhonda Guinazzo, in honor of Bradford M. Endicott

Deborah Hamilton Lisa Hamilton-Goscombe Bob and Ellen Hargraves ¯ Kimberly and Joshua Harriman McLaren and Susan Harris E Paul and Geraldine Harter ¯ Whitney and Frank Heavey Matt and Melanie Hickox Nancy Hilsinger Toby Hodes Linda Hoffman and Blase Provitola E John and Melinda Holland Katherine Hollister and Peter Mahler Bonnie House Mark and Jeanne Hubelbank E Fran Hunt Gregory Hutchins E Leonard Irvine Kate Isaacs Robert and Betty Jack E Irene Jahnle Denis and Ronald Jenssen Michael Kearney Jack and Betty Keddy ¯ Elea Kemler and Alan Hurvitz Robert Kennedy Phyllis Konop E Erika and Doug Boardman Kraft Gerald and Judy Krantweiss Warren and Maredith Kundert E Bruce and Ellen Kunkel Carol Lake Anne and Thomas Larkin Judith Larter E Susan Latronico E Robin Lazarow and Jeanne Kangas Mary Leahy ¯ Mark Lebel Peter and Patty Lee Donald and Jo Ann Leitch E Mary Lejeune E Stephen and Julie L’Heureux Lei Li and Ritong Chen Susan Litowitz Russ and Pam Lowe Ray and Gail Lyons E Richard and Jane Lyons E Xin Ma and Wei Zhang Deborah and Scott MacDonald E Amaresh and Sadhana Mahapatra E

2017 – 2018 SEASON

Hugo Delgado and Carmen Peralta Armand and Mayra Diarbekirian Laura and Kent Dickey Nancy Donahue E Zhiming Dong Mimi and Peter Dorward George Downey E Paul and Betty Drouilhet Chris and Cathy Dulaney Janis Dyer Edgar and Carol East Daria and Blaise Eckert ¯ Susan Edwards E Anna Eliot William and Susan Ellerkamp Esther Lawrence Fund Robert and Marian Evans Richard and Marilyn Fedele Ellen and Paul Ferraro Matt Fichtenbaum Lisa and Joseph Fiorentino Maryanne Flynn Theodore C. Forbath Helen Ford Anne and Richard Fornicola Jody and James Fox Philip and Carolyn Francisco Patty Fraser Jim and Claire Frassica E Gary and Jo Anne Freeman Jim and Jackie Frey Paul and Donnie Funch Charles and Constance Gagnebin E Susan Turcotte Gavriel and John Gavriel Richard and Elinor Gentilman David Gerratt and Debra Simes Sue Gleason E Mark Globerson * Dr. and Mrs. Robert M. Glorioso Glenda Godshall Debra Gorfine Robin Gorfine Janet and Geoffrey Graeber William Grundmann and Barbara Altman E Ruth Gray E Jill Greene Larry and Rita Gibes Grossman E David Grubbs Usha Gurumurthy and Bala Gopalakrishnan


FRIEND ($100 and above) Anonymous (6) Alan Abrams Barbara and Bill Ahern Alchemy Foundation E David and Lucy Alexander Amazon Smile Susan Avery Wendy and John Baker Douglas Barrus Donald and Joyce Barth Albert and Barbara Bates Flo Baumoel Judy and Glenn Bell Steven Bercu Alan Berkowitz David Berkowitz Leonard Berkowitz Tim and Paula Bingham ¯ Cyndi Bliss Christopher Borg David Boyle and Ursula Flury Roberta Braverman Greta and Josh Bretz Donna Brock Cyrus and Milo Brown Jill Brown and John Mitchell Stephen and Gail Burne ¯ Brenda Burton * Denis Caissie Rebecca Capodilupo Mr. and Mrs. John Castro Nicole Castro Ruth Cavanagh Elaine Chamberlain Carol and David Chodorow E Jane Chrisfield ¯ Walter Ciesluk Joan Cirillo Jack and Ann Clancy James and Carol Clark Tom and Sara Clay E Stephen and Christel Conlin Peter Conrad Barry and Carolyn Copp E Harry and Maxine Crowther E Peter and Jean Cunningham David Currie and Jacqueline Reis Michael and Denyce Curtis Heather and Dan Daly Marge and Steve Darby



2017 – 2018 SEASON

Annual Support


Charu Venkat Mani Melissa Maranda and Richard Gosselin Charles and Dorothy MarquisOmer The Matson Family E Marguerite Mazzone E Joseph and Sarah McGhee Alayne McLeod Anne and Rob McNeece Colleen Meller Karen and Glenn MerrillSkoloff Abbe and Pascal Miller Carlile Miller Judy and Gerry Miller E Drew and Maria Millikin Lorraine Misner ¯ Ned and Mary Mitchell ¯ Kevin and MaryFran Mitrano Kimberly Moran Frances Moretti E Jon and Lorrie Morgan Paul and Pat Motyka E Judith Munson ¯ Barbara Murray and David Gordon ¯ Padmini Narayan and Sudhir Srinivasan Network for Good Janet and Paul Nicholas Barbara and Murray Nicolson John and Jeanne Niemoller Andrea Mason Nolin Peter and Elizabeth Norton E Donna Nowak Wendy and Jon Oltsik Joyce and Jamie O’Neil Deborah and Ed O’Rourke David Panek and Barb Van Buskirk Paul and Maggie Parisi Joan Pena Ernest and Rena Perelmuter E Carolyn and Ed Perkins ¯ Ernie Petrides Bob and Becky Pine ¯ Richard and Anita Pollak Robert Price Brown and Lois Pulliam Rita Rand Jeff Resnick Paul Richards and Sophie Carlhian

Ron and Karen Riggert Tony and Karen Rivero Barbara Robbins Pete and Karina Robbins Rheta Roeber and Paul Malchodi E Tom and Loretto Roney Tom and Katherine Rosa Victor Rosenbaum Mathias and Courtney Rosenfeld Mark and Gail Rosengard Paul and Natalie Rothwell E Ronald Row Paul and Wanda Royte E Arthur Rubenstein Douglas and Patricia Ruby Charlotte Russell * Jill Salamon and Greg Antonioli Susan and Jim Salem Bard and Cindy Salmon Edythe Salzman E Michael and Kathleen Saunders Mark and Rebecca Scheier E Catherine and George Schwenk Glen and Rosheen Secor The Seeley Family Carolyn and Fred Sellars E Karen Seward Kim and Janet Sheffield E Susan Shelton Minhui Shen and Wei Gao Nancy Shepherd Owen and Stuart Shuman Lyn Slade Beverly Smith David Smith and Elizabeth Tyson-Smith Linda and Ronald Smith Ann and John Sorvari Annemarie and Eric Spada James Staley and Nancy Friedrichs Temple Staples Michael and Bethany Landby Stephan Robert and Eleanor Stetson E Linda and Norm Strahle Steven Sussman E J.J. and John Tanzer Jean and Roger Temple E Philip and Diane Temple E Henry Tervo Gretchen Thach

Patti Thompson and John Ellenberger ¯ Craig and Patty Thorpe Cheryl Tian John and Christine Ting E David and Marcia Trook Ara Tyler E John and Linda Valentine Jeff and Elisa Van Auken Deb and Jason Verner Linda Vieira* Lei Wang and Baochuan Huang Marcy and Mit Wanzer George Watkins Patricia Webber ¯ Abbott and Barbara Weiss E Betsy Westendorf Sophie Westerheim Patricia White E Willie and Darrell Wickman Carl Witthoft and Julie Jankelson Barbara and Harris Willson Kareen and Keith Wortman Mary Jane and Bernie Wuensch Tao Xu and Zhaoxia Song Paul Yandik and Mary Pat Skoda Nadine Yates E Lihua Yu and Wei Hua Norma Zagars Miriam Zarchan E John and Janet Zimmer E Contributor has made a gift for the last 10 or more consecutive years ¯ Contributor has made a gift for the last 20 or more consecutive years * indicates an-kind gift Indian Hill Music is grateful to all our generous donors and we have tried very carefully to avoid errors in our listings. If your name was omitted or listed incorrectly, please let us know and accept our apologies. Due to space limitations, we are only able to list gifts of $100 and above.

Special Gifts In memory of Robert E. Cataldo Cheryl Hardy-Faraci In memory of Ted Collins Jean Diemert In memory of Kathryn Kagan Dan Lifton Linda Vieira

In memory of Margaret Rothrauff Anonymous (1) Rachel Anderson and Sally McCoy William and Joan Amory William Bradley The Brimmer and May School Shirley Catella Gerald Cox and Cynthia Lemere Bill and Joan Davies Elizabeth Haraden Jennifer Bock Hughes

Hulen Kornfeld Leo E Lemere Jr Patricia Magoun Calvert Magruder Virginia Miller Robert and Johanna Morse Marie Nitzke Allison Rachleff James and Adra Rand Ann-Cathrine Rapp Thomas Regan Robbins Brook Condominium Trust Elizabeth Rounds

Endowment and Designated Major Gifts

The Frederick L. Reynolds Jr. Community Education Fund Reynolds Family Concertmaster Chair Phil and Dorothy Robbins Gift Stone Family Endowed Music Director’s Chair at The Boston Foundation Albert and Elizabeth Stone Scholarship Fund Faith A.B. Wilkinson Memorial Scholarship Fund

Encore Society The Encore Society celebrates those who have included Indian Hill Music in their estate plans, through bequests, life-income gifts, annuities, or other deferred-giving arrangements. We are deeply grateful to the generous and forward-thinking individuals who have joined Indian Hill’s Encore Society. Anonymous (5) George and Annette Allison David Boyle and Ursula Flury Cheryl DaSilva Priscilla Endicott Hugh Fortmiller Bruce and Sandra Garvin Gregory Hutchins

June Adams Johnson and Stephen Lieman Sheila LaFarge Charles Learoyd Steve Levitsky Bob and Sue Lotz Jonathan and Jessie Panek Phil and Dorothy Robbins

Edythe Salzman Mark Scheier Albert and Elizabeth Stone Steven Sussman George Watkins William G. Wilkinson


Anonymous (1) Marjorie Besas Memorial Fund Camilla C. Blackman Endowment Fund Priscilla Endicott Education and Orchestra Endowment Funds Charles Lincoln Gagnebin Memorial (Associate Concertmaster) Chair Charles Lincoln Gagnebin Memorial Endowment Fund

2017 – 2018 SEASON

We are grateful to the many generous donors who have contributed to Indian Hill Music’s endowment and investments to support our education, performance and outreach programs well into the future.


Leadership Gifts Initiative The following individuals have made generous commitments to support Indian Hill Music’s capacity-building and programmatic growth, totaling $1,751,000. Anonymous (4) George and Annette Allison Bob and Judy Anderson Peter and Mary Ann Ashton Bemis Associates Inc. Camilla C. Blackman Bruce and Sue Bonner Carl and Carol Canner John and Barbara Chickosky Faith Cross Priscilla Endicott

Bernice Goldman and David Gaynor Haartz Corporation James and Donna Harrill Kimberly and Joshua Harriman June Adams Johnson and Stephen Lieman Connie Keeran and Ted Lapres Sheila LaFarge Bob and Sue Lotz Melissa Maranda and Richard Gosselin

David Moulton Jonathan and Jessie Panek Carole and Art Prest Pam and Griff Resor Joan R. Reynolds Dave and Karen Riggert Phil and Dorothy Robbins Randy Steere and Paul Landry Ed and Liz Strachan William G. Wilkinson

Businesses, Foundations, Government Support Indian Hill Music is pleased to acknowledge the following Businesses, Foundations and Government agencies for their generous contributions received from July 1, 2016 through June 30, 2017.


2017 – 2018 SEASON

DIRECTOR ($25,000 and above) Sterilite Corporation


PRODIGY ($15,000 and above) Massachusetts Cultural Council The Lynn R. and Karl E. Prickett Fund COMPOSER ($7,500 and above) Enterprise Bank Ramsey McCluskey Family Foundation Viking River Cruises, Inc.* Donation facilitated by Carly Detwiller, Senior Travel Consultant, Katlin Travel Group Wind Point Foundation CONCERTMASTER ($5,000 and above) A.M. Transportation Services, Inc. Curry Printing* Dennis F. Murphy Insurance Agency Digital Federal Credit Union Groton Ayer Realty Trust * in-kind gift

Keena Keel, Master Piano Tuner * Main Street Bank Middlesex Savings Bank Nashoba Real Estate Rollstone Bank and Trust Shepco, Inc. BENEFACTOR ($3,000 and above) Bamboo Fine Asian Cuisine Sushi Bar Bruce J Anderson Foundation at The Boston Foundation Haartz Corporation Wm. S. Haynes Company Attorney Ray Lyons NETSCOUT Scheier Katin & Epstein, P.C. PATRON ($1,750 and above) Bemis Associates, Inc. The Boch Center * Circle Health Commander Softpants, Inc. Epic Enterprises Inc. Epstein Joslin Architects, Inc. GateHouse Media New England *

Helen and William Mazer Foundation MBIA Foundation Red Hat, Inc. Workers Credit Union INVESTOR ($1,250 and above) Colonial Spirits of Acton * ISS* PARTNER ($750 and above) Acton Real Estate Company Benchmark Senior Living at Robbins Brook Chubb Charitable Foundation Concord Park Senior/Nashoba Park Assisted Living The Hanover Theatre for the Performing Arts * New England Stageworks * ONE80 Visual * TD Bank

Companies in BOLD have supported Indian Hill Music for 10 or more years.

Indian Hill Staff & Board ADMINISTRATIVE STAFF


Susan Randazzo, Executive Director

The Council is comprised of individuals who have shown a deep commitment to Indian Hill, through their investments of time, treasure and talent. Council members provide clear-eyed feedback and strategic guidance on a variety of organizational priorities; act as Indian Hill ambassadors; and generously support our mission in a variety of ways.

BOARD OF DIRECTORS Carole Prest, Chair Peter Ashton, Vice-Chair Jonathan Panek, Treasurer George Allison, Clerk Kirsta Davey Jeffrey Fuhrer Michael Hallstrom Kimberly Harriman Stephen J. Irish Simon Jones Melissa Maranda Troy Siebels Miriam Smith Camilla Blackman, Director Emerita Priscilla Endicott, Director Emerita Bob Anderson, Honorary Director Ralph Brown, Honorary Director David Moulton, Honorary Director

Christopher Borg Peter Burk Ruth Cavanagh John Chickosky Emilie Coolidge Faith Cross Cheryl DaSilva Armand Diarbekirian Ursula Flury Hugh Fortmiller Erica Reynolds Hager June Adams Johnson Mike Knupp Erika Boardman Kraft Steve Levitsky Stephen Lieman Mary Livingston Sue Lotz

Gail Lyons Ray Lyons Paul Malchodi Russ Murray Cricket Potter Jane Puffer Pam Resor Karen Riggert Dorothy Robbins Phil Robbins Charlotte Russell Edythe Salzman Mark Scheier Mary Shasta Cindy Smith Randy Steere Ed Strachan William G. Wilkinson

The programs of Indian Hill Music are supported, in part, by a grant from the Massachusetts Cultural Council, a state agency, and with funds from the Council administered by Local Cultural Councils.

Special thanks to Orchestra of Indian Hill Season Media Sponsor:

2017 – 2018 SEASON

Lucinda Bowen, Patron Services Specialist Glen Carbutt, Security & Maintenance Lisa Cleveland, Assistant Director of Education Meghann Foresman, Patron Services Specialist Debra Gorfine, Senior Accounting Analyst Sue Greenleaf, Business & Facilities Manager Donna Hargreaves, Patron Services Associate Michael Havay, Class & Ensemble Manager Dulcey Lacroix, Patron Services Specialist Mary Leahy, Development Manager MaryFran Mitrano, Development Manager Julie Pampinella, Marketing & PR Manager Natalie Pozzetti, Patron Services Specialist Kate Weiss-Gordon, Artistic Operations Manager


Lisa Fiorentino, Chief Operating Officer Catherine Coleman, Director of Development Bruce Hangen, Artistic Director & Conductor, Orchestra of Indian Hill Pete Robbins, Director of Education Evanthea Vlahakis, Director of Marketing & Public Relations


Ad Index Advertiser


A.M. Transportation Services, Inc. . . . . . . . . . . . 18

Loaves & Fishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Acton Coffee House . . . . . . . . . . . . . . . . . . . . . . . . 79

Attorney Ray Lyons . . . . . . . . . . . . . . . . . . . . . . . . 30

Bamboo Fine Asian Cuisine . . . . . . . . . . . . . . . . 70

Merrimack Repertory Theater . . . . . . . . . . . . . . 53

Bridges and Bows . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Music Worcester . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Burtons Grill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Nashoba Real Estate . . . . . . . . . . . . . . . . . . . . . . . . 70

Carleton Willard Homes, Inc. . . . . . . . . . . . . . . . . 1

Nashoba Valley Chorale . . . . . . . . . . . . . . . . . . . . 59

Carlisle Chamber Orchestra . . . . . . . . . . . . . . . . 60

Nashoba Valley Ski Area . . . . . . . . . . . . . . . . . . . . . 3

Carriage House Violins of Johnson String

Newbury Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Northern Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Century Carpet & Creative Floors, Inc. . . . . . . 61

OMR Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Law Offices of Nancy Catalini Chew . . . . . . . . 60

Osmun Music, Inc . . . . . . . . . . . . . . . . . . . . . . . . . 59

Colonial Spirits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Pumpkin Brook Organic Gardening . . . . . . . . . 2

Concord Chamber Music Society . . . . . . . . . . . 55

RiverCourt Residences . . . . . Inside Back Cover

Concord Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Rollstone Bank & Trust . . . . . Inside Front Cover

Concord Teacakes . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Roudenbush Community Center . . . . . . . . . . . 55

Courtyard Marriott . . . . . . . . . . . . . . . . . . . . . . . . . 52

Scheier Katin & Epstein, P.C. . . . . . . . . . . . . . . . . 74

2017 – 2018 SEASON


Donelans Supermarkets Inc. . . . . . . . . . . . . . . . . 56

Skinner Auction House . . . . . . . . . . . . . . . . . . . . . 75

Epstein Joslin Architects, Inc. . . . . . . . . . . . . . . . . 80

Sunset Farm Bed & Breakfast . . . . . . . . . . . . . . . 60

Golden Girl Granola . . . . . . . . . . . . . . . . . . . . . . . . 2

Symphony NH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Handel & Haydn Society . . . . . . . . . . . . . . . . . . . .78

West Acton Villageworks . . . . . . . . . . Back Cover

Handworks Gallery of American Crafts . . . . . 61

Westford Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Kitchen Outfitters, LLC . . . . . . . . . . . . . . . . . . . . . 57

Workers’ Credit Union . . . . . . . . . . . . . . . . . . . . . 79



Life Care Center of Nashoba Valley . . . . . . . . . . 76


Gary Knowlton, Inc. Professional Painters . . . 59

Cover photo credit: Karen Riggert



Borromeo String Quartet Nicholas Kitchen, violin | Kristopher Tong, violin | Mai Motobuchi, viola | Yeesun Kim, cello

Works by Bach (Preludes and Fugues), Mendelssohn, and Schumann. SATURDAY, NOVEMBER 18 AT 8PM

Boston Trio

Irina Muresanu, violin | Jonah Ellsworth, cello | Heng-Jin Park, piano

Works by Debussy (La Mer), Higdon, and Dvořák. SUNDAY, FEBRUARY 11 AT 3PM

Boston Cello Quartet Blaise Dejardin | Adam Esbensen | Mihail Jojatu | Alexandre Lecarme

Boston Symphony Orchestra cellists perform their own arrangements of classical and contemporary works. SATURDAY, MARCH 10 AT 8PM

Sergey Schepkin, piano Works by Schubert (Six Moments Musicaux), Brahms, and Schumann. SATURDAY, APRIL 14 AT 8PM

Boston Chamber Music Society Jennifer Frautschi, violin | Marcus Thompson, viola | Raman Ramakrishnan, cello | Max Levinson, piano

Works by Mozart (Piano Quartet in G minor, K. 478), Beethoven, and Schumann. KALLIROSCOPE GALLERY 264 Main Street, Groton, MA Tickets: $35

ORDER TICKETS ONLINE AT 978.486.9524 x116

Post-concert wine & cheese reception with the artists


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Proud to Sponsor the IHM Jazz and Contemporary Series

We are

Your Local Real Estate Connection 978.449.4499 I

Fine Asian Cuisine • Sushi Bar

Daily Lunch Buffet Monday-Friday 11:30 AM to 2:00 PM Saturday & Sunday 11:30 AM to 2:30 PM

Sunday Dinner Buffet Served 5:00 PM To 8:00 PM Includes soup, appetizers, dim sum, sushi, entrees, fresh fruit and dessert

Private Function Room Available One Lan Drive Westford, MA (On Route110)

(978) 589-9666 • BAMBOOGOURMET.COM 70

Jazz & Contemporary



What is This Thing Called Love? Sunday, October 1 | 3:00pm Love and jazz with the Pamela Hines Trio and friends. Gordon Michaels, vocals; Christine Fawson, vocals & trumpet; Pamela Hines, piano; Justin Meyer, bass; Dave Fox, drums

All Gershwin! Sunday, October 29 | 3:00pm Revisit the Jazz Age and the tunes of George Gershwin. Christine Towle, vocals; Eric Baldwin, guitar Justin Meyer, bass; Jurek Glod, drums

Art of the Song with Dan Masterson Friday, October 13 | 7:00pm The award-winning songwriter performs his alternative pop-rock songs and shares the stories behind the music.

Jazz at the Village Vanguard Friday, February 9 | 7:00pm Hear the music of Monk, Coltrane and Sonny Rollins that made this NYC nightclub an American treasure. Mike Caudill, tenor saxophone; Jerry Sabatini, trumpet; Justin Meyer, bass; Dave Fox, drums

Classical Meets Jazz: Piano Quartets from Bach to Bolling Sunday, May 6 | 3:00pm An eclectic mix of music by J.S. Bach and jazz luminaries Oscar Peterson, Robert Glasper, and Claude Bolling. Scott Thomas Lesser, cello; TBA, piano; Justin Meyer, bass; Dave Fox, drums Series Sponsor

Camilla Blackman Hall at Indian Hill Music 36 King Street, Littleton, MA • All tickets $15

Order tickets online: or call 978-486-9524 x116 71

Chamber Music AT



Romantic Gestures Friday, September 15 | 7:00pm Works by Schumann, Schubert, Spohr, Mahler, and Mozart. Martha Warren, soprano; Rob Woodin, baritone; Charlotte Russell, soprano; Bill Kirkley, clarinet; Shawn McCann, piano

100 Years of Modern Classics Friday, October 27 | 7:00pm Music of Debussy, Schnittke, Phillip Glass, and Norwegian composer Marcus Paus’s 2004 work Lasuliansko Horo. Andrew Eng, violin; Amy Lee, piano

Much Ado About Mozart Friday, January 12 | 7:00pm Vocal and instrumental works of Wolfgang Amadé Mozart. Martha Warren, soprano; Rob Woodin, baritone; Eric Kamen, piano; Eileen Yarrison, flute

The Power of Strings Sunday, March 4 | 3:00pm Music of Ravel, Kodaly, and Czech composer Erwin Schulhoff. Li-Mei Liang, violin ; Joseph Gotoff, cello

Celebrating Women Composers Friday, March 16 | 7:00pm Music of Amy Beach, Nadia Boulanger, Fanny Mendelssohn Hensel, Alma Schindler Mahler, Clara Schumann, and others. Charlotte Russell, soprano; Mary Crowe, mezzo soprano; Angel Hernandez, viola; Jenny Tang, piano

Springtime Sojourn Friday, April 20 | 7:00pm Works by Rachmaninoff, Telemann, and Schubert. Bethany Stephan, violin; Sarah Tocco, piano

Camilla Blackman Hall at Indian Hill Music 36 King Street, Littleton, MA • All tickets $15

Order tickets online: or call 978-486-9524 x116 72



Located in the Historic Wetherbee House

103 Great Road, Acton, MA 01720 Phone: 978-264-4655 ♦ Fax: 978-264-4979 / 978-263-2851 Real Estate ♦ Estate Planning ♦ Estate Administration Corporate & Business ♦ Probate ♦ Bankruptcy


We are dedicated to sharing the joy of music. Let us join you on your musical journey! Visit us at and 1029 Chestnut Street | Newton Upper Falls, MA 02464 | 800 359 9351


Fine Musical Instruments at auction November 19 | 63 Park Plaza, Boston

Boston previews November 17, 12–7PM November 18, 10:30AM–5PM November 19, 9–10:30AM

two auctions annually consignments invited

Adam Tober 508.970.3216 274 Cedar Hill Street Marlborough, MA

French Violin, Joseph Hel, Lille, 1891, sold for $33,210

Boston | Marlborough | Miami | New York | MA LIC. 2304


A FIVE-STAR SKILLED NURSING FACILITY We offer post-hospital rehabilitation with specialties in neurology and wound care. • On-Site Primary and Specialty Care Physicians • Outstanding State Survey Results • Longevity and Consistency of Staff • 43-Acre Setting with Gardens and Walking Paths • Animal Assisted Therapy (including llamas)

Call today to schedule a tour and to learn more about our programs. 978.486.3512

Compare our outcomes at 76

93860 191 Foster St. | Littleton, MA 01460

Hear the region’s finest young musicians in our multi-level orchestra program!



Deanna Leedy-Andreozzi, conductor

CHAMBER STRINGS Todd Hamelin, conductor 2017-18 CONCERTS: November 14, 2017 at 7pm March 6, 2018 at 7pm May 21, 2018 at 7pm GENEROUSLY SUPPORTED BY


Dr. Eileen Yarrison Artistic Director

A premier performing ensemble of Indian Hill Music 2017-2018 CONCERT SEASON

Sunday, October 22, 2017 | 3:00pm Bachtoberfest: Bach, Baroque, and more

Sunday, December 10, 2017 | 3:00 pm Holiday Concert: Chase away winter’s chill!

Sunday, March 11, 2018 | 3:00 pm All That Jazz

Sunday, May 20, 2018 | 3:00 pm Spring Forward: Music inspired by nature CONCERTS AT INDIAN HILL MUSIC • 36 KING ST, LITTLETON MA • TICKETS $10






IT’S NOT JUST BANKING TO US, IT’S BANKING THAT GIVES BACK. Workers Credit Union is proud to support Indian Hill Music and their mission to share the transformative power of music, through teaching and performing, and giving music generously when there is need.


Shalin Liu Performing Arts Center, Rockport MA




an exciting collaboration, cultivating a new world of music within the farmlands of Groton. The Conrad Prebys Performing Arts Center, La Jolla, CA

Music Center at Indian Hill, for Indian Hill Music, Groton MA


Art + Music Meetings Events

The Gallery at Villageworks is a solar-powered venue for celebrations, meetings, performances, art, and cultural events in the heart of West Acton Village.

Photos by Elizabeth LaDuca Photography

Event Calendar : Event Rentals: 525-545 Mass Ave, West Acton, MA

Orchestra of Indian Hill Season Program 1718  
Orchestra of Indian Hill Season Program 1718