Footloose and Fancy Free

August 17, 2016

7 pm

at the DCR’s Hatch Shell

Boston Landmarks Orchestra

VIOLIN I

Gregory Vitale, concertmaster

Christine Vitale Pattison Story Gerald Mordis Tera Gorsett Melissa Howe Natalie Favaloro Lisa Brooke

VIOLIN II Paula Oakes, principal

Colin Davis Maynard Goldman Robert Curtis Stacey Alden Heidi Braun-Hill

VIOLA Kenneth Stalberg, principal

Abigail Cross Donna Jerome Jean Haig Don Krishnaswami Noriko Futagami

CELLO Aron Zelkowicz, principal

Melanie Dyball Jolene Kessler Michael Curry Steven Laven

BASS

Robert Lynam, principal

Barry Boettger Kevin Green John Shiu

FLUTE

Lisa Hennessy, principal Theresa Patton

PICCOLO

Lisa Hennessy Theresa Patton

OBOE

Andrew Price, principal

Lynda Jacquin

ENGLISH HORN

Lynda Jacquin

CLARINET

Steven Jackson, principal

Margo McGowan

E-FLAT CLARINET Steven Jackson

BASS CLARINET Margo McGowan

BASSOON

Donald Bravo, principal

Gregory Newton

HORN

Kevin Owen, principal

Jane Sebring Whitacre Hill Nancy Hudgins

TRUMPET

Dana Oakes, principal

Jesse Levine Mary Lynne Bohn

TROMBONE Robert Couture, principal

Alexei Doohovskoy Donald Robinson

TUBA

Donald Rankin, principal

HARP

Ina Zdorovetchi, principal

PIANO

Leslie Amper

TIMPANI

Jeffrey Fischer, principal

PERCUSSION

Robert Schulz, principal

Craig McNutt Abraham Finch

Maynard Goldman, Personnel Manager

Kristo Kondakci, Assistant Conductor

Footloose and Fancy Free

Boston Landmarks Orchestra Christopher Wilkins, Music Director

Yo-El Cassell, choreographer Ryan Edwards, percussion

Brian Mirage, dancer Camp Harbor View

Boys and Girls Clubs of Boston, Yawkey Club of Roxbury One City Youth Movement

BAJUCOL Sayat Nova Dance Company (Apo Ashjian, director)

360°

On Your Toes: “Slaughter on Tenth Avenue” Richard Rodgers (1902–1979)

Greek Dances (Ellenike chori) Nikos Skalkottas Kritikos (1904–1949) Kleftikos Epirotikos

Urban Sprawl (New England premiere) Clint Needham (b. 1981)

Choreography: Yo-El Cassell, in collaboration with the dancers Title: Picture Play (dedicated to all those who revel in the act of creating)

“The modern artist… is working and expressing an inner world—in other words, expressing the energy, the motion, and other inner forces.” (Jackson Pollack)

Jacob Rosenbaum, rehearsal director Brooke Stanton, costumes

Performers: Zayda Adams*, Breanna Eccleston*, Kinsaed James*, Tyqueo James*, Sydny Scott*, Iris Ventimiglia*

*Founding Member of One City Youth Movement.

Mabinte (world premiere) Ryan Edwards & Patrick Greene

a celebration for orchestra, percussion ensemble, and dancers (b. 1979 & 1985)

INTERMISSION

Hermana Frontera (Sister Border) (world premiere) Gonzalo Grau (b. 1972)

Armenian Dances (world premiere) Kareem Roustom Festive Armenia (by Khachatur Avetisyan) & Vasbouragan (b. 1971)

Fancy Free (complete ballet with original choreography) Leonard Bernstein Very Fast (1918–1990) A Little Slower Fast and Hot Very slowly Opening Tempo Three Dance Variations: Galop (“Before”), Waltz (“The Discovery”), Danzón (“The Exploration”) Finale

Choreography to the Three Dance Variations & Finale by Yo-El Cassell, in collaboration with the artists

Title: The Me I Didn’t Know (dedicated to Keaton James Cassell) “When I discover who I am, I’ll be free.” (Ralph Ellison)

Jacob Rosenbaum, rehearsal director Brooke Stanton, costumes

Performers: Avery Bargar*, Erik Brown*, Jesse Garlick*, Kinsaed James, Adam Lokken Barrameda*, Juan Rodriquez*, Jacob Rosenbaum*

Special thanks to Across the Ages Dance, Eliza Mallouk and Marcie Mitler for support as well as the St. Mary of the Assumption Elementary School, Harvard University, and Dance Complex for rehearsal space.

*Founding member of 360°, a newly formed physical theater movement ensemblewhose mission is to highlight the expressive channel of predominately male actors with strong movement, theater and musical backgrounds.

Special thanks to Boosey & Hawkes, Ltd. and the Leonard Bernstein Office, Inc.

Special thanks to Professors Dennis H. Miller and Daniel S. Godfrey of the Department of Music at Northeastern University, for allowing us to borrow the department's collection of Ghanaian drums. Thanks also to Crocodile River Music (www.crocodilerivermusic.com), The Musary (www.themusary.org) and Lillian Sober Ain for lending us many of the drums use this evening.

Sayat Nova Dance Company: Apo Ashjian, Alina Ashjian, Araz Ashjian, Garineh Ashjian, Hagop Ashjian, Sarine Ashjian, Vrej Ashjian, Anais Astarjian, Lena Astarjian, Kevork Atinizian, Garen Avetissyan, Adelaida Balagyozyan, Arlin Cimen, Michael Demirchian, Christine Hovsepian, Saro Karaguesian, Niari Keverian, Alec Kotikian, Tina Kotikian, Peter Lorensian, Vartan Mardirosian, Edward Megerdichian, Sevag Palanjian, Talar Palanjian, Amalia Petrosyan, Naneh Petrosyan, Taline Sarian, Ani Semerdjian, Colette Shahverdian, Rebecca Shahverdian, Ani Yaghmourian

The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in the City of Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—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.

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

and assist people at a handicap drop-off point. The Orchestra works with American Sign Language (ASL) interpreters as performers at select concerts. In 2014, in recognition of its efforts to embrace inclusiveness as core to its mission, the Orchestra was named an “UP organization” by the Massachusetts Cultural Council.

CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 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. Mr. Wilkins also serves as Music Director of the Akron Symphony.

As a guest conductor, he has appeared with many of the leading orchestras of the United States, including those of Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh, and San Francisco. 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.

YO-EL CASSELL is a graduate of the Boston Conservatory and recipient of the Lotte Kaliski Award for Gifted Artists. Off Broadway, NYC: Moonlight Interior/ Film,TV: Shining Time Station (Debut Episode with Ringo Starr), What Alice Found, Cultivating Stillness, Anatomy of a Ballet (Anthony William’s Urban Nutcracker)/Commonwealth Shakespeare Company: Comedy of Errors, All’s Well That Ends Well, Othello, Corialanus, Two Gentlemen of Verona, Twelfth Night, King Lear, Romeo and Juliet, Love's Labour's Lost/ CSC with Boston Landmarks Orchestra: A Midsummer Night’s Dream, Kiss Me Kate, Symphonic Shakespeare/ American Repertory Theatre: Lilly’s Revenge/ Lyric Stage Company of Boston: Mr. Burns, A Post-Electric Play, The Understudy/ New England Conservatory: Die Fledermaus/ Boston Opera Collaborative: Alcina, Little Night Music,

Orpheus in the Underworld/ Nantucket Dreamland Theatre: The Sound of Music/ Shadowbox Theatre (Resident Choreographer)/ San Antonio Ballet/ Across the Ages Dance: The Me I Didn’t Know. Yo-El is the founder of 360°, a physical theater ensemble featuring male actors/musicians with strong movement abilities and locally has taught at Boston Ballet, Skidmore College, Walnut Hill School for the Arts, The New England Conservatory and served as the Student Engagement Manager for ArtsEmerson. Yo-El also currently teaches for the Harvard University Dance Department, the CSC Apprentice Program and serves as a movement curator for Boston Landmarks Orchestra. Recently, Yo-El was appointed by Boston University to be the Head of Movement/ Assistant Professor for the College of Fine Arts School of Theatre. Yo-El extends a dedication to his wife, Melodie and son, Keaton. www.yo-el.net

From a beginning in big band jazz, to an extensive study in West African music and dance, RYAN EDWARDS has been on the path to make people dance since he began in music. For 10 years he led annual adventure-travel missions to Guinea, West Africa. Currently producing interdisciplinary art and performance work, he continues to explore music, installations and design for dance as well as various site-specific works. He is the co-founder and drummer for Boston-based afrobeat band Federator N°1. Ryan is a New Music America Grant Recipient and travels extensively to perform and compose music for dance. He graduated Magna Cum Laude with a degree in performance from Berklee College of Music and a minor in Africana Studies. Ryan is most proud to be a father of two beautiful children, Jafiah and Maya. www.ryanedwards.info

PATRICK GREENE has been hailed by The New York Times as a composer of “enticing” works, His music has been described as “shimmering” (New Music Box), “unearthly” (The New York Times), and constructed with “true musicality” (Boston Musical Intelligencer). Recent engagements include performances by Boston Musica Viva, the Atlanta Chamber Players, the New Haven Symphony Orchestra, loadbang ensemble, Christopher Houlihan, Transient Canvas, Balletik Duo, and many others. His theatrical sound design has been called “disturbingly real” and “memorable” (ArtsImpulse). Recent design projects include the Boston premiere of Cassie Seinuk’s Eyes Shut. Door Open. (Wax Wings Productions) and D.W. Gregory’s Radium Girls (Flat Earth Theatre). His abstract EXTRACTION won the 2010 Rapido! New England Competition (and took the Audience Prize at National Finals in 2011). In 2014, he was Guest Composer at the inaugural Birmingham New Music Festival, and, in 2015, his My Dearest Friend earned a C7Prize as a "Recommended Work." Most recently, the St. Botolph Club Foundation selected Patrick for the 2015 Emerging Artist Award.

BRIAN MIRAGE WASHBURN, born in Providence, RI, started dance at the age of 7, self-taught in breaking, popping, and robotics. In 2015 he moved to Charlotte, NC. There he enrolled into Northwest School of the Arts where

he began training in Ballet, Modern, and Jazz. Following his graduation he returned to the Northeast where he became a teaching assistant at Tony Williams Dance Center. The following year he began teaching his own classes at both TWDC and Urbanity Dance as well as teaching in Boston Public Schools through community outreach programs. Now a resident of Boston, Brian has danced with Urbanity Dance Company, Jo-me Dance Company and Tony Williams Ballet. Brian teaches at dance studios in Jamaica Plain, Brighton, and Lowell while dancing with Street Hype and Contemporarily Out of Order and performing as a solo artist.

Created in an effort to address the summer needs of inner-city youth, CAMP HARBOR VIEW (CHV) offers 900 children the opportunity to leave the city during the day and participate in a four-week program (11-14 year olds) or eight-week (15-17 year olds) program on Long Island in Boston Harbor. Recruited from numerous agencies with an emphasis on at-risk neighborhoods and low income families, campers pay just $5 for their month-long experience, which includes transportation, apparel, and three meals per day. Additional camper alumni and year-round programming allows CHV to deepen its impact and continue to support the youth with whom they work. www.chvf.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

The SAYAT NOVA DANCE COMPANY OF BOSTON (SNDC) was formed in 1986, as an independent, non-profit dance ensemble, under the direction of Apo Ashjian. With his leadership and the efforts of a handful of dedicated individuals, the Company has been able to surround itself by a group of young, talented individuals from all walks of life. www.sayatnova.com

The FREE FOR ALL CONCERT FUND, an independent grant-making public charity, ensures that everyone from the Boston region will have regular and permanent access to the rich world of classical, orchestral music and related cultural events. With grantees presenting free concerts throughout Boston’s neighborhoods, the Fund is guaranteeing that classical music will remain free for all, forever. www.freeforallconcertfund.org

PODIUM NOTE:

Landmarks Orchestra concerts are for the whole community. They are designed to appeal to people of all ages, from all backgrounds, and with all kinds of enthusiasms. So far this year, we have programmed to the tastes of: ornithologists, horticulturalists, art lovers, Wagnerites, film buffs, minimalists, singer-songwriters, rappers, and activist street band musicians. Tonight we add to this list: dancers, drummers, and actors who move. Curating the evening is Yo-El Cassell, one of Boston’s most versatile choreographers, and a splendid “people person.”

The original production of On Your Toes (1936) was blessed by one of the most distinguished creative teams in Broadway history. It included the songwriting team of Rodgers and Hart; Broadway’s hottest writer, George Abbott; and the young George Balanchine as choreographer. The orchestrations were also prepared by giants in the field: Robert Russell Bennett and Hans Spialek. Spialek is remembered today for his several sparkling arrangements of the show’s final number, “Slaughter on Tenth Avenue,” though tonight’s full orchestra version is officially credited to Bennett. Spialek also orchestrated the Rodgers and Hart classic, The Boys from Syracuse. On August 31st, this show will be performed by the Landmarks Orchestra and Commonwealth Shakespeare Company, receiving only the second professional performance featuring the original orchestrations since the first production closed in 1939. On Your Toes made Broadway history, especially “Slaughter on Tenth Avenue.” It was the first musical to incorporate classical dance, and among the first to include jazz in its score.

Nikos Skalkottas is among the best-known figures in Greek classical music. He was devoted to his teacher, Arnold Schoenberg, but also to the folk music of his native country. His most popular works are the Thirty-Six Greek Dances for Orchestra, written between 1931 and 1936. Some of them are traditional; others are original but in folk style. Tonight we perform the Skalkottas dances for two reasons: the first is that they are beautiful; the second is Angelo Tilas. Since 1984, Angelo has managed the DCR’s Hatch Shell, tended to the grounds of the adjacent Oval, and served as caretaker of all the Esplanade. He works every day to ensure that this crown jewel of the DCR parks system is a welcoming place for all. His good-natured hospitality makes it a pleasure for us to be here every week. Next year, Angelo will not be with us; he and his wife are moving to St. John, Virgin Islands. We will all miss him and the impeccable service he provides. To express our thanks—and in solidarity with his heritage—we have invited him to conduct the final of the Skalkottas dances. Opa!

The moment I heard Clint Needham’s Urban Sprawl, I wanted to see it danced. It begs for movement that can embody its hip-hop, funky, breakdancing soul. Yo-El Cassell has created a ballet for young people celebrating the contemporary, high-energy language of Urban Sprawl. He offers this description: “The piece celebrates the beauty of creating—and of connecting—with a child's curiosity by metaphorically ‘drawing’ and ‘sketching.’ The title, Picture Play, refers to how a child’s imagination creates different pictures in the mind. The dancers and I were inspired by the work of Jackson Pollack and his drip paintings, especially the way in which he reveled in the process, not worrying about how it would look. It seems that he stayed connected to his ecstatic self through the act of creating. The piece is not about the work of Jackson Pollock, but we used his approach as an instigator to create our own language of movement.” For this performance, Yo-El has formed a new

company called the One City Youth Movement, which comprises extremely gifted young people, many of whom have multiple talents. Two of them—Tyqueo James and Kinsaed James—performed on Opening Night with us in a very different capacity: as members of the Conservatory Lab Charter School’s Dudamel Orchestra.

Mabinte (a celebration for orchestra, percussion ensemble, and dancers) is the result of a unique partnership between two versatile composers, Ryan Edwards and Patrick Greene. Ryan explains the work’s title: "Mabinte is dedicated to my late, dear friend Mabinte Camara. She was the wife of Milla Sylla, my teacher and partner during the years I spent in Guinea. All but one of their nuclear family died from HIV/AIDS. As a young man in Guinea, I was deeply cared for by Mabinte. She looked out for me, taught me to dance, twisted my dreads, allowed me to share in the life of their young family (they named their first son after me), and was very, very much like a sister. I look forward to sharing my experience of this work with Mabinte's family back in Guinea. I will donate a portion of my commission fee to an organization raising awareness and providing education to youth in Guinea around HIV/AIDS.”

Mabinte has been created as a vehicle for young people active with Boys and Girls Clubs in the Boston area to perform with the Landmarks Orchestra. Ryan Edwards has worked intensively with students at the Yawkey Club in Roxbury and at Camp Harbor View, training these young people in West African drumming styles and traditional culture. We have also been fortunate to have the services of Brian Mirage, who has taught styles of movement and dance. It has been left to the versatile composer Patrick Greene to figure out how to integrate the work with a symphony orchestra. His score picks up on the traditional elements that Ryan has employed, weaving them together in a cohesive and colorful whole. The two composers have worked together with remarkable teamwork, mutual admiration, and a sense of fun.

Herman Frontera is another in a series of captivating works composed by Gonzalo Grau for the Landmarks Orchestra. Like Viaje (Journey)—which the orchestra has performed each of the past four seasons—this piece presents traditional Latin American dances in imaginative orchestral settings. The title means “Sister Border,” and refers to regions along the long border shared by Venezuela and Colombia. The work explores the similarities between the cultures. It starts with music from the plains (tonada, pasaje, joropo), and continues to Garabato/Chandé. These dances are blended with the Tamborera of Venezuela. Through the music, we get a strong sense of the closeness of the two cultures, the sibling relationship that exists between neighbors.

It is exciting for us to partner with the distinguished Armenian dance company, Sayat Nova, founded in 1986 by Director Apo Ashjian. Donagan Haiastan (Festive Armenia) was composed by Khachatur

Avetisyan, who died in 1996, Vasbouragan was part of Western Armenia, but now lies in Eastern Turkey. Syrian-born composer Kareem Roustom has orchestrated two of their favorite dances with great sensitivity to the native styles. He has sought to imitate the sound of a number of Armenian folk instruments, including the dumbek, duduk and zurna. Attempts to recreate the sound of the zurna—a highly resonant double-reed instrument— led to interesting exchanges between the composer and principal trumpeter Dana Oakes. Kareem suggested using “a cheapish cardboard mute with a kazoo stuck in it.” Dana countered by recommending a “buzz-wow” mute instead.

Leonard Bernstein’s Fancy Free opens with a recording of “Big Stuff Blues,” a song Bernstein composed to be played from a recording—as if through a jukebox—before the ballet proper begins. He had written it imagining that one day it would be sung by Billie Holiday, whom he had met at New York’s Café Society, the first deliberately integrated nightclub in America. It was here that Billie Holiday first sang “Strange Fruit.” The ballet received its premiere at the old Metropolitan Opera House, performed by Ballet Theatre.

It is rare to receive permission to set Leonard Bernstein’s Fancy Free to choreography other than the original by Jerome Robbins. But Yo-El Cassell’s proposal won over the holders of the performance rights. Yo-El writes the following description of his choreography, “The activating impulse is triggered by assorted hats that appear ordinary, but in fact unlock and unleash feelings that the individuals didn’t realize were inside of them. The piece celebrates the power of the inner humanistic spirit and how we as individuals can be inspired to inspire others. The dancers explore what happens before they discover the hat; what happens when they discover the hat; the ways in which the hat informs them; and, when the hat magically disappears, the question of how these individuals are able to grow and move on without the hat? Did they need it in the first place?”

360° is a physical theater movement ensemble whose mission is to highlight the expressive channel of predominately male actors with strong movement, theater and musical backgrounds. Within the company are some of Boston’s most distinguished actors, including some who have performed with us in the past in our collaborations with the Commonwealth Shakespeare Company.

- Christopher Wilkins

Celebrate 15 years of great music with a gift to the Boston Landmarks Orchestra!

The Boston Landmarks Orchestra is a 501(c)(3) nonprofit

organization funded through the generosity of foundations,

corporations, and individuals. The Orchestra was founded in 2001

by conductor and community advocate Charles Ansbacher to bring

free classical music to the people of Greater Boston. Since 2007, it

has presented its main concert series at the DCR’s Hatch Shell

every Wednesday from mid-July to late August, carrying on the

tradition of free concerts on the Esplanade started by Arthur

Fiedler in 1929. In addition, the Orchestra offers free family

concerts and educational programs throughout Boston’s

neighborhoods.

We believe that Boston−like every great city−deserves a summer

series of free orchestral performances. Though the concerts are

free to the public, they are not free to produce!

Please consider a suggested contribution of $15 to the

Boston Landmarks Orchestra to help us march forward with

confidence into the next 15 years of our history, 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:

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214 Lincoln Street, Suite 331

Boston, MA 02134

THANK YOU FOR YOUR SUPPORT!

2016 DONORS (11/1/15 – 8/12/16) CORPORATE, FOUNDATION, & GOVERNMENT SUPPORT

Anonymous Fiduciary Trust CompanyBloomberg Philanthropies Boston Cultural Council The Boston Foundation Cabot Family Charitable Trust Edmund & Betsy Cabot Charitable Foundation

Clipper Ship Foundation Cogan Family Foundation

Free for All Concert FundHighland Street Foundation Hunt Alternatives Fund John Hancock Financial Services Liberty Mutual Foundation Massachusetts Cultural Council Bessie Pappas Charitable Foundation Adelard A. Roy & Valeda Lea Roy Foundation Yawkey Foundation

MUSIC DIRECTOR’S SOCIETY

MUSIC DIRECTOR PLATINUM MUSIC DIRECTOR SILVER Appy & Susan Chandler Cynthia & Oliver Curme/The Lost & Foundation Stephen & Alicia Symchych Laura Connors & Brian O’Connell

MUSIC DIRECTOR GOLD Gene & Lloyd Dahmen

Eileen & Jack Connors, Jr. Peter & Dieuwke Fiedler Richard & Rebecca Hawkins Ann & Graham Gund Guy & Renée Pipitone Jeff D. Makholm & Roberta Parks Michael & Karen Rotenberg Katharine & Anthony Pell Allison Ryder & David Jones Stephanie & Jonathan Warburg Epp Sonin MUSIC DIRECTOR BRONZE

David Arnold & Ann Moritz/ Mill River Foundation Fund

David Mugar Debra & Mark Stevens

BENEFACTORS

Anonymous Richard & Nonnie Burnes Kerry Murphy Healey Barbara Lee Anne Linn Kyra & Coco Montagu/ Alchemy Foundation

Stuart & Elizabeth Pratt David & Marie Louise Scudder Eileen Shapiro & Reuben Eaves/Albert Shapiro Fund John Shields & Christiane Delessert Joel & Elinor Siner Scott Squillace & Christopher Gayton Deborah Thaxter & Robert Adkins Christopher Wilkins

SUPPORTERS

Ben & Caroline Ansbacher Mark & Kimberly Luiggi Herbert & Angela WilkinsBill Nigreen & Kathy McDermott

Ted Ansbacher & Barbara Nash John & Michiko Plimpton Anne Colleton & Bill Davison Lia & William Poorvu Zoltan & Cristina Csimma Megan & Alkes Price Michael & Kitty Dukakis Suzanne Priebatsch Patricia Freysinger Kathy Ripin & Leonard Sayles Howard Gardner & Ellen Winner Laura Roberts & Edward Belove

Abby & Donald Rosenfeld David & Anne Gergen Judith Goldberg Jonathan Hecht & Lora Sabin Frederic Johnson Elizabeth & Paul Kastner Bob Krim & Kathy AndersonCharles & Susan Longfield

Maureen & Michael Ruettgers Wendy Shattuck & Sam Plimpton David Szabo/MFS Investment ManagementHenry D. Tiffany III/Control Concepts, Inc. Suzanne TompkinsClara Wainwright

CONTRIBUTORS Maurice & Muriel Finegold Diane Austin & Aaron Nurick Stanley & Kathy Levinson

Craig & Catherine WestonSally Withington

Joyce Yaffee Smoki Bacon & Dick Concannon Bruce Metzler & Carol Simpson Edward & Elizabeth Brainard Pamela Pacelli & Robert Cooper

Peter Rabinowitz & Judith Gelber

Joan & Bernard SudikoffAlvin & Victoria Davis Catharine-Mary Donovan

Boston Landmarks Orchestra

TRUSTEES Jeff D. Makholm, Chair Laura Connors Peter Fiedler Richard Hawkins B. J. Krintzman Katharine M. Pell J. Brian Potts Michael Rotenberg Stephen Spinetto Stephen Symchych David Szabo Edwin Tiffany Milton L. Wright Jr.

Alfred D. Chandler III, Trustee Emeritus

OVERSEERS Stephen Spinetto, Chair Smoki Bacon Kathryn Beaumont Richard M. Burnes Marian “Hannah” Carlson Richard Concannon Conrad Crawford Julie Crockford Gene D. Dahmen 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 Bill Nigreen Jeryl Oristaglio Susan Putnam Diana Rowan Rockefeller Anthony Rudel Maureen Ruettgers Allison Ryder Penelope McGee Savitz Andrea Schein Eileen Shapiro John Shields Epp Sonin Donna Storer Suzanne Tompkins William Walczak Arthur Winn

Charles Ansbacher, Founder

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 Alex Zook, Social Media Coordinator William Higgins, Nicholas Quigley, Freddy Reish, Interns

PRODUCTION 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, Nassim Zamor, Stage Crew Brian Gomez, Francisco Perdomo, Zakai Taylor-Kelley,

Amari Vickers, MLK Summer Scholars Michael Dwyer, Photography Jesse Ciarmataro, Graphic Design

VERY SPECIAL THANKS Boston Cares Boston Globe Boston University Office of Disability Services JCDecaux 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, check landmarksorchestra.org or call 617-987-2000 after 4 PM for any changes to the concert’s date or venue.

August 24, 2016 LONGWOOD SYMPHONY ORCHESTRA Ronald Feldman, Music Director If it is raining on the 24th, the concert will be cancelled.

August 31, 2016 Rodgers and Hart’s

THE BOYS FROM SYRACUSE Boston Landmarks Orchestra

Christopher Wilkins, Music Director with Commonwealth Shakespeare Company If it is raining on the 31st, the concert will be postponed to September 1 at the Hatch Shell. If it is also raining September 1, the concert will be moved to Symphony Hall on the 1st.

SPECIAL EVENT: FREE FUN FRIDAY! August 19, 2016 at 12:30 PM (weather permitting) The Institute of Contemporary Art/Boston Boston Landmarks Orchestra Brass Ensemble with Robert Schulz, percussion sponsored by Highland Street Foundation

#landmarks2016

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These programs are supported in part by grants from the 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.