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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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Preferred Restaurants of Indian Hill Music Concert Season Your concert ticket gives you a 15% discount on your meal at these select restaurant partners on the day or evening of any Indian Hill concert. Just show your ticket, ticket stub, or email confirmation to your server. Bamboo Fine Asian Cuisine & Sushi Bar One Lan Drive Westford MA 01886 978-589-9666 Blackbird Café 491 Main Street Groton MA 01450 978-272-1175

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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 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 • 6

Indian Hill Music Faculty Showcase Recitals Music of the People, Music of the World October 7, 2016 at 7:00pm Villa-Lobos, Scriabin, Debussy, Fuzai, Zugeng Monica Tessitore, piano; Marianna Rashkovetsky, piano; Shan Liu, flute; Anabelle Tirado, violin

Music and Nature | November 4, 2016 at 7:00pm Kamen, Griffes, Finzi Eric Kamen, piano; Amy Lee, piano; Rob Woodin, baritone

A Century of American Music January 13, 2017 at 7:00pm Jazz and classical greats: Barber, Copland, Strayhorn Pamela Hines, piano; Bill Jones, saxophone; Justin Meyer, bass; Dave Fox, drums; Jenny Tang, piano

Across the Pond |

February 10, 2017 at 7:00pm

English composers: Walton, Britten, Quilter Martha Warren, soprano; Mary Crowe, soprano; Jamie Dunphy, lute; Berit Strong, lute; Shawn McCann, piano

Homage to Leonard Bernstein March 10, 2016 at 7:00pm Clarinet Sonata, Meditations from the Mass, selections from Candide Steven Jackson, clarinet; Susan Bonito, soprano; Cynthia Forbes, cello; Shawn McCann, piano

Classical Meets Jazz | April 14, 2017 at 7:00pm Kuhlau, Debussy, Hoover, Passler, Sabatini Eileen Yarrison, Sue Gleason, Shan Liu, and Pei-Chun Lin, flutes; Greg Passler and Eric Baldwin, guitars; Jerry Sabatini, trumpet; Joe Mazzarella, piano

SERIES SUPPORTER: Nashoba Real Estate Camilla Blackman Hall at Indian Hill Music 36 King Street, Littleton, MA • All tickets $10

Order tickets online: or call 978-486-9524 x116 7


Kalliroscope Gallery CHAMBER MUSIC SERIES


Flute & Piano Duo: Marianne Gedigian & Rick Rowley HANDEL SCHUMANN TAKTAKISHVILI CHAMINADE ZYMAN

Sonata in G major for flute and piano, HWV 363b Three Romances for flute and piano, Op. 94 Sonata for flute and piano Concertino for flute and piano, Op. 107 Sonata for flute and piano


David Deveau, piano SCHUBERT

Drei Klavierstucke (Three Piano Pieces), D.946


Wanderer Fantasie D. 760


Sonata in B-flat, D.960



Suite Bergamasque Variations and Fugue in E-flat Major, Op. 35 Barcarolle in F-sharp Major, Op. 60 Ballade in A-flat Major, Op. 47 Three Waltzes, Op. 64


Jupiter String Quartet Nelson Lee, violin; Megan Freivogel, violin; Liz Freivogel, viola; Daniel McDonough, cello MOZART Quartet in G Major, K. 387 BARTOK Quartet No.4 DVORAK Quartet in E-flat Major, Op. 51


Triple Helix Bayla Keyes, violin; Rhonda Rider, cello; Lois Shapiro, piano SHENG Four Movements for Piano Trio BEETHOVEN Opus 1, No. 1 in Eb Major RAVEL Trio for Piano, Violin, and Cello (1914) in A minor

KALLIROSCOPE GALLERY 264 Main Street, Groton, MA Tickets: $32 Post-concert wine & cheese reception with the artists


ORDER TICKETS ONLINE AT 978.486.9524 x116

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 9

Orchestra of Indian Hill Musicians 42nd Season Bruce Hangen, Artistic Director S tone Family Endowed Music Director’s Chair Violin I *Alice Hallstrom, Concertmaster The Reynolds Chair, endowed in perpetuity


2016 – 2017 SEASON

Li-Mei Liang, Associate Concertmaster The Charles Lincoln Gagnebin Memorial Chair, endowed in perpetuity


Melissa Bull Jane Dimitry Allan Espinosa Sponsored by Randy Steere and Paul Landry Amy Galluzzo Egle Jarkova Bethany Landby Stephan Mona Rashad Kay Rooney-Matthews Stuart Schulman Sponsored by Carole and Art Prest +Anabelle Tirado Violin II *Stanley Silverman  Sponsored in memory of Warren D. McBee Lynn Basila  Sponsored by Priscilla Endicott Sonia Deng Julia Erhard +Todd Hamelin +Angel Hernandez Laura Papandrea Nicki Payne Susan Turcotte-Gavriel Yuan-Mei Xing Viola **Peter Sulski **Amelia Hollander Ames Robert Kennedy Jiali Li +Dorcas Mccall

Darcy Montaldi Oleg Soloviev Jennifer Tanzer Jing-Huey Wei Cello Scott Lesser Acting Principal Sponsored by Bob and Sue Lotz Priscilla Chew George Hughen Nathan Kimball 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 Ted Lapres and Connie Keeran Jessica Lizak

Bassoon *Michael Mechanic Wren Saunders  Sponsored by Pam and Griff Resor Horn *Clark Matthews  Sponsored by Jeff and Mary Fuhrer Nancy Hudgins Kimberly Harriman Sheffra Spiridopoulos Trumpet *Mary-Lynne Bohn  Sponsored by Barbara and John 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 David and Bobbie Spiegelman Timpani *Karl Seyferth

Piccolo Ona Jonaityte Sponsored by Dave and Karen Riggert

Percussion *Michael Ambroszewski

Oboe Jennifer Slowik Acting Principal Sponsored in memory of Toby Goldman Catherine Weinfield-Zell

Piano *Bonnie Anderson

Harp *Deborah Feld-Fabisiewicz

Librarian Kate Weiss-Gordon

Clarinet *+Steven Jackson Sandra Halberstadt

* Principal ** Co-Principals + IHM School Faculty

Bass Clarinet William Kirkley

Endowed Chairs Red Chair Society

String section musicians are listed alphabetically after the principals.

From the Artistic Director

Welcome to our 42nd Season!

This is our job as an orchestra – to suit as many tastes as possible while honoring tradition and keeping the element of discovery and musical learning alive. As I said, a balanced, varied, and enjoyable line-up of great music, all for you! I look forward to seeing you in the audience! Your friend,

Bruce Hangen, Artistic Director

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.

2016 – 2017 SEASON

May I go a step further? My guiding principles are represented not just stylistically, but also geographically and chronologically. This season I have scheduled programs that are 60% (!) from the greatest 140 years of symphonic composition (1815-1955), and another 10% each from the Classical (Beethoven, Mozart), Pre-Classical (Vivaldi), mid-20th Century (Bernstein), and contemporary periods. Beyond that, if you attend all the programs, you will hear German, Russian, American, Italian, Northern European, English, Eastern European, Latin, Asian, and French music, all nicely tied up into centrally-focused themes to give you context for listening.


The essential (quintessential!) Beethoven is balanced by discovering Tan Dun’s double bass concerto. The romantic Schumann is balanced by the sparkling Rossini and child Mozart. Rhythmic Stravinsky is balanced with lovingly tender Elgar. Jazzy Bernstein is balanced with exquisite Ravel and dynamic Prokofiev. Traditional Vivaldi is balanced with newer sounds of Ginastera and capricious Tchaikovsky. You get the picture, I’m sure.


Balance, Variety, Discovery and Enjoyment are all key guiding principles for me when planning a six-concert orchestra season. There is simply too much great symphonic music over the last 250 years, and there are too many different tastes and audience preferences for us to be narrow-minded with repertoire in a single season.


42nd Season

Bruce Hangen | Artistic Director & Conductor October 15 • 7:30pm Classically Romantic Kodály, Bruch, Sibelius November 12 • 7:30pm Natural Surroundings Dvorák, Dun, Beethoven January 22 • 3:00pm Presidential Anniversary Salute Rossini, Schumann, Martin, Kraft

February 19 • 3:00pm Elemental! Earth, Water, Air, Fire Holst, Elgar, Frazelle, Stravinsky March 18 • 7:30pm A Story to Tell Bernstein, Ravel, Prokofiev April 22 • 7:30pm A Seasoned Finale Ginastera, Vivaldi, Tchaikovsky



Among the things we value most at Indian Hill are the connections and relationships that develop from experiencing live music together. We have designed our orchestra programs and all of the surrounding elements – lectures, faculty recitals, masterclasses and more, with exactly that in mind – to deepen your connection to the music, the musicians, and to each other.



Within these pages you will discover the depth and breadth of our work – this Orchestra, our chamber and jazz performance series, our Music School and ensembles, and the many ways in which we give music generously to the communities that we serve. We are so pleased you are here with us today. Join us throughout the season and experience the many connections that music can bring! Sincerely,

Susan Randazzo Carole Prest Executive Director Chair, Board of Directors


And don’t limit yourself to just these six concerts by the Orchestra of Indian Hill. Do you enjoy chamber music? Then come to one of the Saturday night concerts at Kalliroscope Gallery. Start your weekend by attending one of our outstanding Friday night Faculty Showcase Recitals. Or spend a relaxing Sunday afternoon with us at one of the Marjorie Besas Memorial concerts where the music can range from American jazz to Brazilian sambas to Gospel music.

2016 – 2017 SEASON

Indian Hill Music is more than performances. We seek to educate students of every age because we believe that music encourages the growth and development of the whole person. Deepen your understanding of the music by attending the pre-concert talks with our Artistic Director and Conductor, 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 Tuesday night Discovery Lecture to learn more about a particular aspect of music. Bring your cup of coffee to a Saturday morning Masterclass and watch world-class performers share their gift with aspiring musicians. Enroll as an Indian Hill Music School student and ignite your passion for making music!


About Indian Hill Music


2016 – 2017 SEASON


Now in its 31st year, Indian Hill Music (IHM) is a thriving non-profit regional center for music education and performance located in picturesque Central Massachusetts and easily accessible from Boston, Northern Massachusetts, and Southern New Hampshire. One of only a small group of non-profit organizations nationwide that encompass a music school, professional orchestra, and community outreach programs, IHM currently serves 79 communities ranging from Boston in the east, Metrowest, the Nashoba Valley, Merrimack Valley, and as far north as Nashua and Hollis, New Hampshire. Founded in 1985 to fulfill a need for quality music education, high caliber performances, and collaborative community partnerships for all ages, IHM’s activities 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. At the core of IHM’s mission is a comprehensive and synergistic music education program serving a community of 1,200 students of all ages, abilities, and backgrounds,


Making Music ... Creating Community

About Indian Hill Music

Dedicated to enriching the communities it serves, Indian Hill Music has developed strong and flourishing relationships through a full complement of outreach programming, serving some 7,000 people annually. IHM provides $65,000 in need-based scholarships annually, and $100,000 in outreach. In addition to its school music partnerships in the Ayer-Shirley Public Schools, Indian Hill Music presents the popular free Bach’s Lunch Concerts, a monthly series that regularly attracts hundreds of local seniors. IHM also offers the Threshold Singers of Indian Hill Music, a complimentary service providing compassion and comfort through the ancient tradition of singing at the bedsides of people who are ill or at the end of life.


IHM’s professional performance season is anchored by concerts of the 70-member Orchestra of Indian Hill, the region’s premier professional symphony orchestra, led by Artistic Director and Conductor, Bruce Hangen. Indian Hill Music also presents live performances by music school faculty, Orchestra of Indian Hill musicians, and other acclaimed guest artists in the Faculty Showcase Recital Series, the Besas Memorial Concert Series, and the Kalliroscope Gallery Chamber Music Series.

2016 – 2017 SEASON

where studying music, attending performances and lectures, participating in workshops, and performing with others are key components. Through the integration of the music school and the professional performance series, and a commitment to giving music to the community, the transformative power of music is fully realized.


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Your community music school Indian Hill is your non-profit community music school, striving to improve the lives of individuals, and our region, by fostering creativity and joyful self-expression that ripples outward into our lives, homes, schools, neighborhoods, and communities. Wherever you are as a musician, there is a place for you in the Indian Hill Music School community. We offer high-quality music education for all ages, abilities, and backgrounds. Some students play for enjoyment, others aspire to grand stages; some are just beginning, others are beginning again‌and everyone in between.

Beginner group lessons in piano, violin, guitar, drums, and ukulele, and classes in songwriting, sound recording, and more give students of all ages the opportunity to try something new, learn together, and develop new skills. For infants and young children, our early childhood Music for Aardvarks classes stimulate the progress of cognitive, social, and motor skills, and set the groundwork for a lifelong love of music. Our ensembles, choirs and bands in classical and contemporary styles offer students of all ages and playing levels opportunities to create, collaborate, and perform in our recital halls and public spaces. Performing ensembles include the Indian Hill Music Youth Orchestra, the Indian Hill Big Band, the Jazz Lab Ensemble, and the New England Flute Orchestra of Indian Hill, which provide students with high-quality training and opportunities to collaborate and share music in the community. IHM also features an extensive array of workshops, masterclasses, and lectures with distinguished artists, one-on-one training in Alexander Technique, music theory, composition, and ear training; recitals in our beautiful hall, a variety of summer music programs for all ages, and honors piano and concerto competitions. To deepen their experience, our students receive free and discounted admission to our performance and lecture series, including concerts by the Orchestra of Indian Hill. We encourage students of all ages and interest levels to come and explore their musical curiosity, and to discover the life-enhancing benefits that the study of music provides.


Our curriculum covers a spectrum which will support you from your first, most tentative notes, to a mastery of music. Private lessons in 30+ instruments and voice, and styles that span classical, contemporary, jazz, rock, pop, folk/traditional, Irish, Broadway, opera, and early music, offer ample opportunity for anyone to develop a personal and unique expression all their own.

2016 – 2017 SEASON

Our distinguished and caring faculty of over 60 teaching artists hails from the foremost conservatories and university programs, including New England Conservatory, Boston University, University of Massachusetts, Berklee College of Music, Boston Conservatory, Longy School of Music, Curtis Institute, Hartt School of Music, and more. Many of our faculty are musicians with the professional Orchestra of Indian Hill.


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 – Earmark your donation to 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 18

Giving Music Generously

• A nursing home caregiver relates how residents with dementia respond to our free monthly Bach’s Lunch concerts, saying, “Music reaches beyond eyes and ears.” • Students in the Ayer-Shirley School Music Partnership play their hearts out during their after-school lessons with Indian Hill faculty. Says one student: “I was eager to show off what I learned.” • A family expresses its gratitude for the presence of the Indian Hill Threshold Singers at the bedside of their dying mother: “Such peace came over the whole house.” • A single parent of a special needs scholarship recipient says her daughter “has been completely embraced as part of the IHM family, and I feel it, too.” We are deeply grateful for the generous support of our donors. Contributions from individuals, foundations, and local businesses enable us to continue providing high-quality community outreach programs. Learn more at or call us at (978) 486-9524.


Indian Hill’s focus on “giving music generously” runs through everything we do, every single day…

2016 – 2017 SEASON

Indian Hill Music is a thriving non-profit regional center dedicated to sharing the transformative power of music through education, performance, and outreach. We reach more than 13,000 people annually through programs and performances, invest over $100,000 in our outreach, and award over $65,000 in need-based scholarships. Our rich history of innovation and philanthropy ensures that music is accessible to all, regardless of background or musical ability. We offer a wide range of outreach programs and activities at our own venue and in schools, senior living facilities, and agencies around the area, serving some 7,000 people last year. Working collaboratively with other organizations and towns, we respond to expressed needs and provide a variety of entry points – lessons, concerts, lectures, hands-on demonstrations, and hospice bedsings – to accommodate the different ways in which individuals engage in, and respond to, music at all stages of their lives.



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. Tuesday, November 1, 2016 Chinese Music: A Cultural and Aesthetic Perspective Dr. Chi-Sun Chan Music Director & Conductor, Greater Boston Chinese Cultural Association Tuesday, January 10, 2017 The Influence of Jazz and Popular Music on Composers of the 20th Century Dr. William Banfield Faculty Member & Director of Africana Studies, Berklee College of Music; Composer, Author, Recording Artist Tuesday, February 7, 2017

On the Origins of Music Dr. Samuel Mehr Teaching Fellow, Harvard University

Tuesday, March 14, 2017 West Side Story: Immigration and Music Dr. Marisol Negrón Assistant Professor of American Studies and Latino Studies, University of Massachusetts-Boston Tuesday, April 11, 2017 Vivaldi and the Enlightenment Dr. James Schmidt Professor of History, Philosophy, and Political Science, Boston University All lectures on Tuesdays at 7:00pm, at Indian Hill Music School, 36 King Street, Littleton, MA.

TICKETS $10 • • (978) 486-9524 20

Our concerts offer an interesting and diverse range of repertoire from wellknown 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 New England Orchestra Consortium and the League of American Orchestras.

2016 – 2017 SEASON

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.


The premier professional orchestra west of Boston, the Orchestra of Indian Hill, under Maestro Bruce Hangen, is comprised of 70 conservatory-educated and experienced musicians who also perform and teach in high-caliber organizations and ensembles throughout New England.


Bringing Life to Music!


Now in his 19th season of exceptional music-making with the Orchestra of Indian Hill, 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.


2016 – 2017 SEASON

Did You Know?


More than 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

harp; Sandi Halberstadt, clarinet; Tony Gimenez, trumpet; Peter Cirelli, trombone; Priscilla Chew, cello; Nancy Dimock, oboe; Nancy Hudgins, French horn

25+ years—Yuan-Mei Xing, violin; Dorcas Mccall, viola

10+ years—Todd Hamelin, violin; Shay Rudolph, cello; Oleg Soloviev, viola; Jin-Huey Wei, viola; Jessica Lizak, flute; Sheffra Spiridopoulos, French horn; Lynn Basila, violin; Mark Emery, trumpet; Mona Rashad, violin; John Wall, bass

20+ years—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; Deb Feld-Fabisiewicz,

15+ years—Darcy Montaldi, viola; Jennifer Tanzer, viola; Kimberly Harriman, French horn;

Musicians are listed alphabetically by number of years.


About Maestro Bruce Hangen

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 – 1pm Online: (additional fees apply to 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. 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: Indian Hill Music has partnered with select area restaurants to offer a 15% discount on meals the day or evening of any Indian Hill concert when you show your 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 Sunday afternoon concerts. 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.

2016 – 2017 SEASON

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Orchestra of Indian Hill

Classically Romantic October 15, 2016 at 7:30 PM Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor

ZOLTÁN KODÁLY (1882-1967)

Dances of Galánta

MAX BRUCH Concerto for Violin and Orchestra No. 1 (1838-1920) in G Minor, Op. 26 David Kim, violin Vorspiel: Allegro moderato Adagio Finale: Allegro energico - Presto

Lead Sponsor:


JEAN SIBELIUS Symphony No. 2 in D Major, Op. 43 (1865-1957) Allegretto – Poco allegro Tempo andante, ma rubato Vivaccissimo – Lento soave Finale: Allegro moderato

2016 – 2017 SEASON



About Our Guest Artist David Kim, violin

Violinist David Kim, Concertmaster of The Philadelphia Orchestra since 1999, started playing the violin at the age of three. He began studies with the famed pedagogue Dorothy DeLay at age eight, and later received his bachelor’s and master’s degrees from The Juilliard School. He has also been awarded Honorary Doctorates from Eastern University in suburban Philadelphia, the University of Rhode Island, and Dickinson College. Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. He appears internationally at festivals, such as Brevard, MasterWorks (USA), and Pacific (Japan). Highlights of his career include teaching/performance residencies at Oberlin College, Bob Jones University, and The Boston Conservatory of Music, as well as continued appearances as concertmaster of the All-Star Orchestra on PBS stations across the USA and online at the Kahn Academy. He recently launched the first annual David Kim Orchestral Institute of Cairn University in Philadelphia, where he is also a Professor of Violin Studies. Mr. Kim’s instruments are a J.B. Guadagnini from Milan, Italy ca. 1757 on loan from The Philadelphia Orchestra and a Michael Angelo Bergonzi from Cremona ca. 1754. An avid runner, golfer, and outdoorsman, he resides in a Philadelphia suburb with his wife Jane and daughters Natalie and Maggie.


2016 – 2017 SEASON

Program Notes



Dances of Galánta

Zoltán Kodály was born in Kecskemét, Hungary in 1882 and died in Budapest in 1967. He composed this work in 1933 for the 80th anniversary of the Budapest Philharmonic Society, and it was first performed by that orchestra under the direction of Ernst von Dohnányi the same year. The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion, harp, and strings. At the turn of the last century, Kodály and his compatriot Bartók sensed the same thing: the rich tradition of Hungarian folk music was in danger of extinction,

because its practitioners were dying out. Determined to rescue their heritage, the two friends went into the field, taking dictation and recording Edison cylinders of the peasants who still knew the old tunes. Between them they preserved and published thousands of authentic Hungarian melodies. These were considerably more exotic than was previously understood, for much of what passed as Hungarian music was corrupted by generations of outside influences. Kodály and Bartók showed the world what real Hungarian music was like. Both composers made use of these melodies (and original tunes inspired by them) in their own works. Bartók tended to use


Concerto for Violin & Orchestra No. 1 in G Minor, Op. 26 Max Bruch was born in Cologne in 1838 and died in Friedenau (near Berlin) in 1920. He completed the first version of his Violin Concerto in 1866. He later extensively revised the work with the assistance of Joseph Joachim, who was the first soloist for the new version, premiered in Bremen under the direction of Karl Martin Rheinthaler

in 1868. The Concerto calls for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Today Max Bruch is known chiefly for this violin concerto and two works for cello and orchestra, Kol Nidre and Shelomo, yet this is but a thin slice from a long and productive career. Bruch began composing at the age of 11, won a prize for a string quartet at age 12, and continued his creative effusion until his death at 83. Along the way he produced three operas, three symphonies, dozens of songs and choral works, and much chamber music. He was also a talented conductor and respected pedagogue. Bruch first sketched some ideas for his First Violin Concerto when he was 19, but its gestation would last a further nine years. After its completion and first performance he was dissatisfied with it and immediately began extensive revisions. Eventually he sent the score and a request for advice to Joseph Joachim, the great violinist and friend of Brahms. Joachim was encouraging, and it is likely that Bruch adopted several of the virtuoso’s suggestions. When the revised score was given its premiere two years later it was with Joachim as the soloist, and the concerto entered the repertoire to stay. Bruch wasn’t even sure he should call this work a concerto because the first movement was not a sonata form. Joachim assured him that the following two movements were sufficiently formal that “the designation ‘concerto’ is completely apt.” But this movement is unusual, even for Bruch. After a low rumbling in the timpani the orchestra and soloist trade melancholy phrases, and as the movement gets going we find that although the music is


folk tunes as motivic points of departure, but Kodály often made them the destination. Kodály spent seven years of his childhood in Galánta, a town on the well-traveled road between Vienna and Budapest. The gypsy bands that visited brought, in his words, the first “orchestral” sonorities he heard. When commissioned to compose an 80th anniversary tribute to the Budapest Philharmonic Society, Kodály revisited his youth by using melodies from a collection of authentic Galántan dance music. Like a Hungarian dance, Kodály’s work begins with a slow introduction. After a cadenza, the clarinet gives the first of the several dance tunes. This theme returns, in various guises, to punctuate the work as it flows from one dance to the next. Kodály pursues a rich variety of moods, from the utmost in delicacy to foot-stomping revelry. Kodály’s genius was in the way he could combine authentic folk melodies with classical harmonies and procedures, without corruption or condescension. Kodály doesn’t just dress the peasant tunes in white tie and tails, he brings their color and enormous vitality directly to the concert hall.

2016 – 2017 SEASON

Program Notes



2016 – 2017 SEASON

Program Notes


supremely melodic, there aren’t the usual one or two “big tunes” that will end up dominating things. (Actually, the music seems more motivic than traditionally melodic.) At the point where we would expect to hear a development (were this a sonata form) Bruch brings back the opening music and begins a transition to the second movement, which follows without pause. Bruch ended up calling the first movement Prelude because that’s what it is: an elaborate introduction to the Adagio, the heart of the concerto. This lyric masterpiece has not just one but three magnificent themes. The second of these has been called “the melodic glory of the nineteenth century,” and few will disagree. These wonderful tunes intertwine with artful dramatic pacing and culminate in a passionate climax. The gypsy-like music of the Finale brings with it both an invitation to dance and astonishing fireworks from the soloist. The multitude of double, triple, and quadruple stops are often made to sound easy by today’s virtuosi—rest assured they are not. Still, Bruch hasn’t forgotten that the violin is his singer, and he makes room for one more expansive and glorious melody before he’s done.


Symphony No. 2 in D Major, Op. 43 Jean Sibelius was born in Tavestehus, Finland in 1865 and died in Järvenpää in 1957. He completed his Second Symphony in 1902, and led the Helsinki Philharmonic in the first performance the same year. The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. Sibelius once described his method of

composition in this way: “It is as if the Almighty had thrown the pieces of a mosaic down from the floor of heaven and told me to put them together.” When we hear the first pages of his Second Symphony the metaphor becomes clear. The strings begin with velvety chords, an accompaniment in search of a melody; the woodwinds supply a jaunty tune, but each time they begin they are interrupted by the horns’ more reflective music. The flutes’ new idea is swept aside by an impassioned tune in the strings; the woodwinds join, but are replaced with a pizzicato string figure. The jumbled musical fragments, like scattered tiles on the floor, have yet to be assembled. A traditional sonata form usually presents two contrasting melodies, develops them by breaking them down into smaller bits, then brings them back in their original form. But Sibelius’ sonata is utterly different. He first shows us only fragments, the individual tiles of the mosaic, one at a time. As the movement develops he combines them, fitting the tiles together in different ways. Some tiles grow in importance while others don’t seem to fit the picture and fall away. The fragments collide and evolve into bigger pieces until, at last, the picture becomes clear. Sibelius achieves the same sense of unity and order given by a traditional sonata, but by means both unique and fascinating. Sibelius is known for his vivid tonepoems, and his second movement might stand with the best of them. As the soft, pizzicato doublebasses open up a darkly magical world, the music appears to be more linear than the first movement’s. But new fragments intercede, full of violent outbursts and dramatic pauses. These flare up and die away, their energy spent,

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.


and the music recedes into the mists that opened the movement. The Scherzo is based on an ominous swirling figure that yields to a plaintive, almost static oboe melody in the trios. At the end, where one expects the final iteration of the Scherzo’s material, Sibelius interjects the first three notes of the Finale’s big tune and leads right into the next movement without pause. As the work unfolds this big tune is jostled by new fragments (or variants of old ones), but its primacy is never challenged. The closing pages make it triumphant. In the end the mosaic Sibelius has constructed from his scattered tiles is vivid, fresh, and powerful. —Mark Rohr Questions or comments?

2016 – 2017 SEASON

Program Notes

Indian Hill Volunteers

Make Things Happen! 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.


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Music for the community by the community

2016-17 Season

A thrumming of piano-strings…a sphere of melody


OCTOBER 14 & 15, 2016 Rachmaninoff, Mozart


Peter & the Wolf, Vaughan Williams, Copland Concord Middle School strings

JANUARY 27 & 28, 2017 YOUNG ARTIST 2017 competition winner Beethoven Eroica

MARCH 31 & APRIL 1, 2017 THOREAU BICENTENNIAL CONCERT Eric Sawyer: Civil Disobedience (a world premiere) Hoffer, Liszt, Schumann

All concerts

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MAY 19, 20, & 21, 2017 POPS 2017: OL' MAN RIVER Strauss Nocturno for horn Jerome Kern medley Smetana, Williams (Jaws), Ellington



Orchestra of Indian Hill

Natural Surroundings November 12, 2016 at 7:30 PM Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor


Overture: In Nature’s Realm, Op. 91


TAN DUN Contrabass Concerto: Wolf Totem (b. 1957) (New England premiere) Erik Harris, contrabass Largo melancolia – Allegro Andante molto Allegro vivace

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UDWIG VAN BEETHOVEN Symphony No. 6 in F Major, Op. 68 L (1770-1827) (Pastoral) Allegro ma non troppo Andante molto mosso Allegro Allegretto

2016 – 2017 SEASON



About Our Guest Artist Erik Harris, contrabass

Born in New York City and raised in Fort Lauderdale, Florida, Erik Harris began his musical studies on guitar at age 5 and switched to double bass at age 13. He attended the Juilliard School on a full scholarship, where he studied with noted double bass pedagogue Homer Mensch. While at Juilliard, Mr. Harris won the double bass concerto competition and performed as soloist with the Juilliard Symphony. He went on to receive both his Bachelor’s and Master’s degrees from Juilliard, and was recognized as one of their 100 most notable alumni in honor of the school’s 100th anniversary in 2005. Mr. Harris served as Principal Bass with the New World Symphony in Miami during its inaugural season in 1988. The following year, at age 23, he was invited by Sir Georg Solti to join the Chicago Symphony. He was appointed to his present post as Principal Double Bass of the Saint Louis Symphony Orchestra in 1993. Mr. Harris gave the American premier of Tan Dun’s Concerto for Contrabass and Orchestra “Wolf Totem” in 2015 with Music Director David Robertson conducting. An avid teacher, he has taught master classes at the Manhattan School of Music, New World Symphony, and the Juilliard School, and currently serves on the faculty of Webster University. Mr. Harris performs on a double bass made by Johannes Gagliano in 1804.

Program Notes


2016 – 2017 SEASON



Overture: In Nature’s Realm, Op. 91 Antonín Dvořák was born in Mühlhausen, Bohemia in 1841 and died in Prague in 1904. He composed this concert overture in 1891 and led the first performance in Prague the following year. The score calls for 2 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. When Dvořák composed three concert overtures meant to represent the “three great creative forces of the Universe,” he called them Nature, Life, and Love. He originally intended that they should be played together as a set—there is some thematic unity among the three and they do make an interesting trilogy. But he eventually decided to issue them separately, and

renamed them In Nature’s Realm, Carnival, and Othello. Dvořák composed these works at his secluded home in the Vysoká forest, and his deep reverence for nature informs all of them. What’s more, the main theme of In Nature’s Realm appears in the other overtures, too. This links them not just musically, but philosophically as well: to Dvořák, the gentle beauty of Nature, the spirit of Life, and the joys (and jealousies) of Love were all of a piece, three facets of the human condition and of nature itself. In Nature’s Realm brings us back to the source of it all. The overture begins quietly, with fragments of a theme here and there, finally coalescing into a loud, stirring statement of the theme itself. From here we have a sonata form, but quite unlike those we’re


Contrabass Concerto: Wolf Totem Tan Dun was born in 1957 in the Hunan province of China. He composed this work in 2014 in a co-commission from the Royal Concertgebouw Orchestra, the Royal Liverpool Philharmonic, the St. Louis Symphony, the Taiwan Philharmonic, and the Tasmanian Symphony Orchestra. Tan led the first performance in 2015 in Amsterdam with Dominic Seldis, contrabass and the Royal Concertgebouw Orchestra. The score calls for contrabass solo, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 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.” His earliest compositions won him international praise but brought him afoul of the Chinese cultural establishment, which was operating like its Soviet counterpart. Before long he was denied permission to travel outside China. This ban was finally lifted when he was invited by Chou WenChung 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). Tan currently lives in New York. Just as Tan’s life has been a synthesis of East and West, so too is his music. A large part of his inspiration for composing his Contrabass Concerto: The Wolf was the Chinese novel Wolf Totem by Jiang Rong. This period epic portrays the extinction of both the culture of the Mongols and of the Mongolian Wolf, an animal sacred to them. As Tan says, the work shows how the wolf was “the mirror of the human being, how we used to share one sky, one grassland. But now, the mirror is broken.” In this way, both the novel and Tan’s concerto speak to us about humanity’s relationship with the


used to. Instead of primary themes and secondary themes Dvořák gives us places: a meadow, a glen, a thicket, a river. The development reminds us that there are dark aspects of nature, too. As the piece returns to its opening music, Dvořák leads us to expect a grand and noisy ending, but instead the overture gradually fades into the same distance from which it came— into the deep forest of Vysoká. This little masterpiece is sadly neglected: the boisterous Carnival gets all the attention, and more performances than the other two overtures combined. Yet it is here, In Nature’s Realm, that we find not just Nature, but also Life and Love in their purest form.

2016 – 2017 SEASON

Program Notes


Program Notes natural world. The concerto is in a traditional threepart form. The first movement begins quietly and otherworldly, and while the contrabass enters as part of this, it soon comes to dominate what we hear with its mournful and melancholy voice. A galloping allegro soon follows; in it we hear the running of both the wolves and the Mongolian horses in the grasslands. The soloist takes up the galloping motive and with the orchestra drives the movement to its surprising finish. In the luminous second movement, a wolf pup laments the loss of its mother and its home. The contrabass sings it in long, elegiac lines. The running horses return to lead off the Finale, a breathtaking blend of virtuosity and sheer spirit.



2016 – 2017 SEASON

Symphony No. 6 in F Major, Op. 68, Pastorale


Ludwig van Beethoven was born in Bonn in 1770 and died in Vienna in 1827. He composed his Sixth Symphony for the most part in 1807 and 1808, though there are sketches that go back as far as 1803. The work premiered in 1808 at the Theater an der Wien, Vienna. The symphony’s score calls for 3 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings. Beethoven carved the Fifth Symphony from marble and granite, fashioning a monument to the works of Man. In an abrupt turn, Beethoven made the Sixth from softer stuff, in homage to the works of Nature. We often think of Beethoven as a profoundly unhappy man with much to be unhappy about. But he always found relief and renewal in his daily tramps around

the ramparts of Vienna and his summers in a nearby village. The natural world was a tonic for him, his only reliable source of happiness. In the Sixth Symphony, Beethoven turned those feelings into sounds. He called the Sixth a “characteristic symphony, a recollection of country life,” adding, “more an expression of feelings than a painting.” Nonetheless, he wrote painterly titles for each movement. His “recollections” of the country are simple, not grand. He takes time to ponder a single tree, a brook, a bird. Beethoven calls the first movement Awakening of Cheerful Feelings upon Arriving in the Country, and the music itself awakens with a gentle phrase that stops even before it gets going. The similar full-stop in the Fifth Symphony creates a heightened feeling of tension; here the very same technique marks the leisurely pace of Nature’s world. This sense of timelessness is carefully cultivated. Melodic and harmonic elements are simple and direct. The harmonies proceed at a stately pace, sometimes lingering on a single chord for astonishingly long periods. While listening it doesn’t seem possible, but in the development Beethoven gives us the same melodic figure—taken from the second bar of the piece—repeated over seventy times. This has been likened to the “sublime monotony” of Nature itself, like the repeating patterns of the leaves in the trees. Beethoven varies the key, color, and dynamic of this figure to give the leaves their many variations of light and shade. The second movement, Scene by the Brook, is undulating and serene. Beethoven violates his own dictum against tone-painting by depicting a nightingale (flute), quail (oboe), and cuckoo (clarinet), all marked


Nashoba Valley Chorale J.S. Bach Jesu, meine Freude

Ola Gjeilo Sunrise Mass 8 pm, Nov. 19, 2016 Littleton High School Performing Arts Center


Anne Watson Born, Director P.O. Box 681, Littleton, MA 01460 978-540-5022

Johannes Brahms

Antonin DvorĂ k

Ein Deutsches Requiem

4 pm, May 21, 2017

8 pm, April 29, 2017 Littleton High School Performing Arts Center

Te Deum Mechanics Hall, Worcester NVC with the Worcester Youth Symphony Orchestra & the Natick High School Choir, conducted by Jonathan Brennand

Program Notes

—Mark Rohr Questions or comments?

2016 – 2017 SEASON

F-minor; there are plenty now, and their presence is startling. Many composers have tried to depict a thunderstorm, but none surpass Beethoven, even those with much larger orchestras at their disposal. When the sky clears, we hear the Shepherd’s Song—Happy and Thankful Feelings after the Storm. A reverent hymn begins, and then the shepherd’s song leads us back to fresh-scrubbed leaves, cool breezes, and the continuum of Nature. The ease and gentility of the first movement return, as if they had never left, and the thankfulness turns to joy. Beethoven turned to the ever-constant yet always-changing face of Nature when the works of Man made him sour. That he could not hear the bird-calls or the murmuring brook didn’t matter: those sounds lived deep inside him. For centuries composers have tried to evoke Nature with their music, but only Beethoven has so eloquently captured its uplifting spirit.


explicitly so in the score. Beethoven’s friend Anton Schindler told how the composer enjoyed hearing the unpolished playing of village bands. Beethoven once asked Schindler if he had noticed “how village musicians often played in their sleep, keeping quite still, then waking up with a start, getting in a few vigorous blows or strokes, and then dropping off to sleep again.” This is lovingly—not mockingly—related in the Scherzo, Merry Gathering of Country Folk. The oboe seems not quite ready to begin its theme, for it starts a beat late. Later, the bassoon seems to briefly wake, play three notes, and doze off again. When the clarinet takes the melody—similarly unready—it seems to waken the violas, who in turn rouse the cellos. Everyone joins in the foot-stomping rustic dance of the trios; to Beethoven, this is as much a sound of Nature as the quail or cuckoo. The fourth movement’s Thunderstorm begins not with a bang, but with the anxious calm before the storm. When the skies burst, it is with genuine fury. Up to this point Beethoven had not written a single diminished chord, nor even a passing


Concord Chamber Music Society Sunday, October 9, 3:00 PM

David Finckel, cello and Wu Han, piano Sunday, November 27, 3:00 PM

Chiara String Quartet Sunday, January 29, 3:00 PM

Concord Chamber Players Sunday, March 19, 3:00 PM

Concord Chamber Players with Glenn Dicterow and Karen Dreyfus All concerts at the Concord Academy Performing Arts Center 166 Main St., Concord MA Wendy Putnam, Director

42 | 978-405-0130


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

October 7 Friday

Faculty Showcase Recital: Music of Brazil, Russia, China, 7:00 pm (CBH)

8 Saturday

Marianne Gedigian, flute & Rick Rowley, piano, 8:00pm (KG)

15 Saturday

Piano Masterclass: Dr. Hugh Hinton, 10:30am (CBH)

15 Saturday

Orchestra of Indian Hill: Kodaly, Bruch, Sibelius, 7:30pm (LHS)

20 Thursday

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

30 Sunday

Besas Concert Series: Spirituals & Gospel Music, 3:00pm (CBH)

November 1 Tuesday

Discovery Lecture: Dr. Chi-Sun Chan - Chinese Music Perspectives, 7:00 pm (CBH)

4 Friday

Faculty Showcase Recital: Music Inspired by Nature, 7:00 pm (CBH)

12 Saturday

Double Bass Masterclass: Erik Harris, 10:30am (CBH)

12 Saturday

Orchestra of Indian Hill: Dvorak, Tan Dun, Beethoven, 7:30pm (LHS)

15 Tuesday

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

17 Thursday

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

19 Saturday

David Deveau, piano, 8:00pm (KG)

December 11 Sunday

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

15 Thursday

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

2016 – 2017 SEASON

10 Tuesday

7 Tuesday

Discovery Lecture: Dr. Samuel Mehr - Origins of Music, 7:00 pm (CBH)



10 Friday

Faculty Showcase Recital: Music of English Composers, 7:00 pm (CBH)

16 Thursday

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

18 Saturday

Voice Masterclass: Emily Marvosh, 10:30am (CBH)

19 Sunday

Orchestra of Indian Hill: Holst, Elgar, Stravinsky, 3:00pm (LHS)

25 Saturday

Anton Nel, piano, 8:00pm (KG)


Discovery Lecture: Dr. William Banfield - Influence of Jazz, 7:00 pm (CBH)

13 Friday

Faculty Showcase Recital: American Jazz and Classical Greats, 7:00 pm (CBH)

19 Thursday

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

21 Saturday

Jazz Masterclass: Billy Novick,10:30am (CBH)

22 Sunday

Orchestra of Indian Hill: Rossini, Schumann, Mozart, Kraft, 3:00pm (LHS)


2016 – 2017Season Season 2011 – 2012 March 4 Saturday

IHM Presents The Four Legged Faithful, 8:00 pm (Villageworks, West Acton)

5 Sunday

Besas Concert Series: Music of French Composers, 3:00 pm (CBH)

7 Tuesday

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

10 Friday

Faculty Showcase Recital: Works by Leonard Bernstein, 7:00 pm (CBH)

12 Sunday

NE Flute Orchestra of IHM: Children’s Concert, 3:00 pm (CBH)

14 Tuesday

Discovery Lecture: Dr. Marisol Negron - Immigration and Music, 7:00 pm (CBH)

16 Thursday

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

18 Saturday

Piano Masterclass: Michael Kramer, 10:30am (CBH)

18 Saturday

Orchestra of Indian Hill: Bernstein, Ravel, Prokofiev, 7:30pm (LHS)

25 Saturday

Jupiter String Quartet, 8:00pm (KG)

Besas Concert Series: Berit Strong & Billy Novick, 3:00 pm (CBH)

7 Friday

Performathon Fundraiser: Student & Faculty Concerts, 5:00pm (CBH)

8 Saturday

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

11 Tuesday

Discovery Lecture: Dr. James Schmidt - Vivaldi and the Enlightenment, 7:00 pm (CBH)

14 Friday

Faculty Showcase Recital: Classical Meets Jazz, 7:00pm (CBH)

20 Thursday

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

22 Saturday

Violin Masterclass: Alice Hallstrom, 10:30am (CBH)

22 Saturday

Orchestra of Indian Hill: Ginastera, Vivaldi, Tchaikovsky, 7:30pm (LHS)

29 Saturday

Triple Helix, 8:00pm (KG)

May 7 Sunday

Besas Concert Series: Dave Fox Quartet with Stan Strickland, 3:00 pm (CBH)

18 Thursday

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

21 Sunday

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

22 Monday

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

June 15 Thursday

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

Concert and Event Venues


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

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


2 Sunday

2016 – 2017 SEASON




A premier performing ensemble of Indian Hill Music School

Dr. Eileen Yarrison, Artistic Director

2016-2017 CONCERT SEASON WINTER’S GIFTS Sunday, December 11 at 3:00 pm Seasonal tunes and original music for flutes

FLUTE FAMILY FUN Sunday, March 12 at 3:00 pm A lively concert for kids and adults of all ages

BORROWED FROM THE BEST Sunday, May 21 at 3:00 pm Orchestral masterpieces arranged for flutes, including Barber’s “Adagio” Tickets: $10 ORDER TICKETS ONLINE: • 978.486.9524 x116



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Indian Hill is Music to Their Ears! There are lots of good reasons to partner with us... Recognition... on our website, from the stage, in our lobbies

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To learn more, please contact Catherine Coleman, Director of Development, at or (978) 486-9524 x 127

Orchestra of Indian Hill

Presidential Anniversary Salute January 22, 2017 at 3:00 PM Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor


Overture to La gazza ladra (The Thieving Magpie)

ROBERT SCHUMANN Symphony No. 2 in C Major, Op. 61 (1810-1856) Sostenuto assai — Allegro, ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

WILLIAM KRAFT A Kennedy Portrait: Contextures III for (b. 1923) Narrator and Orchestra Jeremiah Kissel, narrator

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Circle Health Urgent Care


OLFGANG AMADÈ MOZART Symphony No. 6 in F Major, K. 43 W (1756-1791) Allegro Andante Menuetto and Trio Allegro

2016 – 2017 SEASON



About Our Guest Artist Jeremiah Kissel, narrator

Jeremiah Kissel is a thirty-five year veteran of New England’s professional stages, having performed major roles for Boston’s largest theaters, including The Huntington, American Repertory Theater, The Lyric Stage, and Commonwealth Shakespeare Company. He is the recipient of several IRNE and Elliot Norton awards, (most recently the 2014 Norton Best Actor for “Imagining Madoff ”), and in 2003 was given Boston’s highest theater honor, The Elliot Norton Award for Sustained Excellence. Recent stage appearances include “Three Farces and a Funeral” opposite Alan Alda, “Hamlet” with Jeffery Donovan, “Two Gentlemen of Florence” with Edward Herrmann, and “The Cherry Orchard” with Kate Burton. Mr. Kissel’s TV and film credits include “Black Mass,” “The Fighter,” “The Great Debaters,” and “The Town.” He also has an extensive voice over resume and has voiced several episodes of Boston produced installments of “Nova” and “Frontline.”



2016 – 2017 SEASON

Overture to La gazza ladra (The Thieving Magpie)


Gioachino Rossini was born in Pesaro, Italy in 1792 and died in Paris in 1868. He composed his opera La gazza ladra in 1817 to a libretto by Giovanni Gherardini after La pie voleuse by JMT Badouin d’Aubigny and Louis-Charles Caigniez; it was first performed at La Scala in Milan the same year. The Overture is scored for 2 flutes, piccolo, 3 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 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. Rossini is best known for his comic masterpieces, but while La gazza ladra has many comedic moments the focus of the opera is serious indeed. The plot has its basis in what appears to be a true story: a French maid was once accused of stealing a silver spoon, an offense at that time carrying the death penalty. Only after she was convicted and executed was it discovered that the spoon had been “stolen” by a magpie who had hid it in its nest. This tale was known all over Europe, and it led to a widespread reconsideration of theft as a capital crime. In Rossini’s opera the magpie’s guilt is discovered before the girl is executed—happy endings being more popular—but not before much harrowing drama (and dramatic music) takes the stage. Rossini had a certain nonchalance about overtures, frequently composing


Symphony No. 2 in C Major, Op. 61 Robert Schumann was born in Zwickau, Germany in 1810 and died at Endenich, Germany in 1856. He completed this symphony in 1846, and it was first performed by the Gewandhaus Orchestra under the baton of Felix Mendelssohn the same year. The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. By the time Schumann composed his Symphony No. 2 (it was actually the third one he wrote), he had suffered many of his nervous breakdowns, episodes full of memory lapses, phobias, and suicidal fantasies. He composed the work during his convalescence following the most recent of these. He sketched the work very quickly, but took quite a long time to finish it. He may have seen it as a way to pull himself out of his melancholia, a kind of musical

struggle to regain himself. “I began to feel more myself when I wrote the last movement,” he wrote, “and was certainly much better when I finished the whole work. All the same, it reminds me of dark days.” The dichotomy between Schumann’s personal demons and the strong, lively, and vigorous music he composed in his Second Symphony is as great as can be imagined. The slow (and quite lengthy) introduction to the first movement begins with a quiet call to attention in the trumpets. Thereafter it ranges far and wide, never visiting a theme or tonal center long enough to call it home. The Allegro that follows is full of off-kilter rhythms—it is very Brahmsian in this way—and relentlessly vigorous. The exposition is surprisingly short, while the development is quite extended. The similarly expansive coda reprises the introduction’s trumpet call. The second movement is a scherzo with two trios, opening with a famously scurrying string figure. (Famous among violinists, at least, whose duty is to work through its difficulties.) Those with an ear for such things might notice in the second trio a cleverly embedded motto on Bach’s initials (B-A-C-H, or B-flat, A, C, B-natural in German parlance). Schumann had been studying Bach, which accounts for both this and the increased level of polyphony in the symphony as a whole. The third movement’s song-like Adagio is calm, poignant, and melancholic. Schumann seems to begin a fugue, of all things, in the middle of the movement, but drops it before it takes hold. A true symphonic adagio was fairly rare for Schumann; this one swells with affecting beauty. The Finale is an exuberant finish to the whole. Its shape is unusual; Schumann


them at the very last minute and not above “recycling” them from one opera to the next. But with La gazza ladra he unleashed a real corker, full of fire and (unusual for Rossini) music taken from the opera itself. Rossini gives us a quasi-sonata form with a drum roll and military march for an introduction. The first of the major themes—the scintillating minor key passage in the strings—will be heard later as the accompaniment figure to the servant girl’s lament upon being imprisoned. The music continues with a succession of tunes from the opera, including a delightfully playful section for the woodwinds and some unusual—and splendid—writing for the trombones. Rossini caps it all off with a presto of high excitement and orchestral pizzazz. Simply brilliant.

2016 – 2017 SEASON

Program Notes



2016 – 2017 SEASON

Program Notes


seldom wrote music to fit a form, he created a form to suit the music. A variation of the Adagio’s theme gets prominent treatment, and the fanfare that opened the first movement returns at the close. The energy and sense of “rightness” in this piece conceal a treasure-trove of compositional details that are far too numerous to mention but which contribute mightily to both. After a disastrous first performance under the baton of Felix Mendelssohn (disastrous largely due to the excessive length of the program—the audience simply had no energy left for it), Schumann’s Second was almost universally considered to be a great work in the nineteenth century. In modern times it has been neglected, sadly, for no reason that is apparent. It holds many beauties, and repays repeated listening. It also provokes a certain fascination in how a man who could slip so easily between madness and sanity could also have written something as lucid as this.


Symphony No. 6 in F Major, K. 43 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 this work in 1767, and it was first performed the same year in Brno, Moravia by the Mozart family and local musicians. The score calls for 2 flutes, 2 oboes 2 horns, and strings. In the present day, when the terms “gifted” and “genius” are awarded so carelessly as to deprive them of their utility, it is refreshing to revitalize them by considering Mozart. He was the greatest pianist of his day; he had perfect pitch;

his phenomenal memory allowed him to compose complete works in his head, committing them to paper only when finished. If he heard a piece or a cadenza in concert, he could go home and write it out note for note. These were some of the gifts—the genius that makes his music so consequential to this day is unexplainable. Mozart was the prototypical child prodigy. He was picking out melodies at the keyboard at age three; by age five he was already an accomplished player. He began composing at six. His father, Leopold (a famous musician himself), knew what his son was; he taught him, developed him, and exploited him. Leopold took young Wolfgang and his sister Nannerl (also a fine musician) on grueling tours of Europe, performing everywhere Leopold might find a future post for his son or a generous donation. The children were required to perform all manner of musical tricks such as playing blindfolded or with a cloth covering the keys. Mozart’s youth was spent, essentially, as a miniature adult; some say that in later years he lived out the childhood he never had. Mozart was on the road again when he completed his Sixth Symphony, this time in Vienna, although he may have begun the piece in Salzburg. It is vigorous and sturdy, understandably a bit long on ideas and short on development. Yet there are plenty of hints of the Mozart-to-come. The opening theme of the first movement already has his characteristic two sides: the first martial and the second much gentler. And the deft minor-key development is a treat. Mozart arranged the serene Andante from a duet composed for his opera Apollo et Hyacinthus, K. 38. (Yes; he’d already written an opera, and yes, he already had

Program Notes

William Kraft was born in Chicago, Illinois in 1923. He composed this work in 1988 on a commission from Benjamin Zander for the Boston Philharmonic, who premiered the work in Boston the same year. The score calls for narrator, 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, celeste, harp, and strings. William Kraft was born in Chicago to Ukrainian parents who insisted on music lessons for their children. Kraft began piano lessons at age five but, as he says, it was with “an alarm clock on the piano.” At fifteen his sister had him listen to a live Benny Goodman broadcast: “It blew my mind,” he said, “the first great epiphany.” After hearing drummer Jo Jones with the Basie band he switched to the drums, and his new course was set. Kraft would become an outstanding percussionist, spending 25 years with the Los Angeles Philharmonic, the last 17 as principal timpanist. He had taken his degrees from Columbia University and studied composition there. In his maturity he became well known as a composer, teacher, conductor, and percussion soloist. His awards, commissions, and other honors would fill a small book.

I. Brief introductory quotes expressing Kennedy’s vision of America—its position and relationship to humanity. II. Kennedy’s belief in the arts—their significance and relevance to the nation’s well-being; also, the effect of the arts on America’s place in history. III. Social justice and Kennedy’s view of liberty and democracy. IV. Brief concluding remarks taken from the speech Kennedy was to deliver November 22, 1963. “The words that introduce each area are my own, the opening stemming from something Ben Zander had said at our initial meeting. “Musically, it was impossible for me to ignore Copland’s Lincoln Portrait, nor would I necessarily want to, for it is a wonderfully effective work that I have long loved and respected and one which has such a fine ‘American’ feel to it.” As it happens, two intervals that characterize Copland’s “Americana” music— the major second and perfect fifth—were also characteristic of Kraft’s. In some instances Kraft uses the major second to suggest “We Shall Overcome,” while at others it is to invoke Mahler’s Ninth Symphony—a work, Kraft says, “contemplates the evanescence of earthly life.”

2016 – 2017 SEASON


A Kennedy Portrait

Kraft writes the following about A Kennedy Portrait: “When Ben Zander contacted me about the possibility of my composing a musical portrait of John F. Kennedy, I was very excited by the idea, since Kennedy had such a profound effect on me, as he did on so many others. The quotations used in this piece fall into four loosely defined areas, each separated by an orchestral interlude:


enough material to be recycling it.) The third movement is a Minuet and Trio, possibly his first. The Finale is lighthearted, and you can hear Mozart having a great deal of fun with his endless extensions and closing melodies. It all seems fairly unremarkable for Mozart—until you come to find out that the composer was only eleven years old at the time.


Program Notes Kraft concludes: “To me, and of course to many others, the profoundly tragic trilogy of assassinations—John and Robert Kennedy and Dr. Martin Luther King, Jr.—are tantamount to the assassination of the nation, for no one has more clearly epitomized the necessary concern for humanity with the courage and vision to implement that concern regardless of the potential consequences. If I have done anything to breathe new life into the words, thoughts, and image of John F. Kennedy, I am grateful.” —Mark Rohr Questions or comments?


Orchestra of Indian Hill

Elemental: Earth, Water, Air, Fire February 19, 2016 at 3:00 PM Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor


EDWARD ELGAR (1810-1856)

The Perfect Fool: Ballet Music, Op. 39


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

Sea Pictures, Op. 37 Emily Marvosh, contralto

“Sea Slumber Song” by Roden Noel “In Haven (Capri)” by Caroline Alice Elgar, the composer’s wife “Sabbath Morning at Sea” by Elizabeth Barrett Browning “Where Corals Lie” by Richard Garnett “The Swimmer” by Adam Lindsay Gordon — INTERMISSION —

KENNETH FRAZELLE From the Air (b. 1955) IGOR STRAVINSKY Firebird Suite (1919) (1882-1971) Introduction - The Firebird and Its Dance

The Princesses’ Round Dance (Rondo) Infernal Dance of King Kashchei Berceuse (Lullaby) Finale Supported By:

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Haartz Corporation

Scheier Katin & Epstein, PC. Attorneys at Law


About Our Guest Artists Emily Marvosh, contralto

Contralto Emily Marvosh has been gaining recognition for her “sterling voice,” and “graceful allure,” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the Charlotte Symphony, Tucson Symphony Orchestra, Chorus Pro Musica, Music Worcester, Back Bay Chorale, Boston Early Music Festival, and the Music at Marsh Bach Cantata Series. In 2013, she created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. Ms. Marvosh is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, and the Boston Symphony Orchestra. She can also be heard on two recent GRAMMY-nominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. Ms. Marvosh holds degrees from Central Michigan University and Boston University.

Program Notes GUSTAV HOLST

The Perfect Fool: Ballet Music, Op. 39


Gustav Holst was born in Cheltenham, England in 1874 and died in London in 1934. He composed his opera The Perfect Fool in 1918-1922 and it was first performed the following year at the Covent Garden Theater in London under the direction of Eugene Goossens. Holst composed the ballet music that precedes the opera in 1920. The score calls for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, celeste, and strings. Gustav Holst was a workaday musician. Arthritis in his hands precluded a career as a pianist, so for several years following college he made a living as a trombonist in

opera and theater orchestras. Eventually he turned to teaching, sometimes at several schools at once, until he became head of the music department at the St. Paul’s School for Girls in London. His duties there were so time-consuming that he had little time left for composing. The ambivalence he had about composing thus stemmed from necessity, but he also said, “Never compose anything unless the not composing of it becomes a positive nuisance to you.” He found it a positive nuisance not to compose his short, comic opera The Perfect Fool, but alas both the audience and the critics simply found it a nuisance, period. The opera was a parody of 19th century opera conventions—and most especially those of Wagner—but it seemed there was no one who was ready to “get it.” This is mostly



Program Notes

Richard Pittman, Music Director


2016 – 2017 SEASON

Music for the community by the community

trumpets, 3 trombones, tuba, timpani, blamed on the libretto, written by Holst 2016-17 Season OCTOBER 14 &and 15, 2016 percussion, harp, optional organ, himself. It’s a shame, because as his daughter A thrumming of piano-strings…a sphere of melody Rachmaninoff, Mozart strings. Imogen wrote, “There is a lot of good music MUSIC OF THE SPHERES Elgar was never known as a song4, writer; locked up in this impossible framework.” DECEMBER 2016 FAMILY HOLIDAY CONCERT in fact, his songs were considered second Part of that framework, strangely Peter the of Wolf, Williams, Copland rate.&Part this Vaughan is attributed to his piano enough, was that the opera began with a Concord Middle School strings writing, which was viewed as workmanlike ballet in three parts: the Dance of Spirits of JANUARY 27choice & 28,of2017 at best. Another part was his Earth, Dance of Spirits of Water, and Dance YOUNG ARTIST 2017 competition texts, which never failed to baffle thewinner of Spirits of Fire. This music has escaped Beethoven Eroica critics. But his Sea Pictures stands above from its failed opera, and is often heard the rest, noM doubt because the power in the concert hall to the delight of all— ARCH 31 & of APRIL 1, 2017 and translucence of his orchestral writing. including those who couldn’t make heads THOREAU BICENTENNIAL CONCERT Combined with a sensitive(asoloist, Sea or tails of the opera itself. Eric Sawyer: Civil Disobedience world premiere) Hoffer, Liszt, Schumann Pictures succeeds beautifully. The ballet begins with a short fanfare Sea Pictures delivers what’s on the label: from the trombones. This is a wizard All concerts MAY 19, 20, & 21, 2017 a group of five songs that all allude to the conjuring up the spirits of earth, water, 51 Walden St. POPS 2017: OL' MAN RIVER sea but which have no overall dramatic and fire needed to make a powerful love Concord, MA Strauss Nocturno for horn connection. The five Jerome songs areKern set tomedley potion that he intends to use on a haughty 978-369-4967 texts by different authors,(Jaws), includingEllington the princess. The spirits oforearth make him Smetana, Williams composer’s wife, Alice, who wrote the a cup, the spirits of water fill it with the words for the second song, “In Haven essence of love, and the spirits of fire give (Capri).” While there is no overall story it a hot-blooded passion. The galumphing to be told, there is a good deal of musical spirits of earth—“dancing” in 7/8 time, no cross-fertilization going on to bind the less—are comically elephantine. A solo work together as a whole. viola introduces the spirits of water, whose The first song of the set is the “Sea music is languid and dripping with color. Slumber Song,” a gently rocking lullaby The spirits of fire arrive abruptly and blaze composed to a text by Roden Noel. The their way to the end over driving timpani, “mother mild” is the sea itself, and Elgar’s whereupon this hugely evocative piece music disturbs the tranquility of the words concludes with a sly wink from Holst. by reminding us of the sea’s ominous power. Elgar composed the second song of EDWARD ELGAR the cycle first, to a text by his wife Alice, Sea Pictures, Op. 37 who wrote the poem as a reminiscence Edward Elgar was born in Broadheath, of a visit to Capri before she and Edward Worcestershire, England in 1857, and were married. It is the simplest and most died in Worcester, England in 1934. He charming song of the set, and the music completed this song cycle in 1899, though in the strings suggesting waves will return sketches for some portions of it date back as again in other songs. far as 1883. Elgar led the first performance In “Sabbath Morning at Sea” Elgar sets in 1899 at the Norwich Festival with Clara five of the thirteen verses of Elizabeth Butt the contralto soloist. The score calls for Barrett Browning’s poem. The music contralto solo, 2 flutes, 2 oboes, 2 clarinets, is passionate and stirring, with heavy 3 bassoons, contrabassoon, 4 horns, 2



2016 – 2017 SEASON

Program Notes


climaxes and dramatic textures. Some have suggested that the poem—about a woman left behind—appealed to Elgar because he himself had been left behind many years previously by a woman who went to sea. “Where Corals Lie” brings us the most overt clue as to the subtext of the entire song cycle: the longing for death. Elgar adored the poem by Richard Garnett, perhaps because of his own recurring bouts of intense depression and his desire for release. The music here is much more sparsely scored, yet it is full of character and innumerable beauties. “The Swimmer” brings that subtext to the fore. Adam Lindsay Gordon’s poem depicts a swimmer caught in a roiling storm; he recalls the same sea when it was calm and serene; with its forces arrayed against him, he “would ride . . . where no light wearies and no love wanes.” That Gordon was a suicide was not lost on Elgar, nor was the poem’s imagery about a solitary soul whose strength is challenged by nature. Elgar gave the song the cycle’s most expansive orchestra and the widest range to the soloist. The music is opulently descriptive, and while the quotations from previous songs may pass by unheard, they are not, perhaps, unfelt. In the end, the swimmer’s longedfor release—and Elgar’s music as well—are momentous and joyous.


From the Air

Kenneth Frazelle was born in Jacksonville, North Carolina in 1955. He composed this work in 2000 on a commission from the Santa Rosa Symphony, who gave the first performance the same year under the direction of Jeffrey Kahane. The score calls for 2 flutes, piccolo, 2 oboes, 2

clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Kenneth Frazelle began studying the piano at age eight, learned to play the flute and bassoon for the middle school band along the way, and was composing at age ten. He studied composition under Robert Ward at the North Carolina School of the Arts, then with Roger Sessions at Julliard. Since that time Frazelle’s music has been commissioned and performed by many prominent artists such as Yo-Yo Ma, Jeffrey Kahane, Dawn Upshaw, Emmanuel Ax, Paula Robison, John Adams, Gilbert Kalish, the Chamber Music Society of Lincoln Center, the St. Paul Chamber Orchestra, the Ravinia Festival, the Spoleto Festival, and others. Frazelle has received awards and fellowships from the American Academy of Arts and Letters, the American Academy in Rome, and Columbia University, and he was the winner of the 2001 Barlow Prize, the international competition administered through Brigham Young University. He has held residencies with the Los Angeles Chamber Orchestra, the Santa Rosa Symphony and the Isabella Stewart Gardner Museum. Frazelle writes the following about his work: “From the Air was inspired by the idea of looking down on the earth from above, a sense of hovering. This image was the inspiration for the opening adagio, in the style of an aria, which not coincidentally, is Italian for ‘air.’ As the introductory section gradually accelerates into a scherzo that includes two short trios, the piece moves beyond its initial inspiration and takes on a life of its own. I am often asked where inspiration comes from; I believe there is something about


Suite: The Firebird

Igor Stravinsky was born in Oranienbaum, Russia in 1882 and died in New York City in 1971. He completed his ballet The Firebird in 1910, and it was first performed the same year in Paris, conducted by Gabriel Pierné. Stravinsky created a Suite in 1911 and then again, for a smaller orchestra, in 1919. The score of the 1919 Suite calls for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, optional celeste, and strings. He was not a composer, or even a musician, but no one had more influence on the music of the early twentieth century than Serge Diaghilev. Diaghilev was the impresario who organized the Ballet Russes in Paris. Over a twenty-year span he collaborated with a formidable roster of composers, including Stravinsky, Falla, Debussy, Prokofiev, Ravel, Milhaud and Poulenc, as well as artists such as Picasso and dancers such as Nijinsky. With the Ballet Russes, the very best of 20th century art came together under one roof. Diaghilev hired Stravinsky to compose music for the Firebird when another composer failed to get the job done. Time was short—Stravinsky sent each section of the piece to the choreographer as it was composed, then joined the company for rehearsals. The premiere of The Firebird was the coming-out party of the most important composer of the twentieth century and the beginning of a famed collaboration that would last until Diaghilev’s death.

The story of The Firebird is a pastiche of tales from Russian folklore. The young prince Ivan Tsarevich wanders into an enchanted garden in pursuit of the magical Firebird. Ivan captures the Firebird but she pleads to be released, telling him she will come to his aid if ever needed; Ivan releases her. Ivan sees thirteen young princesses dancing and playing a game; he falls in love with one of them and follows them into the palace of the ogre Kashchei. When Kashchei captures Ivan the Firebird comes to his rescue. First the Firebird sends Kashchei and his retinue of monsters into a frenzied, exhausting dance, then lulls them to sleep with a beautiful Berceuse. She shows Ivan a casket with an egg containing Kashchei’s soul. When Ivan smashes the egg Kashchei dies, his castle and retinue disappear, and his victims return to life. In the rejoicing portrayed in the Finale, Ivan receives the hand of his favored princess. The celebratory closing pages are some of the most thrilling music ever written. The Firebird became the most popular of Stravinsky’s works, much to the composer’s chagrin. He came to resent the attention it took from his current (and very different) work, dismissing it as an “audience-pleasing lollipop.” No matter— Diaghilev knew better. On the day before the premiere, as he stood with his prima ballerina, he pointed to Stravinsky and said, “Mark him well. He is a man on the eve of celebrity.” And the world was on the eve of a new way of thinking about music, thanks to Serge Diaghilev. —Mark Rohr Questions or comments?


the creative process that is mysterious or ‘from the air.’”

2016 – 2017 SEASON

Program Notes


Have you had the Curry Experience? It’s time.

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Orchestra of Indian Hill

A Story to Tell March 18, 2017 at 7:30 PM Littleton High School Performing Arts Center, Littleton, MA Bruce Hangen, Conductor

LEONARD BERNSTEIN Symphonic Dances from West Side Story (1918-1990) — INTERMISSION —

Pavane of Sleeping Beauty (Lent) II. Petit Poucet Little Tom Thumb / Hop o’ My Thumb (Très modéré) III. Laideronnette, impératrice des pagodes Little Ugly Girl, Empress of the Pagodas (Mouvt de marche) IV. Les entretiens de la belle et de la bête Conversation of Beauty and the Beast (Mouvt de valse très modéré) V. Le jardin féerique The Fairy Garden (Lent et grave)

SERGEI PROKOFIEV Concerto for Piano & Orchestra No. 3 (1891-1953) in C Major, Op. 26 Max Levinson, piano Andante – Allegro

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Conservation Attorney

2016 – 2017 SEASON

MAURICE RAVEL Suite from Ma Mère l’Oye (Mother Goose) (1875-1937) I. Pavane de la Belle au bois dormant



About Our Guest Artist


Max Levinson, piano

Pianist Max Levinson is known as an intelligent and sensitive artist with a fearless technique. He has performed as soloist with the Los Angeles Philharmonic, St. Louis Symphony, Detroit Symphony, San Francisco Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, Oregon Symphony, Indianapolis Symphony, Colorado Symphony, New World Symphony, Utah Symphony, San Antonio Symphony, Louisville Symphony, Los Angeles Chamber Orchestra, and National Symphony Orchestra of Ireland, and the Boston Pops. His recital appearances include New York’s Alice Tully Hall, Washington D.C.’s Kennedy Center, London’s Wigmore Hall, Zürich’s Tonhalle, the Musee d’Orsay in Paris, and Jordan Hall in Boston. An active chamber musician, Mr. Levinson has performed with the Tokyo, Vermeer, Mendelssohn, and Borromeo Quartets, and appears at major music festivals worldwide. His recordings have earned wide acclaim, including his most recent Sony recording of the three Brahms sonatas with violinist Stefan Jackiw. Mr. Levinson’s international career was launched when he won First Prize at the 1997 Dublin International Piano Competition, the first American to achieve this distinction. A graduate of Harvard University and the New England Conservatory, his teachers included Patricia Zander, Aube Tzerko and Bruce Sutherland. Mr. Levinson is currently on the faculty at New England Conservatory and Boston Conservatory.


2016 – 2017 SEASON

Program Notes



West Side Story: Symphonic Dances Leonard Bernstein was born in Lawrence, Massachusetts in 1918 and died in New York City in 1990. He composed West Side Story in 1957, and extracted the Symphonic Dances in 1960. The work was first performed in 1961 by the New York Philharmonic under the direction of Lukas Foss. The score calls for 3 flutes, piccolo, 3 oboes, English horn, 4 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, celeste, and strings. Leonard Bernstein was one of those rare musical geniuses who excelled at

every musical discipline: a performer, composer, conductor and teacher, he was also a musical ambassador-atlarge with the uncanny ability to make everyone he met excited about music. When friends suggested to him that he compose a “serious” musical he was absolutely the right man for the job, for jazz and popular music ran as deeply in his blood as any other kind. Many classical composers (such as Copland, Milhaud, and Stravinsky) had used elements of jazz in their works, and some popular composers (such as Gershwin) up-sized their music to fit the concert hall. None were as at home in both worlds as Bernstein, and West Side Story is his masterpiece.

Program Notes and as Tony’s body is carried off in the Finale, there is still a search for that elusive “Somewhere.”


Maurice Ravel was born in Ciboure, France in 1875 and died in Paris in 1937. He composed the piano version of Ma Mère l’Oye in 1910 and it was first performed in Paris the same year. The orchestral version was first given as a ballet in Paris in 1912. The work is scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, timpani, percussion, harp, celeste, and strings. Maurice Ravel was thought by some to have been something of a cold fish. A friend remarked, “He would rather be taken for unfeeling than to betray his sentiments.” But he did have a special fondness for Mimi and Jean Godebski, the young children of a friend. To encourage their musical education Ravel composed this little suite, for piano four (small) hands, based on their favorite fairy tales. Ravel later orchestrated the suite, then turned it into a complete ballet by adding a prelude and composing transitional interludes between the movements. The Pavane of the Sleeping Beauty in the Woods lasts a mere twenty measures. It is both solemn and ethereal, as her maids realize they cannot rouse the Sleeping Beauty. Hop-o’ My Thumb recounts an adventure of Tom Thumb. Like Hansel and Gretel, Tom drops breadcrumbs as he wanders in the woods, confident that they will lead him home. But he is unable to find them, for the birds (in the guise of violin and flutes) have eaten them all.

2016 – 2017 SEASON

Suite from Ma Mère l’Oye (Mother Goose)


The musical updates the Romeo and Juliet story to the warfare of 1950s New York street gangs. Its mastery over popular melodic, harmonic, and rhythmic styles is total: here is swing, bop, cool jazz, Latin music, ballads, and up-tempo jive. All are seamlessly integrated by a man who knew his classical procedures and who used them to give the work the kind of cohesion you’d expect from an opera by Mozart. Note how both the dangerous music of the Prologue and the love song “Maria,” as different as they are, spring from the same melodic interval, the tritone. This kind of thematic unity is what separates West Side Story from the musicals of the past, and the reason why it is so effective even today. (It’s worth noting that the tritone, otherwise known as the augmented fourth or diminished fifth, is considered to be a wildly dissonant interval. It was actually referred to as Diabolus in musica—“the Devil in music”—and forbidden in church music for centuries. That Bernstein could use it as the first two notes of a love song— and a brilliant one at that—is another testament to the man’s musical genius and certainly to his audacity. If you listen for them, you’ll hear tritones all over the place in the music of West Side Story.) The Symphonic Dances form a microcosm of the plot. The Prologue sets the stage for the gangs’ bitter rivalry. “Somewhere,” which follows, is a dream of peace and friendship, while the Scherzo continues with a vision of open space and sunshine. The Mambo breaks the spell with the competition and aggressiveness that are the gangs’ reality. In the softer Cha-Cha the lovers Tony and Maria meet. The “Cool” Fugue is all about the tension created by barely-controlled anger. The Rumble brings the death of the two gang leaders,



2016 – 2017 SEASON

Program Notes


The Ugly Girl, Empress of the Pagodes was made ugly by a witch, and lives in a faraway castle. In this scene she is serenaded at her bath by the pagodes, tiny people made of crystal, jewels, and porcelain. In keeping with their size, they play lutes made of walnut shells and violas made of almond shells; their music is based on the pentatonic scale, like the black keys on the piano. In The Conversation of Beauty and the Beast, Beauty speaks with a naive little waltz, while Beast replies in a grumbly contrabassoon. Listen for the triangle, for it marks the point where Beauty agrees to marry the Beast, and he is transformed into a handsome prince. Prince Charming’s kiss awakens Sleeping Beauty in The Fairy Garden, and they are joined by all the other characters in a happy fanfare. Ravel said, “My intention of evoking the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing.” Yet his genius at orchestration turns these simple piano pieces, playable by children, into diversions of great color and imagination. At the same time he reveals in himself a surprising warmth that he would only allow children to see.


Concerto for Piano & Orchestra No. 3 in C Major, Op. 26 Sergei Prokofiev was born in Sontsovka, Ukraine in 1891 and died near Moscow in 1953. He composed this concerto largely in 1921, though he used materials that went as far back as 1913. Prokofiev was the soloist in the first performance with the Chicago Symphony Orchestra under the direction of Frederick Stock in 1921. The score calls

for solo piano, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. The first music Prokofiev wrote for this concerto was the opening theme of the second movement, which he set down in 1913; he finished the work in 1921. That seems like an awfully long time to spend on a concerto, but Prokofiev often jotted down ideas that might not come to fruition until years later. More ideas came to him in 1916 and 1918, but he did most of the work in 1921. In the meantime he had fled Russia at the height of its revolutionary turmoil. Prokofiev knew little about politics or government, and cared even less, but a country at civil war was not a promising place to make a living. He set out for America in high hopes only to find both audiences and critics unreceptive to his music—when they weren’t openly hostile to it. His next stop was postwar Paris; the city reinvigorated him but still his music went nowhere. When most of the city departed for the summer, Prokofiev did as well, but not for vacation: he set to work on the music that would give him his first big success in years—his Third Piano Concerto. The concerto opens with a lovely and plaintive clarinet solo (soon a duet) that is taken up by the strings, but this is brief and soon eclipsed when the soloist roars out of the gate with a brilliant new theme. This actually isn’t new at all, but a variant of the clarinet melody. The second theme comes from the oboe with pizzicato accompaniment, and Prokofiev spends some time with it. Eventually that brief clarinet tune returns, broader and majestic this time, and Prokofiev creates a combined development and recapitulation

Program Notes further introspection—hair-raising at times—from the soloist, who makes it clear that this Finale is not a throw-away bit of frivolity. From here on, Prokofiev turns up the wick ever so gradually and the music reaches its conclusion with a blaze of orchestral and pianistic brilliance. Prokofiev had returned to the scene with a bang.

2016 – 2017 SEASON

—Mark Rohr Questions or comments?


based on these two ideas. The second movement is a theme with five variations. The theme itself is one of those quirky melodies that could only have come from the pen of Prokofiev, and although the variations are ingenious, they never stray very far from it. The Finale begins with an angular theme in the bassoons that must fight to hold its own against the blustery piano and its own angularities. What is most memorable about this movement, though, is the lyrical and introspective third theme given out by the oboe at a slower tempo. This prompts


Orchestral opportunities for young musicians

STRING ORCHESTRA PROGRAM 2016-17 SEASON All concerts begin at 7pm at Littleton High School Performing Arts Center, 56 King Street, Littleton

November 15, 2016 March 7, 2017 • May 22, 2017 SINFONIA STRINGS Advanced Level • Bruce Hangen, conductor

CAMERATA STRINGS Intermediate Level Deanna Leedy-Andreozzi, conductor

CHAMBER STRINGS Beginner Level • Todd Hamelin, conductor

Auditions in November, May & August TICKETS & MORE INFORMATION: (978) 486-9524 WWW.INDIANHILLMUSIC.ORG



Orchestra of Indian Hill

A Seasoned Finale — ­ Showcasing Our Own April 22, 2017 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


Variaciones concertantes, Op. 23


ANTONIO VIVALDI The Four Seasons: Summer and Spring (1678-1741) Alice Hallstrom, violin “L’estate” (Summer) “La primavera” (Spring) PYOTR ILYICH TCHAIKOVSKY Capriccio Italien, Op. 45

(1840-1893) Premier Sponsor:


ANTONIO VIVALDI The Four Seasons: Autumn and Winter (1678-1741) Alice Hallstrom, violin “L’autunno” (Autumn) “L’inverno” (Winter)

2016 – 2017 SEASON

Tema (Theme) - Cello, Harp (Adagio molto espressivo) Interludio - Strings Variation giocosa - Flute (Tempo giusto) Variation in scherzo mode - Clarinet (Vivace) Variation drammatica - Viola (Largo) Variation in canon - Oboe, Bassoon (Adagio tranquillo) Variation ritmica - Trumpet, Trombone (Allegro) Variation in perpetual motion mode - Violin Variation pastorale - Horn (Largamente espressivo) Interludio - Woodwinds, Brass (Moderato) Reprise of the Theme - Contrabass (Adagio motto espressivo) Variation Finale in rondo mode - Orchestra (Allegro molto)


About our Guest Artist 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 bachelor of music 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 faculty of the Groton School.



2016 – 2017 SEASON

Variaciones concertantes, Op. 23


Alberto Ginastera was born in 1916 in Buenos Aires, Argentina and died in 1983 in Geneva, Switzerland. He composed this work in 1953 on a commission from the Asociación Amigos de la Música in Buenos Aires, and it was first performed in that city the same year under the direction of Igor Markevitch. The score calls for 2 flutes, piccolo, oboe, 2 clarinets, bassoon, 2 horns, trumpet, trombone, timpani, harp, and strings. Though he was widely considered the greatest composer Argentina had ever produced, Alberto Ginastera had a hard time making a successful career in his homeland. This had less to do with his talent—which he had in abundance—and more to do with whatever government ruled his country at the moment. He was

awarded a Guggenheim Fellowship in the late 1930s, but the military junta prevented him from studying in the U.S. until after World War II. He was named director of the national conservatory in 1948, but was fired by Juan Perón four years later; when Perón’s government fell Ginastera took on major posts at the Catholic University and the University of La Plata. He ultimately left Argentina in 1969 to settle in Geneva with his second wife. Despite this professional roller coaster ride Ginastera composed steadily, making a mark for himself in the world of music that transcended national boundaries. Ginastera’s music and method of composition evolved throughout his career. His early works were very much inspired by folk music, while those he composed late in life were apt to contain all manner of modern techniques. His Variaciones concertantes falls


The Four Seasons, Op. 8, Nos. 1-4 Antonio Vivaldi was born in Venice in 1678 and died in Vienna in 1741. He composed this work in the early 1720s, and it was probably first performed around 1725 in Bohemia. The score calls for solo violin, strings, and continuo. Composers have been imitating nature in their music for centuries, perhaps even

millennia. What is remarkable about The Four Seasons is the form Vivaldi chose as a vehicle for such descriptive music: each “season” is, in fact, a self-contained violin concerto. Vivaldi, of course, was the master of the concerto form; he wrote several hundred of them, 220 alone for the violin. His concertos typically have three movements, fast-slow-fast, with the outer movements in ritornello form. (The ritornello is a theme played in the orchestra that returns to punctuate contrasting sections led by the soloist.) Despite the storytelling going on in The Four Seasons, these pieces also work quite nicely as concertos. They are superb solo vehicles: showy, expressive, and musically engaging. Vivaldi was very specific about what he was trying to depict. He supplied poems at the beginning of each season that correspond closely with the music itself. They are, in fact, road maps to let the musicians know exactly what they are emulating. For the most part, the orchestral refrains in the ritornello movements tend to present a general picture of the season, leaving room for the soloist to make comments about more specific things. With Autumn’s “songs and dances, the peasants celebrate the joy of a fine harvest.” Celebrate, indeed: the reeling soloist reveals that some, at least, have had a bit too much to drink, and as the party winds down we hear a bit of wooziness near the end. The second movement is predictable: sleeping peasants! Everyone wakes up for the hunting music of the third movement. The ritornello is quite gallant, and a good time is had by all. Winter is crackling dry and cold, and the violin is the screech of the wind. Vivaldi specifies stamping feet and chattering


somewhere between these two, but it shares one characteristic that is common to all his works: remarkable vitality. Where his earlier works often quoted actual folk music, the Variaciones do not. “These variations have a subjective Argentine character,” he wrote. “I try to achieve an Argentine atmosphere with my own thematic and rhythmic elements. The work begins with an original theme followed by eleven variations, each one reflecting the distinctive character of the instrument featured. All the instruments of the orchestra are treated soloistically. Some variations belong to the decorative, ornamental, or elaborative type; others are written in the contemporary manner of metamorphosis, which consists of taking elements of the main theme and evolving new material from it.” The twelve sections are played without pause. The Theme is for cello and harp; note how the harp plays the common open string pitches of the guitar, either in their original form (E-A-D-G-B-E) or transposed. After a string interlude, there are variations featuring flute, clarinet, viola, oboe and bassoon, trumpet and trombone, violin, and horn. After a second interlude by the wind section, the double bass reprises the theme and the full orchestra plays a final variation in the form of a rondo.

2016 – 2017 SEASON

Program Notes


Presenting the 71st season of the





Kevin Leong, Music Director


Concord Chorus






Holiday ConCerts

Mass in B Minor

Heavenly music for the season, including works by Bach, Elgar, Thompson, and favorite carols

Bach’s immortal masterwork, performed with professional soloists and Baroque orchestra

December 10, 2016 2:00 & 5:00 pm

May 20, 2017 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 70

Program Notes


Capriccio Italien, Op. 45 Peter Ilyich Tchaikovsky was born in Votkinsk, Russia, in 1840 and died in St. Petersburg in 1893. He composed his Capriccio Italien in 1880, and it was first performed the

“I have been working,” wrote Tchaikovsky, “and during the last few days I have sketched the rough draft of an Italian capriccio based on popular melodies. I think it has a bright future; it will be effective because of the wonderful melodies I happened to pick up, partly from published collections and partly out in the streets with my own ears.” Tchaikovsky was taking a holiday in Rome at the time of the Roman Carnival. He wasn’t much in the mood for the wild revelry all about him, but the air was filled with music so contagious he couldn’t help but write some of it down. After completing his sketch in a single week, he completed the Capriccio Italien upon his return to Russia. The trumpet fanfare that opens the work—later expanded in the brass—was a bugle call that Tchaikovsky heard daily, for his hotel was right next door to a military barracks. The languorous melody in the strings ruminates with the brass idea until a gracious tune is heard in a pair of oboes. From that point onward, the Capriccio is a travelogue of melody, each coming hard upon the last, culminating in a wild tarantella and a brilliant finish. —Mark Rohr Questions or comments?

2016 – 2017 SEASON

same year by the Imperial Russian Musical Society conducted by Nicolai Rubinstein. The score calls for 3 flutes, piccolo, 3 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.


teeth, though some relief comes from the second movement’s cozy moment before the fire. The third movement’s nervous violin is walking guardedly on the ice. A fall to the ground obtains, then the painful getting-up. The icy winds take over the movement, and take your breath away. As Summer begins you can hear “men and flocks languish” in the heat: every phrase seems to droop. In the solo violin we hear first the cuckoo, then the turtledove, then the goldfinch. The loud orchestral interruption is the north wind; after the soloist depicts the shepherd’s dread of the coming storm the ominous wind returns. In the second movement the shepherd is kept awake by fear and, in a low grumbling, a “furious swarm of flies and hornets.” The third movement is a storm in music: there is thunder, lightning, even hail to bring down the crops. The opening of Spring gives out the good cheer of the season, after which we hear a conversation among three birds—or, if you prefer, three violins. After the orchestra gives its imitation of a babbling brook, a storm enters with trembling thunder and flashes of lightning. As the clouds part, the birds return. The long, winding melody of the second movement represents a sleeping goatherd, and the insistent viola notes are the goatherd’s watchful dog. The finale is a graceful shepherd’s song, replete with the drone of bagpipes.


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, 2015 - June 30, 2016 and does not include donors who contributed to our Leadership Gifts Initiative. Please refer to page 76 for that listing. DIRECTOR’S CIRCLE ($25,000 +) Anonymous (3) ¯ Camilla C. Blackman ¯ Bradford Endicott Priscilla Endicott ¯ Sheila LaFarge ¯ VIRTUOSO’S CIRCLE ($15,000 +) Samuel C. Endicott Fund E Peter Endicott, Priscilla Endicott, and Cricket Potter, Trustees Jonathan and Jessie Panek E


2016 – 2017 SEASON

COMPOSER’S CIRCLE ($10,000 +) Chris and Kirsta Davey Glen and Pam Frederick E Jeff and Mary Fuhrer E Phil and Dorothy Robbins¯


LEADER ($5,000 +) George and Annette Allison E Bob and Judy Anderson  Bruce and Sue Bonner E Willa Breese and Paul Riley Ralph Brown and Sue Murray E Harrill Family Foundation James and Donna Harrill, Trustees Mary Jennings and Jim Simko Ted Lapres and Connie Keeran  Bob and Sue Lotz  David Moulton E Thomas Regan Pam and Griff Resor E Dave and Karen Riggert E KatrinaWollenberg E

BENEFACTOR ($2,500 +) Peter and Karen Burk Sarah Chapin * Barbara and John Chickosky E Catherine Coleman and Tom Mullen David Gaynor and Bernice Goldman ¯ John McBee, in memory of Warren D. McBee Carole and Art Prest Susan Randazzo and Stuart Schulman ¯ Jim and Roseanne Saalfield Mark and Rebecca Scheier E David and Bobbie Spiegelman E Randy Steere and Paul Landry David and Pamela Stone ¯ Steven and Jennifer Stone ¯ Frank and Margo Vangeli * William G. Wilkinson E INVESTOR ($1,250 +) Peter and Mary Ann Ashton Jean-Pierre and Cheryl Boissy Geoffrey and Harriet Schwartz Crew E Faith Cross ¯ Thomas Crow and Terri Ragot¯ Hugh Fortmiller and Francie Nolde E Charles and Constance Gagnebin E Amanda Houghton and Antti Gynther June Adams Johnson and Steve Lieman E Steve Levitsky E Stephen and Julie L’Heureux Susan Litowitz Marilyn and Don Malpass Melissa and Ed Manzi Bill and Carol Ann Marshall John Spinello

Ed and Liz Strachan E Elizabeth H. Wilson PARTNER ($500+) Anonymous (2) Michael Acton and Miriam Smith David and Lucy Alexander The Benevity Community Impact Fund Elaine Bitter Bob Blanck and Jud Ratliff Nancy Burdine Brenda Burton * Lee Burton ¯ Carl and Carol Canner Jack and Ann Clancy Frank and Emilie Coolidge¯ Barry and Carolyn Copp E Cheryl DaSilva Louis DiMola and Virginia Koslow E Lucille DiZoglio Ryan and Michelle Dunn Dr. Blaise Eckert and Mrs. Daria Petrilli-Eckert¯ Judit Ernst * Philip and Carolyn Francisco Erica Reynolds Hager and DJ Hager Bruce Hangen and Anabelle Tirado¯ Matt and Melanie Hickox Mark Houghton Stephen J. Irish and Suzanne M. Legere Steven Jackson and Yuan-Mei Xing Michael and Christine Knupp Charles Learoyd ¯ Christopher and Laura Lindop Melissa Maranda and Richard Gosselin Ebrahim and Desiree Masalehdan Jean Mason E

FRIEND ($100 +) Anonymous (5) Alchemy Foundation Chuck and Marie Alexander The Alvarez Family Pia and Robert Anctil Ross and Stella Andrews Barry Ansin William and Kimberly Arndt E Wendy and John Baker Beth and Sam Baldwin Douglas Barrus Flo Baumoel Marie and Brian Beam Judy and Glenn Bell Alan Berkowitz David Berkowitz Leonard Berkowitz Tim and Paula Bingham ¯ The Blackburn Family Cyndi Bliss Jarod Bloom Janice Boivin Christopher Borg David and Rita Bortell Roberta Braverman Greta and Josh Bretz Sharon Briggs E Donna Brock Linda Brown Stephen and Gail Burne ¯ Ruth Cavanagh Maria Chan

Ritong Chen and Lei Li David and Carol Chodorow E Jane Chrisfield ¯ Ringo Chung Walter J. Ciesluk Joan Cirillo Tom and Sara Clay E Stephen and Michelle Collette Stephen and Christel Conlin Peggy Craig Karen Crissey Harry and Maxine Crowther E Ken and Martha Culver Anne and Scott Cunningham Michael and Denyce Curtis Kimberly and James Daly Marge and Steve Darby Heidi and Jim Dempsey Chip and Carly Detwiller Armand and Mayra Diarbekirian Laura and Kent Dickey Nancy Donahue E Paul and Betty Drouilhet Chris and Cathy Dulaney Jamie and Kara Dunphy Janis Dyer Susan A. Edwards E Lisa and Paul Eisenberg E John Ellenberger and Patti Thompson ¯ William and Margaret Ely E Peter and Carola Endicott Robert and Marian Evans Michele and Remy Evard Charles Faucher and Pamela Worden Christine and Fred Faulkner Nicole Faulkner and Ted Castro The Finch Family Joseph and Lisa Fiorentino Marty Fitzgerald Ursula Flury and David Boyle Helen Ford Anne and Richard Fornicola Walter and Kate Foster Jody and James Fox Patricia and Robert Fraser Paul and Rita Gallagher Sandra and Bruce Garvin Susan and John Gavriel Bala Gopalakrishnan David Gordon and Barbara Murray¯ Debra Gorfine

Janet and Geoffrey Graeber Bill and Betty Graham E Jeri Gray E Craig Greenberg Larry and Rita Grossman E David Grubbs William Grundmann and Barbara Altman E Justin Gu Vladimir and Katya Gurin The Honorable Robert S. and Mrs. Ellen T. Hargraves ¯ Kimberly and Josh Harriman McLaren and Susan Harris E Jay Hart and Charleen Maunsell Paul and Geraldine Harter ¯ Ruth Harvey Kurt and Carmel Heim George and Friederike Heiter Warren and Barbara Henderson E Nancy Hilsinger Toby Hodes Linda Hoffman and Blaise Provitola E Ian and Pam Holland E John and Melinda Holland Katherine Hollister and Peter Mahler David and Susan Hopkins Wei Hua and Lihua Yu Mark and Jeanne Hubelbank E Fran Hunt Gregory Hutchins E Sheryl Ishii Robert and Betty Jack E Irene Jahnle Kathryn Kagan Jack and Betty Keddy¯ Robert Kennedy Billie and Fred Kinch Michael and Claire King Margaret and Dana Koch Phyllis Konop E Erika and Doug Boardman Kraft David and Lynda Kramer Paul and Rosemarie Krenitsky E Charles and Eileen Kronauer E Warren and Maredith Kundert E Bruce and Ellen Kunkel Scott Kutil Carol Lake Linda Lamoreaux Robin Lansinger Anne and Thomas Larkin


Lauren Rosenzweig Morton and George Morton Bo and Chris Murphy Russell and Wanfang Murray E Victor and Jackie Normand Stephanie Opalka E Subrat and Geeta Pani Jane and Bob Puffer¯ Leslie and Gordon Row Ted and Mary Shasta E John Sheehan E Cindy and Andy Smith Dr. Donald and Janet Stevens E Christie and Scott Stover Steven Sussman E Ara Tyler Kristen and Alfred von Campe Barbara and Abbott Weiss E David and Nancy Wilder

2016 – 2017 SEASON

Annual Support



2016 – 2017 SEASON

Annual Support


Judith Larter E Leslie Lathrop Susan Latronico E Esther Lawrence Fund Robin Lazarow and Jeanne Kangas Mary Leahy ¯ Susan Lee Jo Ann and Donald Leitch E Mary Lejeune E Ricardo Lewitus David Light Shan Liu Mary Livingston Ray and Gail Lyons Richard and Jane Lyons E Min Ma Deborah and Scott MacDonald E Jane Maguire Amaresh and Sadhana Mahapatra E Dorothy and Charles Marquis-Omer The Matson Family E Cliff Maxwell ¯ Marguerite Mazzone E Barbara and Andrew Meglis Gregory Melkonian Colleen Meller Abbe and Pascal Miller Gerald and Judy Miller E Lorraine Misner ¯ Ned and Mary Mitchell ¯ Robert and Susan Mitchell Kevin and MaryFran Mitrano Renee Moe, in memory of Arthur and Eleanor Moe Rob and Laura Moore Frances Moretti E Paul and Pat Motyka Judith Munson ¯ Bernard and Mary Murphy Murray and Barbara Nicolson Peter and Elizabeth Norton E Sandra O’Donnell Terry and Deborah O’Kelly Ellen Olson-Brown and Caleb Brown Bob O’Neill and Mary Ystueta Ejiro Onos Lynne Osborn David Panek and Barb Van Buskirk Gregory Passler

Philip and Betty Pearle Ernest and Rena Perelmuter E Carolyn and Ed Perkins E Ernie Petrides Bob and Kathy Phillips Bob and Becky Pine ¯ Richard and Anita Pollak E Cricket Potter Robert Price Lois and Brown Pulliam Rob Rand E Ron and Karen Riggert Rheta Roeber and Paul Malchodi E Tom and Katherine Rosa Victor Rosenbaum Mathias and Courtney Rosenfeld Mr. and Mrs. Mark Rosengard Corinne Rosseel Margaret Rothrauff Paul and Natalie Rothwell E Ronald Row Paul and Wanda Royte E Steve and Sue Ruscak E Zbynek and Amy Ryzi Bard and Cindy Salmon Edythe Salzman E George and Carolee Schaffer Judith and Len Schutzman Catherine and George Schwenk Glen and Rosheen Secor Carolyn and Fred Sellars E Debbie Sheetz and James Adelson E Kim and Janet Sheffield E Tom and Nancy Shepherd Matt and Jean Shiely Lucile Shimkus Farooq Siddique and Berit Strong Troy and Jane Siebels Andrew Silinsh Annemarie and Eric Spada Pauline and Arthur Sparages Temple Bruner Staples Michael Stephan Robert and Eleanor Stetson E J.J. and John Tanzer Jean and Roger Temple E Philip and Diane Temple E Gretchen and James Thach Dean and Mary Jane Tsacoyianis Phyllis Tucker Elizabeth Tyson-Smith

Jeffrey and Elisa Drumm Van Auken Rajiv Varma Deborah and Jason Verner Steven Victorson Prabhakar Viswanathan Mit and Marcy Wanzer George Watkins Patricia Webber ¯ Patricia White E Darrell and Willie Wickman Robert and Zelda Williams E Barbara and Harris Willson Jared Wollaston and John Cunney Kareen and Keith Wortman Mary Jane and Bernie Wuensch Mamie Wytrwal and Dave Caponera Tara Zantow and Tim Blankenship John and Janet Zimmer Nancy Zuelke E Contributor has made a gift to the Annual Fund for the last 10 or more consecutive years ¯ Contributor has made a gift to the Annual Fund for the last 20 or more consecutive years BOLD names have given $2,500 or more to the FY16 Annual Fund * in-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.

Gift Funds and Foundations We wish to thank the following gift funds and foundations which recommended grants to Indian Hill Music through donor advised funds and other giving vehicles during fiscal year 2016: The Boston Foundation The Community Foundation of North Central Massachusetts

Fidelity Charitable Gift Fund United Way of North Central Massachusetts, Alexis de Tocqueville Society

Endowment and Designated Major Gifts 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. A portion of these assets include the designated funds listed below.

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 Cheryl DaSilva Priscilla Endicott Hugh Fortmiller Ursula Flury and David Boyle Bruce and Sandra Garvin Gregory Hutchins

June Adams Johnson and Steve 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

2016 – 2017 SEASON

Alice Gucker Memorial Fund 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


Anonymous (1) Barbara Rosenquist Bartsch Community Outreach Fund Marjorie Besas Memorial Fund Camilla C. Blackman Endowment Fund Priscilla Endicott Education and Orchestra Endowment Funds Linda Marley Forrest Scholarship Fund Charles Lincoln Gagnebin Memorial Associate Concertmaster Chair Charles Lincoln Gagnebin Memorial Endowment Fund


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 Barbara and John Chickosky Faith Cross Priscilla Endicott

David Gaynor and Bernice Goldman Haartz Corporation James and Donna Harrill Kimberly and Josh Harriman June Adams Johnson and Steve Lieman Ted Lapres and Connie Keeran 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, 2015 through June 30, 2016. DIRECTOR’S CIRCLE ($25,000+) Sterilite Corporation


2016 – 2017 SEASON

VIRTUOSO’S CIRCLE ($15,000+) Massachusetts Cultural Council


COMPOSER’S CIRCLE ($7,500+) Bemis Associates, Inc. Enterprise Bank Ramsey McCluskey Family Foundation Wind Point Foundation CONCERTMASTER ($5,000+) A.M. Transportation Services, Inc. Curry Printing * Deluxe Corporation Foundation Groton Ayer Realty Trust Keena Keel, Master Piano Tuner* Middlesex Savings Bank Nashoba Real Estate North Middlesex Savings Charitable Foundation

BENEFACTOR ($3,000+) Azores Airlines/Sata Air* Bamboo Fine Asian Cuisine & Sushi Bar Bruce J. Anderson Foundation at the Boston Foundation Circle Health Digital Federal Credit Union GateHouse Media New England* Haartz Corporation Attorney Ray Lyons Red Hat, Inc Rollstone Bank and Trust Scheier Katin & Epstein, P.C. Shepco, Inc. PATRON ($1,750+) Epic Enterprises Inc. ISS * Richard Mandel, Esq., of counsel, Baker Law Offices Helen and William Mazer Foundation MBIA Foundation Workers’ Credit Union

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

INVESTOR ($1,250+) Accent Design, Inc. Belmond Reid’s Palace* Colonial Spirits * New England Stageworks * RM Ratta Corporation PARTNER ($500+) Acton-Boxborough Cultural Council Benchmark Senior Living at Robbins Brook The Collings Foundation * Concord Cultural Council Concord Park and Nashoba Park Senior Communities GE Foundation Groton Cultural Council The Hanover Theatre * Hostess Catering * The Lexvest Group * Littleton Cultural Council Dennis F. Murphy Insurance Agency West Acton Villageworks * in-kind gift

Indian Hill Staff & Board ADMINISTRATIVE STAFF


Susan Randazzo, Executive Director 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 Lucinda Bowen, Patron Services Associate 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

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 on a variety of organizational priorities; act as Indian Hill ambassadors; and generously support our mission in a variety of ways.

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:

2016 – 2017 SEASON

Carole Prest, Chair Peter Ashton, Vice-Chair Jonathan Panek, Treasurer George Allison, Clerk Ryan Dunn Jeffrey Fuhrer Michael Hallstrom Kimberly Harriman Stephen J. Irish Melissa Maranda Jim Saalfield Mark Scheier Troy Siebels Miriam Smith John Spinello Camilla Blackman, Director Emerita Priscilla Endicott, Director Emerita Bob Anderson, Honorary Director Ralph Brown, Honorary Director

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



Bob Anderson Camilla C. Blackman Christopher Borg Ralph Brown Peter Burk Ruth Cavanagh John Chickosky Emilie Coolidge Faith Cross Cheryl DaSilva Armand Diarbekirian Priscilla Endicott Ursula Flury Hugh Fortmiller Erica Reynolds Hager June Adams Johnson Michael Knupp Erika Boardman Kraft Steve Levitsky Steve Lieman


Ad Index


2016 – 2017 SEASON






A.M. Transportation Services, Inc. . . . . . . . . . . . 34

Kitchen Outfitters, LLC . . . . . . . . . . . . . . . . . . . . . 33

Acton Coffee House . . . . . . . . . . . . . . . . . . . . . . . . 87

Gary Knowlton, Inc. Professional Painters . . . 40

Acton Real Estate Co. . . . . . . . . . . . . . . . . . . . . . . . 82

Life Care Center of Nashoba Valley . . . . . . . . . . 84

Applewild School Inc. . . . . . . . . . . . . . . . . . . . . . . 39

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

Bamboo Fine Asian Cuisine . . . . . . . . . . . . . . . . 80

Attorney Ray Lyons . . . . . . . . . . . . . . . . . . . . . . . . 65

Benchmark Senior Living at Robbins Brook . 31

Merrimack Repertory Theatre . . . . . . . . . . . . . . 46

Blackbird Café . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Music Worcester . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Bridges and Bows . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Nashoba Real Estate, Inc. . . . . . . . . . . . . . . . . . . . 79

Burtons Grill & Bar . . . . . . . . . . . . . . . . . . . . . . . . . 33

Nashoba Valley Chorale . . . . . . . . . . . . . . . . . . . . 40

The Cannon Theatre . . . . . . . . . . . . . . . . . . . . . . . 70

Newbury Court . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

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

Northern Bank & Trust Co. . . . . . . . . . . . . . . . . . 39

Carriage House Violins . . . . . . . . . . . . . . . . . . . . .31

OMR Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Law Offices of Nancy Catalini Chew . . . . . . . . 39

Osmun Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Circle Health Urgent Care . . . . . . . . . . . . . . . . . . 85

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

Colonial Spirits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Revolution Community Bodywork & Yoga . . 3

Concord Chamber Music Society . . . . . . . . . . . 42

RiverCourt Residences . . . . . . Inside Back Cover

Concord Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

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

The Concord Orchestra . . . . . . . . . . . . . . . . . . . . .33

Roudenbush Community Center . . . . . . . . . . . 42

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

Scheier Katin & Epstein, P.C. . . . . . . . . . . . . . . . . 82

Curry Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Sunset Farm Bed & Breakfast . . . . . . . . . . . . . . . 39

Enterprise Wealth Management . . . . . . . . . . . . 24

Symphony NH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

David French Music Company . . . . . . . . . . . . . . 80

True West Brewery . . . . . . . . . . . . . . . . . . . . . . . . . 32

Handel & Haydn Society . . . . . . . . . . . . . . . . . . . .86

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

Handworks Gallery of American Crafts . . . . . . . 2

Westford Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

The Hanover Theatre . . . . . . . . . . . . . . . . . . . . . . . 83

Workers Credit Union . . . . . . . . . . . . . . . . . . . . . . 87

Hostess Catering . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Cover photo credit: Michael J. Lutch

We are Proud to Sponsor

The Indian Hill Music

Faculty Showcase Recital Series

Your Local Real Estate Connection 978.449.4499 I

We are your local spot for the best breakfast & lunch around. Enjoy our gourmet coffee, espresso & tea as the perfect accompaniment to our freshly baked goodies and pastries. Or swing by for some real NY bagels topped with homemade cream cheese flavors. Check out our delicious breakfast favorites served all day long and  full lunch menu, alway made fresh!  Stop into today to see what keeps Blackbird soaring above the rest. 491 Main Street Groton, MA - 978-272-1175 -


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 80



WETHERBEE HOUSE 103 GREAT ROAD, ACTON, MA 01720 TEL: 978-264-4655 FAX: 978-264-4979 /978-263-2851 Em:



Scheier Katin & Epstein, P.C. is a community law firm. Housed in the historic Wetherbee House, a charming and inviting Victorian landmark. Our attorneys work with individuals and small businesses, helping to guide them through significant and often stressful transitions. Our dedication to quality, understanding of the law, trust, and respect are the foundation of our long-standing relationships with clients and the community.

Foster your love of Broadway, music, dance & more. Now offering private lessons and courses for all ages.

Something for everyone!

See our full performance list at 877.571.SHOW (7469) • 2 Southbridge St. • Worcester, MA

Worcester Center for Performing Arts, a not-for-profit 501(c)(3) organization, owns and operates The Hanover Theatre for the Performing Arts.



Today, you have many choices for urgent care. But only we are backed by Circle Health and Lowell General Hospital. That means you’ll be treated by the region’s top physicians and providers, with access to specialists and follow-up care if needed. So whether it’s a nasty cut, broken bone or bad infection, we’re the right choice when your health matters most. That’s Complete connected careSM. Convenient hours with no appointment needed. Learn more at





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.


Journeys in Traditional Spiritual and Gospel Music SUNDAY, OCTOBER 30, 2016 • 3:00PM Suzanne Buell and friends offer up an afternoon of stirring spirituals and gospel tunes. Suzanne Buell, vocals; Vicki Zelski, vocals; Shawn McCann, piano; Jeff Purchon, guitar, Abe Finch, percussion; Michael Payette, bass & vocals

Berit Strong & Billy Novick SUNDAY, APRIL 2, 2017 • 3:00PM

French Bliss SUNDAY, MARCH 5, 2017 • 3:00PM Orchestra of Indian Hill musicians work their magic on pieces by Ibert, Franck, Gaubert, and more. Ona Jonaityte, flute; Egle Jarkova, violin Rui Urayama, piano

Dave Fox Quartet featuring Stan Strickland

SUNDAY, MAY 7, 2017 • 3:00PM

Works from the English Renaissance, Celtic tunes, Brazilian sambas, Klezmer songs, American rags, and more.

Music of Duke Ellington, Joni Mitchell and The Beatles, plus tunes from the Great American Songbook.

Berit Strong, classical guitar/bass viola da gamba Billy Novick, clarinet/penny whistle

Stan Strickland, sax and vocals; Josh Rosen, piano; Bruno Råberg, bass; Dave Fox, drums

Camilla Blackman Hall at Indian Hill Music Center • 36 King Street, Littleton, MA • All tickets $10

Order tickets online: or call 978-486-9524 x116 88

find your center

525-545 Mass Ave, West Acton

Photos by Elizabeth LaDuca Photography

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Orchestra of Indian Hill Concert Season Program  
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