Landmarks Dance Carnival

August 23, 2017

7 pm

at the DCR’s Hatch Shell

A COMMUNITY SUPPORTED ORCHESTRA

Dear Concertgoer,

We are thrilled that you have chosen to spend a summer evening with us at the DCR’s Hatch Memorial Shell on the banks of the Charles River for one of our 2017 series of free orchestral concerts. Last year, we celebrated our 15th anniversary as the Boston Landmarks Orchestra, and this year, we celebrate our 10th anniversary performing at this iconic and historic venue on the Esplanade.

Our mission is to make orchestral music free and accessible to everyone in the greater Boston community, and visitors from near and far. We are proud of our Music Director Christopher Wilkins’s artistic integrity and musical leadership, as well as his “strategy of participation” to engage with community partners from all over our city, and youth and adults in every Boston neighborhood.

We have grown fond of repeating the phrase “our concerts are free, but they are not free to produce!” The members of our orchestra are among Boston’s finest, most highly trained professional musicians. We provide the best sound engineering possible for our venue. And we invest significantly in our education and community outreach programs and our community partnerships.

Please consider a suggested contribution of $20 to the Boston Landmarks Orchestra to help us continue this summertime tradition for many years to come, adding immeasurably to the quality of life in Boston.

You may return the enclosed reply envelope and your contribution to one of our volunteers in blue t-shirts or drop it off at our Information Tent.

Visit www.landmarksorchestra.org/donate to donate securely online. Contributions may also be mailed to: Boston Landmarks Orchestra, 214 Lincoln Street, Suite 331, Boston, MA 02134

Please enjoy the evening, and we hope to see you again soon.

Sincerely,

Laura Connors Jo Frances Meyer Chair, Board of Trustees Executive Director

Landmarks Dance Carnival Boston Landmarks Orchestra

Christopher Wilkins, Music Director Conservatory Lab Charter School’s Dudamel Orchestra

Christopher Schroeder, Music Director The Dance Complex

Peter DiMuro/Public Displays of Motion Boston Ballet II

Peter Stark, Associate Artistic Director Camp Harbor View

Boys & Girls Clubs of Boston

Emperor Waltzes Johann Strauss Jr. (1825-1899)

Conservatory Lab Charter School’s Dudamel Orchestra

Pas de deux from The American Music: String Quartet in F major, op. 96, ‘American’ Antonín Dvořák

2nd movement: Lento (1841-1904) Choreography: Christopher Wheeldon Staging: Michele Gifford Dancers: Catherine Livingston and Derek Drilon, Boston Ballet II

Romanian Rhapsody in A major, op. 11, no. 1 Georges Enesco (1881-1955)

Danzas Cubanas Robert Sheldon (b. 1954)

Salsa y Control

Irish Suite: Leroy Anderson The Girl I Left Behind Me (1908-1975) Irish Washerwoman

Harney Academy of Irish Dance

INTERMISSION

Santiago in the Stream (world premiere) Ryan Edwards (b. 1979) Apostolos Paraskevas (b. 1964)

Text by Ryan Edwards Camp Harbor View, Boys & Girls Clubs of Boston

Ryan Edwards, percussion; Brian Mirage, dancer; Timothy Hall, narrator

Rodeo* (complete ballet) Aaron Copland (1900-1990) "Pioneers"

choreographed by Peter DiMuro in collaboration with those performing Peter DiMuro/Public Displays of Motion and Boston Ballet II

*By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

Boston Landmarks Orchestra VIOLIN I Gregory Vitale, concertmaster Christine Vitale Pattison Story Gerald Mordis Tera Gorsett Colin Davis Heidi Braun-Hill Melissa Howe VIOLIN II Paula Oakes, principal Stacey Alden Maynard Goldman Robert Curtis Lisa Brooke Olga Kouznetsova VIOLA Kenneth Stalberg, principal Abigail Cross Donna Jerome Jean Haig Don Krishnaswami Noriko Futagami CELLO Aron Zelkowicz, principal Melanie Dyball Jolene Kessler Patrick Owen Michael Curry

BASS Robert Lynam, principal Barry Boettger Kevin Green John Shiu FLUTE Lisa Hennessy, principal Elzbieta Brandys Iva Milch PICCOLO Elzbieta Brandys Iva Milch OBOE Andrew Price, principal Jennifer Slowik Mary Cicconetti ENGLISH HORN Mary Cicconetti CLARINET Steven Jackson, principal Margo McGowan Rane Moore BASS CLARINET Rane Moore BASSOON Gregory Newton, principal Margaret Phillips

HORN Kevin Owen, principal Jane Sebring Whitacre Hill Nancy Hudgins TRUMPET Dana Oakes, principal Jesse Levine Greg Whitaker Richard Kelley TROMBONE Robert Couture, principal John Faieta Donald Robinson TUBA Donald Rankin, principal HARP Ina Zdorovetchi, principal PIANO/CELESTE Maja Tremiszewska TIMPANI Jeffrey Fischer, principal PERCUSSION Robert Schulz, principal Craig McNutt Aaron Trant Gregory Simonds

Conservatory Lab Charter School’s Dudamel OrchestraVIOLIN Tyqueo James Jaileen Mercado Sylvie Mareira Gianna Alfaro Natalia Edwards Jasmine Campbell Chansly Beauvoir Carlos Cruz Teruel Ethan Chen Marguerite Greene

VIOLA Belina Lee CELLO Nijayah Baker Joseph Greene Bryan da Costa Bryan Rodriguez Angelo Beauvoir BASS Mycah Johnson

FLUTE Grace Hammack Bridget Monks CLARINET Ayana Sobotka Elijah Simon

HORN Arianna Rodriguez Anthony Vega Jordan Volel Kailyn Dubuisson

TRUMPET Brandon Volel Raini Toribio-Rosario TROMBONE Chaya Grant

Peter DiMuro/Public Displays of Motion: Kara Fili, Ann Fonte, Lindsay Lapointe, Irene Lutts, Hai Dang Nguyen, J Michael Winward, Lonnie Stanton, MacKenzie Skeens, Tony Guglietti Harney Academy of Irish Dance: Alanna Connolly, Caitlin Britt, Kaitlin Skinner, Molly Geoghegan, Piper Doyle, Ciara Naughton, Anya Vohel, Corinne Garrity, Emily Sullivan, Caroline Brennan, Kaelin Donahue, Gia Coffey, Kiley Sudhalter Salsa y Control: Johnny Giraldo, Andres Giraldo, Remo Mueller, Rob Brodrick, David Lavy, Kelly Bachovchin, Maureen Kenealy, Amelia Najjar, Amy Mendez, Theresa Raimondo

The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in the City of Boston throughout the summer, delighting thousands on a weekly basis. Made up of some of Boston’s most accomplished professional musicians, it uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra regularly collaborates with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides.

The Boston Landmarks Orchestra is committed to BREAKING DOWN BARRIERS to access for people with disabilities. It offers braille, large-print, and text-to-speech programs, assisted listening devices, and ambassadors to greet and

assist people at a handicapped drop-off point. The Orchestra works with American Sign Language (ASL) interpreters as performers at select concerts.

CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. He also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading orchestras of the U.S. Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981.

CONSERVATORY LAB CHARTER SCHOOL empowers a diverse range of children as scholars, artists, and leaders through a unique and rigorous academic and music education. We enrich the larger community through performance, service, and collaboration. As a laboratory school, we develop and disseminate innovative educational approaches that will positively impact children in other schools and programs. At Conservatory Lab, we believe in the power of music and learning to transform the lives of our students and their families. At the core of our pioneering curriculum is the hybrid of two proven and exemplary programs: El Sistema and Expeditionary Learning. www.conservatorylab.org

Boston-based musician CHRISTOPHER SCHROEDER is a catalyst for social change through music. As an experienced conductor and trumpeter, he connects and inspires musicians of all ages to achieve their highest level of musicianship, while instilling character traits that transcend rehearsal and performance. An active conductor and music

educator, Schroeder is Music Director for the Cape Youth Orchestra on Cape Cod; Director of Community Engagement & Resident Artist for Conservatory Lab Charter School; Program Manager and Faculty for Longy School of Music of Bard College’s El Sistema Side-by-Side Program; National Teaching Faculty with the LA Phil and Longy; and Education Consultant with Conn Selmer Inc. BOSTON BALLET II (BBII) is the second company program-in-residence at Boston Ballet, under the direction of Artistic Director Mikko Nissinen and Peter Stark, Associate Director of Boston Ballet II. Members of BBII are young dancers of outstanding ability, ages 16–21, who are challenged to improve artistically and technically so they may reach their full potential. The two-year program bridges the divide between the final year of schooling and professional careers with major dance companies and offers dancers a full range of performance opportunities to further skill development as artists. BBII alumni fill Boston Ballet’s ranks; in the current season, 35% of the Company dancers are former BBII members.

Born in England, CHRISTOPHER WHEELDON danced for The Royal Ballet and New York City Ballet. Christopher has choreographed for ballet companies worldwide and for opera, television, film and Broadway. He is the recipient of a Tony Award, two Lawrence Olivier Awards and is an honorary member of The American Academy of Arts and Sciences. He is currently Artistic Associate of The Royal Ballet and was awarded an OBE in 2016.

CATHERINE LIVINGSTON began her classical ballet training at age 11 at Piedmont School of Music and Dance under the direction of Rebecca and Daniel Wiley. During the summer, she trained at American Ballet Theatre in California, Houston Ballet, The Juilliard School, and Colorado Ballet. While at Piedmont School of Music and Dance, Livingston performed the role of the Sugar Plum Fairy in The Nutcracker, Medora in excerpts of Le Corsaire, and the Odile variation from Swan Lake. She has also performed roles in La Bayadère and West Side Story. Livingston joined Boston Ballet in 2017.

DEREK DRILON began his training in 2009 at Northwest Classical Ballet (NCB) under the direction of his mother, Maricar Drilon. He performed principal roles at NCB in several full-length ballets and contemporary works including performances in China, Canada, France, and the Philippines. He furthered his training at Long Beach Ballet, Ballet Austin, Ballet West, American Ballet Theatre, The Joffrey Ballet, and Boston Ballet. Drilon joined the Joffrey Studio Company in 2015, under the direction of Alexei Kremnev and Anna Reznik. In addition to performing many principal roles in trainee productions, he has performed in company roles in several productions with The Joffrey Ballet under the direction of Ashley Wheater.

SALSA Y CONTROL originated in 1999 with Johnny and Andres, two brothers who perform amazing duets with unique, intricate salsa footwork combinations. Salsa y Control later expanded to include partner dance performances with Johnny & Felicita. In 2003, the three established what we know today as "Salsa y Control Dance Company." Their drive came from the desire to inspire others to express inner emotion through the art of dance. Our mission is to share the passion and love for Latin culture, music, dance and art and to provide a fun and friendly environment where dancers are inspired to gain confidence and reach their fullest potential. CAMP HARBOR VIEW helps underserved youth in Boston envision new pathways to success by providing life shaping experiences at a critical time in their lives. We do this through an exceptional summer camp experience, followed by year-long programming for campers and their families. Once accepted into the program, campers attend one of two four-week long summer sessions on Long Island in Boston Harbor and have limitless access to year-round programming and social work services at our year-round facility in Roxbury. Camp Harbor View is offered at a minimal charge of $5 per family for unlimited access into our program. www.campharborview.org

BOYS & GIRLS CLUBS OF BOSTON is a 501(c)(3) nonprofit organization whose mission is to help young people, especially those who need us most, build strong character and realize their full potential as responsible citizens and leaders. www.bgcb.org RYAN EDWARDS is a Boston-based inter-disciplinary artist with a background in West African drum and dance, jazz and new-music composition. He composes extensively for contemporary dance and produces multi-media performance works and installations through the studio he co-directs, Boston-based Masary Studios. He holds a degree in performance from Berklee College of Music, apprenticed extensively in traditional music, dance and instrument-building in Guinea, West Africa and works regularly as a public / installation artist throughout New England. Beyond his interests in the arts, Ryan is an avid soccer player, coaches youth soccer in Watertown, MA and loves to sail. Ryan is most proud to be the father of two beautiful children, Jafiah and Maya. www.ryanedwards.info

APOSTOLOS PARASKEVAS is a classical guitarist and composer as well as an award-winning film director and producer. He has received multiple international awards for his compositions and was nominated for a Grammy Award. He is the only guitarist ever to have a major orchestral piece performed at Carnegie Hall under the direction of Lukas Foss. He has made over a dozen recordings of his music. He served for 16 years as the artistic director of the International Guitar Congress on the island of Corfu, Greece. Following teaching posts at Northeastern and Boston University, he has taught since 2001 at Berklee College of Music.

BRIAN MIRAGE WASHBURN started dance at the age of 7, self-taught in breaking, popping, and robotics. In 2015 enrolled at Northwest School of the Arts (Charlotte, NC) where he began training in Ballet, Modern, and Jazz. After graduating he became a teaching assistant at Tony Williams Dance Center, and began teaching his own classes at both TWDC and Urbanity Dance and in Boston Public Schools. Brian has danced with Urbanity Dance, Jo-me Dance Company and Tony Williams Ballet. He teaches at studios in Jamaica Plain, Brighton, and Lowell while dancing with Street Hype and Contemporarily Out of Order and as a solo artist.

TIM HALL is an educator, artist, and entrepreneur, from Detroit, now residing in Boston. He began playing saxophone at age 10, and found poetry in college as a way to share his thoughts on paper. He draws inspiration from his lived experiences charting the nuances of blackness, masculinity, and the beauties of life. As a musician he has shared stages with The Nappy Roots, Carolyn Malachi, Bilal, Chris Turner, and Aloe Blacc. His poetry has been experienced at Boston's Hub Week, The Museum of Fine Arts, Berklee College of Music, Outside the Box, Bridgin' Gaps Festival, and many venues around Greater Boston.

PETER DiMURO has woven a career as a choreographer, arts administrator, director, teacher, community engager and performer. His early works created at the height of the AIDS crisis laid the groundwork for community engaging and socially conscious dance/theatre works. His work for concert stages, theatre and specific sites has been performed world-wide, and supported by the National Endowment for the Arts, Massachusetts Cultural Council, the City of Boston AIR program, Boston Dance Alliance, The Boston Foundation and the Aliad Fund. He is Executive Artistic Director of The Dance Complex in Cambridge, and was awarded a Lifetime Achievement Award in Dance from Salem State University in May, 2017.

PETER DiMURO/PUBLIC DISPLAYS OF MOTION develops dance/theatre works, actively cultivates arts literacy, advocacy and engagement, and consists of a core of intergenerational and diverse and diversely trained performers. Often, PDM invites members of distinct communities to develop dances with the company using creative practice tools and methodology to mine new perspectives from fields beyond the arts, and often breaks the proscenium to bring dance to settings beyond formal stages, including cabaret and museum/gallery settings. The company is an artist resident of the Boston Center for the Arts and has benefited from Boston Dance Alliance's Retreat Fellowship.

Full bios of tonight’s guest artists and collaborators may be found on the Landmarks Orchestra mobile app.

PODIUM NOTE:

Johann Strauss II did not invent the waltz, he inherited it. His father and family were the toast of Vienna in the 19th century, renowned for their mastery of “light” music: dances, songs, and theatrical works appealing to people of all backgrounds. The Strauss family gave these familiar forms new sophistication—and mainstream respectability—much as Lin-Manuel Miranda has done for hip-hop music with his current Broadway smash hit, Hamilton.

Johann Strauss II—the “Waltz King”— was revered by fellow musicians as well as by the general public. They found much to admire in his miniature masterpieces: originality, colorful scoring, irresistible rhythms, and endlessly beguiling melodies. When Strauss’s wife asked Brahms to autograph her fan, the venerable composer wrote out the opening bars of The Blue Danube waltz, adding below: “Unfortunately, not by Johannes Brahms.”

The form of most Strauss waltzes is the same: they begin with a slow introduction, proceed with a series of contrasting dances (usually four or five of them), and conclude with a rousing coda. But Johann Strauss II brought greater cohesion to the whole than his father typically had. In the Emperor Waltzes, for example, the music of the introduction already contains the first waltz’s tune, albeit in duple rather than triple time. The march-like rhythm of this melody is lightly tapped out by the snare drum, conveying a martial and imperial tone befitting the two dedicatees of the work: Kaiser Franz Joseph I of Austria and Kaiser Wilhelm II of Germany. The Conservatory Lab Charter School’s Dudamel Orchestra joins us on stage, as they have for the past five seasons. We are proud of our longstanding and fruitful partnership with CLCS.

Antonín Dvořák composed his twelfth string quartet in the summer of 1893, while taking a vacation from his position as director of the National Conservatory in New York City. He sketched the quartet in three days, while staying as a guest in the Czech community of Spillville, Iowa. In a letter in September to his Czech friend, Emil Kozanek, he wrote, “As for my new Symphony, the F major String Quartet and the Quintet—composed here in Spillville—I should never have written these works 'just so' if I hadn't seen America.” There is no evidence that Dvorak quoted American tunes in the work, though it is possible that the melody of the second movement recalls music of the spirituals or of Native Americans that he had heard in New York. “I wanted to write something for once that was very melodious and straightforward,” he wrote, “and dear Papa Haydn kept appearing before my eyes. That is why it all turned out so simply, and it’s good that it did."

Christopher Wheeldon created his choreography to Dvorak’s American Quartet, with the landscape of the Great Plains in mind. Wheeldon is

one of today’s preeminent choreographers, with works in the repertory of nearly every major ballet company worldwide. We are thrilled to collaborate with young professional dancers from Boston Ballet II on tonight’s program, performing both in The American and in the concluding work on tonight’s program, Rodeo.

What do Ravel’s Boléro, Sibelius’s Finlandia, and Enesco’s Romanian Rhapsody No. 1 have in common? They are extremely popular pieces by composers who felt that these works’ renown stole attention from what they considered to be better, more representative works. The twenty-year-old Georges Enescu (later Enesco after he established a residence in Paris) learned to compose folk-based instrumental pieces from Brahms, Dvořák, and especially from Liszt, whose Hungarian Rhapsodies served as a model. Folk elements abound: boy-girl exchanges between wind soloists; a harp imitating a cimbalom; a showy viola solo; and prolific gypsy tunes for the fiddles. The music builds steadily to a frenzied finish so exuberant, it is hard to fault the public for loving it so much.

We have Peter DiMuro, curator of our Dance Carnival, to thank for recommending Salsa y Control Dance Company. The dance company and studio—named for the Lebron Brothers song of the same name—was founded by Johnny and Andres Giraldo in 1999. As performers, the Giraldo brothers are admired for their “intricate footwork, innovative use of classic salsa shines, and expressive musicality.” They also have a sterling reputation as educators, and as leaders of workshops throughout the region and internationally.

Danzas Cubanas was originally created for concert band by composer and educator Robert Sheldon. His setting for symphony orchestra features solos for piano, trombone, flute, and trumpet. Three dance movements are connected without pause: Conga—a popular festival-dance, typically with audience participation such as a conga line; Son-salsa—a 20th century update of traditional Cuban music combining Spanish vocal styles and West African rhythms; and Mambo—an up-tempo dance derived from the Cuban danzón, enhanced in the mid 20th century with big band elements, most notably by the Cuban-Mexican bandleader, Pérez Prado.

Leroy Anderson was born in Cambridge, Massachusetts. He studied composition at the New England Conservatory and at Harvard, where as a Masters candidate he studied with Georges Enesco, among others. While serving as director of the Harvard University Band, he worked toward a PhD in German and Scandinavian languages, eventually becoming fluent in Danish, French, German, Icelandic, Italian, Norwegian, Portuguese, and Swedish, his parents’ native tongue. Although he composed a fine piano concerto and a Broadway musical that earned two Tony Awards, he is universally known as the composer

of light orchestral miniatures—including Sleigh Ride—and for the best-selling recordings of these showpieces, especially those conducted by Arthur Fiedler and the Boston Pops.

Anderson’s Irish Suite was commissioned by the Eire Society of Boston in 1947. We perform two of the suite’s six movements tonight: The Girl I Left Behind Me, with its series of ingenious variations; and The Irish Washerwoman, a double jig given the full Andersonian contrapuntal treatment. We are pleased to host tonight one of the premier schools of Irish dance in the country, the Harney Academy of Irish Dance, founded in 1990 by Liam Harney, a two-time World Champion. A team from the school won the World Irish Dancing Championships in Glasgow, Scotland in 2016.

Santiago in the Stream is based on Ernest Hemingway's The Old Man and the Sea. The work is the co-creation of composer/percussionist Ryan Edwards and his former teacher at the Berklee College of Music, Apostolos Paraskevas. They write, “The music describes Santiago's emotions, thoughts and actions during his last journey. The trumpet announces his signature theme, accompanied by the brass and strings depicting the sound of the seagulls and of the ocean. The magnitude of the vast ocean, the anticipation of catching the fish, memories of a distant waltz and the exciting fight that ends in triumph. Now it's time to return home with his valuable possession. He already won the last and most important fight of his life. “

The work was commissioned by the Boston Landmarks Orchestra in order to feature young performers from Camp Harbor View and from two Boys and Girls Clubs: The Boys and Girls Club of Mattapan and the Yawkey Club of Roxbury. The commission is a celebration ofcommunity collaboration through music and dance. As with last year’s collaboration with these same summer programs, the dance element has been created and led by another key member of the creative team, Brian Mirage. We are especially grateful for the inspired leadership of Devin Ferreira, performing arts director at the Mattapan Teen Center,and of our longtime partner, Daniel Pattianakotta, director of music at the Yawkey Club.

Aaron Copland’s Rodeo received its premiere at the Metropolitan Opera House in October of 1942. Copland composed the work mostly during the summer months while teaching at the Tanglewood Music Center. It was his second ballet on themes of the American Southwest, following his 1939 ballet, Billy the Kid. Several tunes that appear in the score—including “Sis’ Joe” and “If He’d Be a Buckaroo By Trade” in the opening movement—were taken from books he collected of cowboy melodies. These folk songs are animated by vibrant rhythms that at times seem borrowed from the world of jazz, and at other times from Stravinsky and other contemporaries Copland knew while studying in

Paris as a young man.

Choreographer Peter DiMuro writes, “Aaron Copland has always been a friend to dance. When Christopher Wilkins asked if I'd be interested in creating—pending permissions from the Copland estate—a new ballet to Rodeo, it was truly a gift. But, as with some gifts, there was assembly required!

“Our goal was to unbundle some of the themes inherent in the music—initially commissioned by Agnes de Mille for a (then) contemporary look at the taming of the Wild West through a metaphor of cowgirl and cowpoke connecting on the prairie. We chose to think of what it means to be a pioneer today: on the edge of something new, looking back to a place we've been and choosing (or being forced) to look forward to a new land. Of course, this is fueled by questions we are currently dealing with as a country and, sadly, have dealt with before: Who is the "other”? Who belongs? How open are our arms to those in need? How do we adapt and adopt the best, the most productive traits among a new group of people, to create an America where no one is “other”?

“The dance tonight is the beginning of a study of those questions, with adaptation and adoption by the performers determining how the dance was made. With multiple definitions of technique—modern, ballet, and other genres in the mix, as well as everyday human movement—we work to reveal a new beauty. How will the dance evolve? Well, we're still working on that.

“On behalf of Public Displays of Motion, I want to thank our Landmarks friends for this great opportunity to question, to make dance. And to Boston Ballet II, our community dancers, The Dance Complex and the Next Steps Fund at the Boston Foundation for their generosity and support.”

- Christopher Wilkins

LANDMARKS ORCHESTRA DONORS & SPONSORS(GIFTS WITHIN LAST 12 MONTHS)

CORPORATE, FOUNDATION, & GOVERNMENT SUPPORTAnonymous Arbella Insurance Foundation Paul & Edith Babson Foundation Boston Cultural Council The Boston Foundation Eastern Bank Charitable Foundation Edmund & Betsy Cabot Charitable Foundation Clipper Ship Foundation Cogan Family FoundationFiduciary Trust Company

Free for All Concert Fund Highland Street Foundation John Hancock Financial Services Liberty Mutual Foundation Massachusetts Cultural Council Music Performance Trust Fund (MPTF)The Plymouth Rock FoundationRockland TrustAdelard A. Roy & Valeda Lea Roy Foundation Lawrence & Lillian Solomon Fund Women’s Philharmonic AdvocacyYawkey FoundationMUSIC DIRECTOR’S SOCIETY

MUSIC DIRECTOR BENEFACTOR

Michael & Karen Rotenberg Stephen & Alicia Symchych

MUSIC DIRECTOR PLATINUM Susan & Appy Chandler Ann & Graham Gund Richard & Rebecca Hawkins

Allison K. Ryder & David B. Jones Epp Sonin

MUSIC DIRECTOR GOLD Laura Connors & Brian O’Connell Barbara & Amos Hostetter

Jo Frances & John MeyerLia & William Poorvu

MUSIC DIRECTOR SILVER Anonymous David Arnold & Ann Moritz Eileen & Jack Connors Jr. Cynthia & Oliver Curme/Lost & Foundation Alan & Lisa DynnerJeff D. Makholm & Roberta Parks

David G. MugarJeryl & Steve Oristaglio Katharine & Anthony Pell Donna & Robert Storer Edwin & Joan Tiffany

Arthur Winn

MUSIC DIRECTOR BRONZE Richard & Nonnie Burnes Saul & Naomi Cohen Gene & Lloyd Dahmen Priscilla H. Douglas Peter & Dieuwke Fiedler Pamela & John Humphrey Andrew Ley & Carol Searle

Sharon & Brian McNally Nguyen Anh Tuan & Phan Thi Yen Laura Roberts & Edward Belove Debra & Mark Stevens Deborah Thaxter & Robert Adkins

Herbert & Angela Wilkins

BENEFACTORS

Nancy Adams & Scott Schoen Ben & Caroline Ansbacher Ted Ansbacher & Barbara Nash Smoki Bacon & Dick Concannon Robert L. Beal Linda Cabot Black Suzanne & Jeffrey Bloomberg Ronald G. Casty Corinne Dame Mary E. Darmstaetter Joseph & Eden Davies Michael & Kitty Dukakis Harron Ellenson & Roger Snow

Newell & Kate Flather Howard Gardner & Ellen Winner Kira & Robert Hower June Hunt Rona Kiley Christine & David Letts Steven Levitsky Vivien Li Anne Linn Lisa & James Micali Kyra & Coco MontaguBill Nigreen & Kathy McDermott Stuart & Elizabeth Pratt

BENEFACTORS (continued)

Suzanne Priebatsch Suzanne & Bernard Pucker Susan & Frederick Putnam Diana Rowan Rockefeller Stuart & Jan Rose Michael Rubenstein & Elizabeth Skavish Maureen & Michael Ruettgers David & Marie Louise Scudder Eileen Shapiro & Reuben Eaves Wendy Shattuck & Samuel Plimpton John Shields & Christiane Delessert Glenn & Barbara Sieber

Joel & Elinor Siner Stephen Spinetto & Alice Krapf Fredi & Howard Stevenson David Szabo & Megan Albert Henry D. Tiffany III/Control Concepts, Inc. Clara Wainwright Robert & Suzanne Walters Christopher Wilkins Douglas & Laura Wilkins Stephen & Sarah Wilkins Benjamin Zander

SUPPORTERS Enid Beal & Alan Wolfe Maria & Bill Bloom Paul & Catherine Buttenwieser John Childs & Peggy Fogelman Ingrid Christiansen Elaine Copps Julie Crockford & Sheridan Haines Zoltan & Cristina Csimma Alvin & Victoria Davis Courtney Doyle David & Anne Gergen Deborah Hanley & Frank McGuire Jonathan Hecht & Lora Sabin Richard Howe & Betty Ann Limpert Frederic Johnson Martin & Wendy Kaplan Elizabeth & Paul Kastner Michael & Claire King Paul Kowal

Robert Krim & Kathlyne Anderson C. Bruce Metzler & Carol Simpson Leslie & Sandra Nanberg Glenn Noland Myran Parker-Brass & Kenneth Brass Rachel Perry Megan & Alkes Price Jeffrey & Hillary Rayport Kathy Ripin & Leonard Sayles Abby & Donald RosenfeldAndrea Schein & Angelo Veneziano Kathy & Garrett Sharpless Marilyn Smith & Charles Freifeld Joan & Bernard SudikoffBeverly J. Tangvik Renata von Tscharner & Peter Munkenbeck Marcia Walsh & Eric Block Susan WeilerMilton L. Wright Jr. Michael Yogman & Elizabeth Ascher CONTRIBUTORS

Robert & Gudrun Ashton Diane Austin & Aaron Nurick Martha & Robert Berardino Mr. & Mrs. Anthony CasendinoGabrielle & Rich CoffmanAnne Colleton & Bill Davison Catharine-Mary Donovan Joseph Ferreira Glenda & Robert Fishman Patricia Freysinger Arthur & Eloise Hodges

Jane Lauridsen Anmol Mehra John Curtis Perry & Sarah Hollis Perry Peter Rabinowitz & Judith Gelber Arthur Rishi & Kimberly Howe Rishi Harborne Stuart & Cathy Tankosic Ildiko Szabo Thomas & Barbara Van Dyke Craig & Catherine Weston Joyce Yaffee

Every effort has been made to ensure the accuracy of this list as of the print deadline. Please contact Jim Murray, Manager of Development & Communications, at jm@landmarksorchestra.org regarding any inaccuracies or omissions.

BOSTON LANDMARKS ORCHESTRA

BOARD OF TRUSTEES Laura Connors, Chair Gene D. Dahmen Peter Fiedler Richard Hawkins B. J. Krintzman Katharine M. Pell J. Brian PottsMichael Rotenberg Allison K. Ryder Stephen Spinetto, ex officio Stephen Symchych David Szabo Edwin Tiffany Milton L. Wright Jr. Michael Yogman

Alfred D. Chandler III, Trustee Emeritus

Charles Ansbacher, Founder

BOARD OF OVERSEERS

Stephen Spinetto, Chair David B. Arnold III Smoki Bacon Kathryn Beaumont Richard M. Burnes Marian “Hannah” Carlson Richard Concannon Conrad Crawford Julie Crockford Corinne Dame Joseph Davies Katherine DeMarco Priscilla H. Douglas Newell Flather Howard Gardner David Gergen Sean Hennessey Mary J. Kakas Paul Kowal Robert M. Krim Fernando Leon

Steven Levitsky Anne Linn Sharon McNally David G. Mugar Bill Nigreen Jeryl Oristaglio Myran Parker-Brass Susan Putnam Diana Rowan Rockefeller Anthony Rudel Maureen Ruettgers Penelope McGee Savitz Andrea Schein Eileen Shapiro John Shields Epp Sonin Donna Storer Beverly J. TangvikWilliam Walczak Douglas Wilkins Arthur Winn

STAFF Jo Frances Meyer, Executive Director Arthur Rishi, Artistic Administrator Michelle Major, Chief Financial Officer Jim Murray, Manager of Development & Communications Joanne Barrett/JBPR, Public Relations Adele Traub, Social Media Coordinator Stephanie Muñoz, Education & Outreach Coordinator Samuel Hawkins, Kenrick Tsang, InternsARTISTICChristopher Wilkins, Music DirectorKristo Kondakci, Assistant ConductorMaynard Goldman, Orchestra Personnel ManagerPRODUCTION Emerson Kington, Technical Director Audrey Dunne, Production Manager & Librarian Cate Gallagher, Production Assistant Steve Colby, Sound Design & Audio Mix MJ Audio, Audio Production Mackenzie Skeens, Stage Crew Supervisor Brian Gomez, Francisco Perdomo, Sebastian Saint Leger Rock, Amari Vickers, MLK Summer Scholars Michael Dwyer, Photography Jesse Ciarmataro, Graphic Design VERY SPECIAL THANKS

Boston CaresThe Boston Globe Boston University Office of Disability Services Eastern Bank Charitable Foundation

JCDecaux MBTAMusic Performance Trust Fund (MPTF)One Brick Boston

WEDNESDAYS AT 7PM GREAT MUSIC FOR FREE AT THE DCR’s HATCH SHELL

If inclement weather is in the forecast on the day of a concert, please check www.landmarksorchestra.org or call 617-987-2000 after 4 PM for any changes to the date or venue. Download our mobile app to receive weather alerts, notifications, and special offers.

#Landmarks2017

214 Lincoln Street, Suite 331 Boston, MA 02134

617-987-2000 www.landmarksorchestra.org

Boston Landmarks Orchestra's programs are supported in part by grants fromthe Massachusetts Cultural Council and the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts + Culture for the City of Boston.

Special Event: Wednesday, August 30, 2017 at 7 PMA FAR CRYA Far Cry makes its debut at the Hatch Shell, presented by the Free for All Concert Fund and produced by Boston Landmarks Orchestra.http://afarcry.org/all/afc-at-the-hatch-shell-boston

Fritz Kreisler Scherzo from String Quartet in A Minor (arr. AFC)Eugène Ysaÿe Harmonies du soir, Op. 31JS Bach Brandenburg Concerto #3 in G Major, BWV 1048Pyotr Ilyich Tchaikovsky Serenade for String Orchestra, Op. 48

Support for tonight’s concert

generously provided by:

www.musicpf.org