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Miller Theatre at Columbia University 2014-15 | 26th Season Early Music Myths & Allegories Les Délices Saturday, March 28, 8:00 p.m. Miller Theatre at Columbia University 2014-15 | 26th Season Early Music Saturday, March 28, 8:00 p.m. Myths & Allegories Les Délices Clara Rottsolk, soprano Debra Nagy, baroque oboe & recorder Julie Andrijeski, violin Emily Walhout, viola da gamba Michael Sponseller, harpsichord Sisième Sonate “L’Immortelle” Jean-Féry Rebel (1666-1747) Selections from Ulysse Suffriray-je toujours Sarabande Beaux lieux, vous ne sçauriez me plaire Cinquième Suite Sicilienne La Rêveuse Allemande La St. Germain Caprice Le Cury Gavotte en rondeau Chaconne en rondeau La Besson Les Sirènes Rebel François Chauvon (c.1690-c.1740) Thomas-Louis Bourgeois (1676-1750) INTERMISSION Miller Theatre at Columbia University 2014-15 | 26th Season La FidelleRebel Le Sommeil d’Ulisse Elisabeth Jacquet de la Guerre (1665-1729) Selections from Ulysse Rebel C’est vous, mon cher Ulysse Chaconne Que c’est un plaisir extreme This program runs approximately ninety minutes, including intermission. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. The Church of St. Mary the Virgin is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program Homer’s Odyssey endures as one of the best-loved adventure tales of our time. The famous epic follows its hero Ulysses on a ten-year adventure as he returns home to Ithaca in the wake of the Trojan War. Along the way, he and his crew encounter lethargic Lotus Eaters and the monstrous Cyclops, Polyphemus. Ulysses must also resist the not-so-friendly feminine wiles of the witch Circe, the deadly Sirens, and the nymph Calypso, who keeps him and his men captive for seven years. All the while, the goddess Minerva (also known as Pallas Athena) serves as Ulysses’ guide and protector, helping him to avert disaster and overcome the many obstacles that separate Ulysses from his long-faithful wife, Penelope. The Odyssey’s central theme— and the source of its universal appeal—is the enduring strength of love, hope, and fidelity, and their ability to withstand tests of time and tribulation. Scholars believe that Homer’s epic was a song sung to a rapt audience before it was ever written down, so it is fitting that we return his story to music by creating a program featuring French Baroque retellings. Jean-Féry Rebel (1666-1747) studied both composition and violin with Lully, and steadily climbed the professional ladder at Versailles: by the turn of the eighteenth century he was performing in the opera orchestra, becoming its conductor (batteur de mesure) by 1705. In 1718, he assumed the post of chamber composer to the King. Despite its beautiful music and attractive subject, Rebel’s Ulysse suffered the same fate as virtually every other opera written between the time of Lully and Rameau. That is, it saw only a few performances and was never revived (though excerpts from Ulysse did get recycled into a later operatic pastiche). The libretto for Ulysse loosely adapts Homer’s text, creating a tangled love triangle between Circe, Ulysses, and Penelope. We present two airs from the Act 1: Souffriray-je toujours (in which Penelope pleads with her long-absent husband to return) and the lilting Beaux lieux, where Penelope explains that beautiful gardens and other pleasant distractions will fail to distract her from her longing. By the end, however—with the help of the goddess Minerva—Penelope is happily reunited with Ulysses in Ithaca (which we witness with two airs from Act 5 of Ulysse: C’est vous, mon cher Ulysse, and Que c’est un plaisir extreme). We’re happy to present these excerpts from Ulysse for the first time, which we’ve edited from the surviving short score. Rebel’s earliest works are his violin sonatas and trios, which date from the last decade of the seventeenth century. Many of his sonatas bear evocative titles, such as the trio L’Immortelle (the Immortal one) and La Fidelle (Faithful one), which, in the context of this program, is meant to evoke the enduring hope and faith of Penelope. La Fidelle’s searching, improvisatory opening over a bass pedal note sets the stage for a series of contrasting sections that range from a brilliant, fast-paced fugue, to a simple elegant air that devolves into heart-wrenching suspensions, to a regal lentement consisting entirely of double-stops on the violin, and finally a virtuosic fantasy that recalls the musical sighs and chromaticism of the sonata’s opening. Though François Chauvon’s Cinquième Suite contains no direct reference to the Homerian tale, we might imagine the different movements—from the dreamy Sicilienne (La Rêveuse) to the final, hypnotic Chaconne en rondeau—as evocative of Odysseus’s seven years on the island of Ogygia under the spell of the goddess Calypso. The pervasive use of rondeau form in this suite enhances its bewitching quality, while traces of the pastoral (heard in the Sicilienne, the pesante Gavotte, and even in the lilting rhythms of the Chaconne) echo Homer’s own description of this entrancing island: “Thickets of alder, black poplar, and cypress, with horned owls, falcons, and garrulous sea-crows roosting in their branches, sheltered Calypso’s great cavern. A grapevine twisted across the entrance. Parsley and irises grew thick in an adjoining meadow, which was fed by four clear streams.” A student of François Couperin, Chauvon (c.1690-1740) had a rich imagination and a distinctive, witty voice that shines through each of his few, extant works. Thomas-Louis Bourgeois (1676-1750) is hardly a household name, but he made a major contribution to the genre of the French cantata. At the time of Les Sirènes’ publication, Bourgeois could regularly be heard singing countertenor at Paris’s Opéra. Following six years as surintendant de musique in the service of the Duke of Bourbon, he appears to have struggled to hold onto professional appointments in various provincial cities (Lyons, Poitiers, Dijon), ending his career in obscurity and poverty. Les Sirènes (1708) dates from the beginnings of his success as a composer. The music is concise and strong, effectively conveying the tantalizing allure of the sirens (L’Amour par nos voix vous appelle) and the dangerous peril should Ulysses and his crew fall prey to them. About the Program In the course of the Odyssey, Ulysses and his men also encounter the dreaded Cyclops, Polyphemus. (Alas, Rameau’s harpsichord solo—with its repeated “hammering” figures probably refers to a different group of Cyclops who forged lightening bolts for Zeus). Ulysses escapes Polyphemus’ clutches by blinding him with a wooden stake, though he makes the terrible mistake of boastfully revealing his identity. As a result, Ulysses and his crew are forced to confront the wrath of Neptune (Polyphemus’s father), God of the Seas. In vain, Ulysses attempts to conceal his fleet of ships from Neptune, which is where Le Sommeil d’Ulisse by Elisabeth Jacquet de la Guerre (1665-1729) picks up the story. Neptune whips up a terrifyingly dangerous storm, complete with thunder and lightening in the violin’s swirling Tempête. Minerva sweeps in to protect Ulysses, offering him refuge and respite by way of a deep, magical sleep (this sommeil is evoked with lilting dotted rhythms, slow-moving harmonies, and the unreal, fused sound of muted violin and recorder). La Guerre rose to prominence as a child prodigy, when, at the age of five, she was already performing on the harpsichord and singing at the court of Louis XIV. She was the first woman to compose an opera in France, and one of the very few to publish her own compelling, creative compositions. Le Sommeil d’Ulisse is included in her final collection of Cantates françoises (1715), published fifteen years before her death. The cantata became enormously popular in early eighteenth-century France. Borrowing both form and function from opera, French cantatas include Italianate da capo arias, extravagant and dramatic instrumental interludes adapted from the stage (such as the tempest scene in La Guerre’s Sommeil d’Ulisse), and metrically-flexible French recitatives. As in most Tragédie Lyrique (the French operatic form pioneered by Jean-Baptiste Lully), allusions honoring King Louis XIV frequently appear in the cantata repertory (in tonight’s program, the story of the benevolent King Alcinous is a clear reference) and a Deus ex machina frequently sweeps in at the end to save the day (cue: Minerva). Sometimes, the final aria in a cantata may offer a moral to the audience. In the case of Les Sirènes, the temptation of Beauty cannot and will be denied – resistance to Love is futile! – Program notes by Debra Nagy Texts and Translations Selections from Ulysse Souffriray-je toujours Souffriray-je toujours les riguers de l’absence? Ulysse, revenez! Hâtez vôtre retour. Abandonnez la gloire, en faveur de l’Amour, Venez de mes ennuis calmer la violence, Penelope vous doit posseder à son tour; Mille amans empressez attaquent ma constance, De leurs soins importuns Je me plains chaque jour, Et vous me laissez sans deffence, Dans ce triste sejour Telemaque vous cherche avec impatience, Vos etats en danger veulent vôtre présence, Ulysse, revenez! Hâter vôtre retour! Beaux lieux, vous ne sçauriez me plaire Beaux lieux, vous ne sçauriez me plaire, Vous aviez pour moy des appas; Quand Ulysse suivoit mes pas, Vous étiez les temoins de nôtre ardure sincere; Mais Ulysse est absent, vous ne me l’offrez pas; Beaux Lieux, vous ne sçauriez me plaire. Shall I forever suffer the hardship of your absence? Ulysses, come back! Hasten your return! Give up on glory in favor of Love, Come to calm my troubled heart. Penelope must have you in her turn. A thousand lovers challenge my fidelity Surrounded by their unwelcome proposals, I cry every day. And you leave me without defenses In this sad place. Telemacus seeks you with impatience, Your troubled dominion wishes you were here. Ulysse, come back! Hasten your return! Lovely place, you could not please me If you had more appeal. When Ulysses should follow my footsteps, You could bear witness to our true love; But Ulysse is gone, you can not replace him. Lovely place, you could not please me. Les Sirenes Récit Après avoir vaincu les peuples de Phrigie Et vengé Menelas d’un lâche ravisseur Ulisse trumphant se flatoit du Bonheur De revoir dans Itaque une epouse cherie. Pour hâter son retour Eole dans les airs Conduisoit ses vaisseaux sur les humides plaines Quand les dangereuses Syrenes l’arresterent par ces concerts. Air L’amour par nos voix vous apelle Rendés vous a nos chants cedes fameux heros Après avoir aquis une gloire immortelle Sur ces bords fortunes goustés un doux repos Voyés voler sur ces heureux rivages Les aimables zephirs et les tendres amours Les aquilons et les orages N’en chassent jamais les beaux jours Récit La flotte d’Ulisse charmée par le secret pouvoir de ces tendres accords S’empresse d’aprocher de ces funestes bords Quand la sage Pallas pour Ulisse allarmée Degage sa raison de ce charme trompeur Honteux du trouble de son Coeur De Venus irritée il reconnoît l’ouvrage The Sirens After having vanquished the people of Phrigia And avenged Meneleas of a dastardly kidnapper, triumphant Ulysses – urged on by his success – yearns to see his beloved wife again in Ithaca. Hastening his return, Aeolus’ winds drive Ulysses’ vessels across the seas When the dangerous Sirens stop him with their songs. Love, by our voices, calls to you. Surrender yourself to our songs – Stop! – famous hero! After having acquired immortal glory, Succumb to sweet rest on these happy shores. Come and see, on our happy beaches, The kind zephyrs, and tender loves. The north winds and the storms Can never drive away these lovely times. Ulysses’ crew, charmed by the secret power Of these tender strains, was eager to approach these deadly shores. When wise Pallas, alarmed on Ulysses’ behalf, restored his senses from the deceitful charm. Ashamed of the trouble in his heart, he recognized there the work of Venus, who is not on his side. Fuyons amis dit-il aux siens Les Dieux protecteurs des Troyens Nous attirent sur ce rivage Air Fuyés, fuyés éloignés vous d’un peril dangereux qui vous paroit aimable. Il est cent fois plus redoubtable que les vents et flots irritées contre nous C’est un trespas inevitable Qui s’offre a nos regards sous les traits les plus doux. Et nos malheurs n’ont pas epuisé le couroux de la fortune impitoyable. Récit Par ces sages conseils a sa flotte seduite Ulisse rendit la raison et scut par une prompte suite Sauver son Coeur d’un funeste poison. Air Belles dans vos yeux l’Amour met ses armes Qui craint les allarmes Des coeurs amoureux Doit fuir de vos charmes L’ecüeil dangereux En vain le plus sage vous a resisté L’Amour irrité punit cet outrage par le prompt naufrage de sa liberté Le Sommeil D’Ulisse Récit Apres mille travaux, L’infatigable Ulisse a Neptune irrité, croit cacher son vaisseau. Mais, ses efforts sont vains, ce Dieu veut “Let’s flee, friends,” he told his crew. “The gods – Troy’s protectors – lure us by trickery to these shores!” Flee! Flee! Escape from this dangerous peril That appears friendly. It is a hundred times worse than the winds and waves Unleashed against us. Inevitable death offers itself to us In the guise of sweetness. And our misfortunes have not exhausted the wrath of merciless fortune. By this sage advice, Ulysses restored reason to his seduced crew. By swift action, he was able to save his heart from deadly poison. Beauties, in your eyes, Love sets her weapons. He who fears the cries of amorous hearts should flee from the dangerous temptations of your charms In vain, the most wise have resisted you. Provoked Love punishes this insult by the swift storming of her liberty. Ulysses’s Slumber Following a thousand trials, the tireless hero, Ulysses believed he could conceal his ships from irritated Neptune. But his Texts and Translations qu’il périsse, et qu’un gouffre soit son tombeau. efforts were in vain – the God wished that he should die engulfed in an abyss. Air Sur une mer orageuse et profonde, Il l’apercoit guidé par les zephirs voguer au gré de ses desirs; et regner comme lui sur l’onde. On a deep and stormy sea, Neptune perceived Ulysses being steered by the zephyrs – as though Ulysses reigned over the sea. Récit Il en frémit, une injuste fureur s’empare de ses sens, et les remplit d’horreur He shuddered – an unjust fury took hold of his senses, filling them with horror. La Tempeste (Récit) Pour perdre ce guerrier, Il se livre a sa rage De tonnerres bruiants de foudroyants éclairs; Il foit briller, Gronder les Airs; L’univers allarmé craint un nouveau naufrage, Tous les vents déchaînés lutent contre les flots; Le vaisseau renversé, cede a l’affreux orage, disparoît et la Mer engloutit ce Heros To destroy this warrior, Neptune releases his rage of clamorous thunder and terrifying lightening. He sets ablaze, rumbles the airs; the universe – alarmed – believes there’s a new shipwreck. All the winds unleashed against the waves, the vessel capsized, ceding itself to the ferocious storm, disappeared, and the sea engulfs our Hero. Air Venés Minerve bien faisante, Vous qui prenés soin de ses jours; Hatezvous Déesse puissante, volez a son secours. Quand il vit la troupe immortelle sur Ilion se partager, a vos leçons toujours fidele sous vos loix il sçut se ranger. Récit Nos voeux sont éxacuez; une si chere tête échape en fin à la tempête; Un azile delicieux du Dieu qui le poursuit rend la colere vaine; par un sommeil misterieux, la Déesse adoucit sa peine. Come, beneficent Minerva, You who take care of his days. Hurry, powerful goddess, fly to his aid. When he saw the immortal crew on Ilion divided, he was ever faithful to your lessons; by your direction, he was able to retreat. Our wishes are granted: a very dear head finally escaped the storm. Providing a charming refuge, the Goddess assuaged Ulysses’ pain with a mysterious slumber, rendering Neptune’s anger vain. Air Dormés, dormés. Ne vous deffendés par d’un Sommeil si rempli de charmes; Ah! Que le repos à d’appas; quand il succède, à tant d’allarmes. Aux plus laborieux expoits, il est beau qu’un Heros s’expose. Mais, il faut aussi quelque fois, que ce même Heros repose. Récit Mais, quel songe se mêle à cet enchantement? Minerve à son esprit presente du Destin qui l’attend une image riante, et lui tient ce discours charmant Sleep, sleep. Don’t defend yourself from a slumber so full of charms. Ah! How enticing is rest, when it follows so many alarms. It’s good that a hero exposes himself to the most laborious challenges, but sometimes, a hero must also rest. Alcinoüs ce Roy que l’univers admire, en ces heureux climates exerce son empire, en vain mille ennemis, dans leurs jaloux transports, ont fait contre lui seul, les plus puissants efforts, contraint d’armer son bras, il n’a pris son tonnerre, que pour mieux affermir le repos de la terre. Ce monarque atentif au Bonheur des humains, se plait à proteger les droits des souverains, Il est des affligé la plus ferme espérance, vos voeux seront comblés par sa magnificance; et malgré les destins à vous perdre animés, Il vous rendra vainqueur a des peuples aimés. But, what dreams together with this enchantment? Minerva presents to Ulysses imagination a happy image of the fate that awaits him, and speaks to him in this charming fashion: Alcinous, the universally-admired king, reigns in these happy climes. In vain, a thousand enemies – carried away by their jealousy – ganged up against him. Forced to defend himself, he only used thunder to better maintain peace on earth. For this monarch was sensitive to the well-being of mankind and wished to protect the rights of sovereigns. Alcinous is the most solid hope to the afflicted; your wishes will be fulfilled by his magnanimousness, and despite fates which are animated to destroy you, he will returns you triumphant to your beloved people. Air Ulisse que la gloire appelle triomphe en ces aimables lieux. Il y voit finir la querelle qui troubla si longtems les Dieux. Lorsqu’un Heros suit la sagesse, et qu’il la prend pour son appui a son parti tout s’interesse, tout agit, tout combat pour lui. Ulysses, who glory calls, triumphs in these pleasant places. He sees there the end of the quarrel that has for so long troubled the Gods. For when a hero follows wisdom and takes it for his support, his course becomes of interest to all – all act, all fight for him. Texts and Translations Selections from Ulysse C’est vous, mon cher Ulysse C’est vous, mon cher Ulysse, et le Ciel vous rameine; Je vous revois victorieux; Nous devons la victoire aux Dieus, Ils ont vangé vôtre gloire et la mienne. Je sens un feu nouveau qui revient m’animer, ma bouche ny mes yeux ne peuvent l’exprimer. Que c’est un Plaisir Extreme Que c’est un plaisir extreme, de revoir ce que l’on ayme? Tout comble aujourd’huy nos voeux, Les Dieux nous offrent des jours heureux. Ranimons nôtre tendresse, L’Amour regne dans ces lieux; D’Ulysse sans cesse, vantez les exploits glorieux, Qu’a chanter son nom tout s’empresse, qu’il vole jusqu’aux Cieux. It’s you, my dear Ulysses, and the Heavens brings you back to me; I see you again, victorious. We owe victory to the Gods. They have avenged your glory and mine. I sense a spirit is newly rekindled in me; neither my eyes nor words can express it. What an extreme pleasure it is to see the one I love again! Today, our wishes have been granted; the Gods have offered us happy days. Let us rekindle our affections. Love reigns in these places. Extol the glorious exploits of Ulysses unceasingly; Let everything be compelled to sing his name. Let him fly up to the heavens About the Artists Les Délices Clara Rottsolk, soprano Debra Nagy, baroque oboe & recorder Julie Andrijeski, violin Emily Walhout, viola da gamba Michael Sponseller, harpsichord Les Délices’ (pronounced Lay day-lease) polished, expressive, and dynamic performances of masterpieces and littleknown works from the French Baroque have been garnering critical acclaim. Les Délices’ debut CD The Tastes Reunited was named one of the “Top Ten Early Music Discoveries of 2009” (NPR’s Harmonia), and their performances have been called “a beguiling experience” (Cleveland Plain Dealer), “astonishing” (ClevelandClassical.com), and “first class” (Early Music America Magazine). Founded in Cleveland in 2009, Les Délices performances on period instruments allows them to explore a rich tapestry of tone colors, and the group’s name conveys their approach to the music of this era: a delight, a fine delicacy, sumptuous, and exciting. Les Délices has been featured on WCPN, WCLV, and WKSU in Ohio, WQXR in New York, and NPR’s syndicated Harmonia and Sunday Baroque. Les Délices made its New York debut before a sold-out audience at the Frick Collection in May 2010, and has performed for Music Before 1800 (New York), Early Music in Columbus, and San Francisco Early Music Society in recent seasons. In addition to touring engagements, Les Délices presents its own annual three-concert series in Cleveland art galleries and at Plymouth Church, where the group is Artist in Residence. Les Délices released their second CD, Myths & Allegories, in November 2012. A native of Seattle, the soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” Solo appearances with ensembles including American Bach Soloists, the Virginia Symphony, American Classical Orchestra, the Carmel Bach Festival, and Seattle Baroque Orchestra have taken her across the United States, the Middle East, Japan, and South America. About Miller Theatre Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A fourtime recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences. Advisory Committee Paul D. Carter Mary Sharp Cronson* Stephanie French* Marcella Tarozzi Goldsmith Karen Hagberg Margo Viscusi* Mr. and Mrs. George Votis* Cecille Wasserman* Elke Weber I. Peter Wolff* Mark Jackson Eric Johnson Philip Mindlin Linda Nochlin Peter Pohly * Miller Theatre Advisory Board member Columbia University Trustees Jonathan D. Schiller, Chair A’Lelia Bundles, Vice Chair Noam Gottesman, Vice Chair Mark E. Kingdon, Vice Chair Esta Stecher, Vice Chair Rolando T. Acosta Armen A. Avanessians Andrew F. Barth Lee C. Bollinger, President of the University William V. Campbell, Chair Emeritus Lisa Carnoy Kenneth Forde Joseph A. Greenaway, Jr. James Harden Marc Holliday Columbia University School of the Arts Carol Becker Dean of Faculty Benjamin Horowitz Ann F. Kaplan Jonathan Lavine Charles Li Paul J. Maddon Vikram Pandit Michael B. Rothfeld Claire Shipman Kyriakos Tsakopoulos Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Brenna St. George Jones Director of Production Nora Sørena Casey Marketing & Communications Associate Katherine Bergstrom Artistic Administrator Rhiannon McClintock Executive Assistant Aleba & Co. Public Relations The Heads of State Graphic Design Charlotte Levitt Director of Marketing & Outreach James Hirschfeld Business Manager Megan Harrold Audience Services Manager Taylor Riccio Production Coordinator Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible. $25,000 and above Francis Goelet Charitable Lead Trusts National Endowment for the Arts $10,000 - $24,999 William V. Campbell The Aaron Copland Fund for Music Mary Sharp Cronson Dow Jones Foundation H. F. (Gerry) Lenfest Fritz Reiner Center for Contemporary Music at Columbia University The Gladys Krieble Delmas Foundation New York State Council on the Arts The Fan Fox and Leslie R. Samuels Foundation The Evelyn Sharp Foundation Margo and Anthony Viscusi CLC Kramer Foundation Craig Silverstein Carol Avery Haber / Haber Family Charitable Fund Karen Hagberg and Mark Jackson Donella and David Held Roger Lehecka Philip Mindlin Linda Nochlin Jeanine and Roland Plottel Jessie and Charles Price Peter Pohly Christopher Rothko J. P. Sullivan Cecille Wasserman Janet C. Waterhouse Elke Weber and Eric Johnson Anonymous Stephanie French Claude Ghez Mary and Gordon Gould James P. Hanbury John Kander Mark Kempson and Janet Greenberg Paul J. Maddon Marian M. Warden Fund of the Foundation for Enhancing Communities Katharina Pistor James Sharp Cia Toscanini Kathryn Yatrakis June O. Goldberg Richard Gray Barbara Harris Frances and Raymond Hoobler Bernard Hoffer Alan Houston and Lisa DeLange Frank Immler and Andrew Tunick Sandra and Malcolm Jones William Josephson Rebecca Kennison L. Wilson Kidd, Jr. Sandra Kincaid Barbara and Kenneth Leish Arthur S. Leonard Richard H. Levy and Lorraine Gallard Peter C. Lincoln Patricia Lowy and Daniel Frank Caroline and Anthony Lukaszewski Marghretta McBean Gerald McGee Susan Narucki Mary and Andrew Pinkowitz Edmée B. Reit Monique Rinere in honor of James F. Rinere Carol Robbins Esther Rosenberg and Michael Ostroff William Ryall Mariam Said Eliisa Salmi-Saslaw James Schamus and Nancy Kricorian Elliot Schwartz Anita Shapolsky Timothy C. Shepard and Andra Georges Gilbert Spitzer and Janet Glaser Spitzer Peter Strauss Jim Strawhorn Larry Wehr Seymour Weingarten Ila and Dennis Weiss Elizabeth Wheeler Anonymous $5,000 - $9,999 The Amphion Foundation Ann and Gordon Getty Foundation $1,000 - $4,999 Rima Ayas Barbara Batcheler Susan Boynton Paul D. Carter Hester Diamond R. H. Rackstraw Downes Marcella Tarozzi Goldsmith Christine and Thomas Griesa $500 - $999 Oliver Allen Regula Aregger Mercedes Armillas ASCAP Elaine S. Bernstein Cedomir Crnkovic / Cavali Foundation Kristine and Joseph Delfausse $100 - $499 Gail and James Addiss Edward Albee Roger Bagnall Sandra and Marc Bernstein Andrew Birsh Jim Boorstein Alexandra Bowie and Daniel Richman Elizabeth and Ralph Brown Caplan Family Foundation Richard Carrick and Nomi Levy-Carrick Rashmy Chatterjee Ginger Chinn and Reggie Spooner Gregory Cokorinos Merry Conway Norma Cote David Demnitz Vishakha Desai and Robert Oxnam Rosamund Else-Mitchell Peter and Joan Faber Ruth Gallo Marc Gilman as of January 20, 2015 Upcoming Events Thursday, April 9, 8:00 p.m. BACH, REVISITED Helmut Lachenmann + Bach Tuesday, April 14 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Ensemble Signal Thursday, April 23, 8:00 p.m. COMPOSER PORTRAITS Anna Clyne Friday, May 8, 8:00 p.m. BACH, REVISITED Sofia Gubaidulina + Bach Monday, May 11 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Daedulus Quartet with Benjamin Hochman S TAY T U N E D I N Want to learn about new concerts, special announcements, and more? 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