HILARY HAHN violin with ROBERT LEVIN piano

Friday, March 31, 2017 • 8 pm Spaulding Auditorium • Dartmouth College

presents

Post-Performance DiscussionYou are invited to remain in the theater immediately following the performance for an informal discussion with Robert Levin.

Funded in part by Frank L. Harrington 1924 Fund No. 3, Sidney Stoneman 1933 Fund and by Hopkins Center Members.

Spaulding Auditorium’s Hamburg Steinway concert grand piano was purchased with generous gifts from Members of the Hopkins Center and Members of the Hood Museum of Art; the class of 1942, in memory of Allan Dingwall ’42; and anonymous donors. Spaulding Auditorium’s New York Steinway concert grand piano was restored with a generous gift by Huntley Allison ’42 P’74.

PROGRAM

PROGRAM NOTESSonata No. 6 in G Major for Violin and Piano, BWV 1019 J. S. Bach (1685-1750)J. S. Bach’s sonatas and partitas for solo violin (BWV 1001-1006) are, along with his cello suites (BWV 1007-1012), some of the most innovative, sophisticated, and polyphonically rich works for unaccompanied solo strings, universally hailed as masterpieces of the late Baroque era. And although Bach’s six sonatas for violin and harpsichord (BWV 1014-1019) are not quite as well known today as their unaccompanied counterparts, they are no less inventive or rewarding. These accompanied sonatas represent

a significant development away from the textures of the Baroque trio sonata, which was typically scored for two violins and continuo, while foreshadowing the classical model of the violin sonata that was the standard for Mozart, Beethoven and Brahms.

The composer’s manuscripts for these six sonatas are lost—the earliest extant copies are primarily in the handwriting of his sons and pupils—but it seems probable that they were composed while Bach worked as Kapellmeister for the court in Cöthen between 1717 and 1723. Bach then revived the works for the Collegium

Sonata No. 6 in G Major for Violin and Piano, BWV 1019 Johann Sebastian Bach (1685-1750)

I. Allegro II. Largo III. Allegro (Cembalo solo) IV. Adagio V. Allegro

Violin Sonata in E-flat Major for Violin and Piano, K. 481 Wolfgang Amadeus Mozart (1756-1791)

I. Molto Allegro II. Adagio III. Allegretto (Theme and Variations)

• INTERMISSION •

Six Partitas for Solo Violin, No. 6 “You” Antón García Abril (b. 1933)

Träume Hans Peter Türk (b. 1940)

Rondo in B minor for Violin and Piano, D. 895 Franz Schubert (1797-1828)

Hilary Hahn appears by arrangement with IMG Artists, 7 W 54th St, New York, NY 10019. Her recordings are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks.

Musicum in Leipzig during the last years of his life.

As late as 1774, Bach’s son Carl Phillip Emmanuel still regarded these works as some of the best his father had produced, and as sources of pleasure even fifty years after their composition, when tastes and musical styles had changed so much. But C.P.E. Bach still referred to them as “trios,” suggesting that he perceived vestiges of trio sonata texture in them. The three-part counterpoint of a Baroque trio sonata is indeed maintained in some of these sonatas, with the right hand of the harpsichord taking one of the treble lines and the left hand providing the bass line. It’s clear from the earliest sources, though, that Bach considered the keyboard’s role to be “concertato,” not “continuo,” meaning it participates actively in the polyphonic interplay and does not merely provide accompaniment.

The sixth sonata, which underwent more exten-sive revisions than the others, is also the most innovative. Two earlier versions incorporated different movements based on other keyboard and vocal works by Bach. In its final five-movement form, it departs more substantially from trio- sonata traditions by beginning with an Allegro, and including a third movement for solo keyboard.

The opening Allegro in G major presents two themes simultaneously, the violin line moving rapidly over a slower arpeggiated theme in the right hand of the keyboard before the instruments exchange themes. For the remainder of the movement, they embark on an exploration of contrapuntal ingenuity based on these thematic materials. By contrast, the succeeding E-minor Largo highlights the violin’s sustaining melodic lyricism. The third movement, for solo keyboard, demonstrates a lightness of polyphonic back- and-forth that belies its minor key. The ensuing Adagio in B minor exhibits a more learned style of three-part counterpoint that, in true Bach

fashion, still manages to sound organic and unstudied. The sonata then returns to the home key for a lively contrapuntal dance that shares some traits (including its position as a concluding movement) with the gigue.

Violin Sonata in E-flat Major, K. 481W. A. Mozart (1756-1791)Mozart composed 16 juvenile violin sonatas while a precocious pre-teen. These were not terribly profound works, as they followed the standard patterns and procedures of the time for keyboard sonatas with (sometimes optional) violin accompaniment. It would be another decade before Mozart resumed writing violin sonatas, and he produced an additional 20 or so sonatas during his mature years.

One of his last works in the genre is the Violin Sonata in E-flat Major, K. 481, completed in December 1785, only a few days before he finished his piano concerto (K. 482) in the same key. By this time Mozart had clearly moved beyond his juvenile style and was now writing sonatas in which both instruments share equally the musical materials and development. Yet when the work was first published, it was described as a “sonata for fortepiano, or harpsichord, with violin accompaniment.” This curious throwback description may have been motivated by the observation that in each movement it is the piano that presents the main ideas first. The violin writing in general is also less demanding than in some of Mozart’s earlier sonatas. But after those initial thematic statements, the interplay between piano and violin in this work becomes much more even and balanced.

The piano introduces the main theme of the first movement (Molto allegro), with the violin participating more fully after the modulation to B flat for the second and third themes. Despite this profusion of thematic material,

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though, the development is based on a new motif, a four-note idea in the violin that would later be recycled in the finale of Mozart’s “Jupiter” Symphony. After the traditional recapitulation of themes, this motif returns in the movement’s coda, adding a new kind of balance to standard sonata-allegro form.

At the opening of the A-flat major Adagio, the violin’s double stops are distinctly accompani-mental as the piano presents the main theme. The key center and modality then shift repeatedly and ingeniously, taking the music into distant harmonic realms. On occasion the violin and piano parts are briefly notated in different key signatures simultaneously. Later, the pianist’s left and right hands are similarly distinguished by different key signatures during a transitional passage. The central statement of the main theme in A major is as harmonically distant from the sonata’s home key as possible, before retransition returns the movement’s key center to tonic center for an embellished reprise of the main themes. But even in the closing measure, Mozart moves suddenly from A flat to E major and back, recreating the distant harmonic excursions of the work’s central passage and effecting a formal balance at the same time.

The last movement opens with a naïve theme on the piano and violin, presented in octaves. Traditionally, a classical variation movement would steadily increase the rhythmic and dramatic intensity through successive variations, but here Mozart allows the variations that follow to unfold in a more relaxed fashion, not really enlivening the movement rhythmically until the fifth variation. For the final variation, the theme is transformed into a 6/8 dance with the flavor of a hunt, paralleling the “hunting” rondo of this sonata’s chronological companion, the E-flat Piano Concerto, K. 482.

Six Partitas for Solo Violin, No. 6 “You”Antón García Abril (b. 1933)Spanish composer Antón García Abril studied at the Madrid Royal Conservatory in the early 1950s, and later at the Santa Cecilia National Academy in Rome. After returning to Spain he accepted a faculty position at the Madrid Conservatory, where he served for three decades as the head of the Composition Department until his retirement from academia in 2003. García Abril was especially prolific during this time as a composer of soundtracks for Spanish film and television. He cites Debussy, Ravel, Bartók and Messiaen as favorite composers and influences.

It was García Abril’s artistic and flexible treatment of melody that originally brought his music to the attention of Hilary Hahn. Hahn had recorded his “Third Sigh” for violin and piano on a 2013 CD of commissioned encores from contemporary composers. In that work (and the companion “Second Sigh” for solo violin, not included on the recording), Hahn discerned García Abril’s proclivity for poly- phonic counterpoint in his writing for the violin. Composing polyphonic music for an instrument best suited to single melodic lines is, Hahn observes, “a bit of a smoke-and-mirrors game” in which the polyphony has to be mostly implied, and she wasn’t seeing much of it in contemporary violin music. But it was the kind of technique and texture that earlier masters like Bach had explored extensively, most notably in his Sonatas and Partitas for unaccompanied violin.

Hahn asked García Abril if he would compose a parallel set of larger polyphonic works for solo violin. She never received a firm reply from him until he surprised her after a concert in Spain with a complete set of the first drafts of six unaccompanied partitas.

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PROGRAM NOTES CONTINUEDGarcía Abril prepared for the compositional process by listening intently and repeatedly to several of Hahn’s recordings, learning not only the repertory she plays but also the instrument’s possibilities and Hahn’s interpretive range.  He concentrated on deepening his familiarity with Bach’s solo sonatas and partitas and the solo violin sonatas of Eugène Ysaÿe.  And he worked on no other projects during this time, maintaining a singular dedication to this musical double portrait of Hahn and her instrument. “It was only then…” he recalled, “that I took my first step towards the Six Partitas for Solo Violin.”

Each of the six single-movement partitas is based on a characteristic that García Abril identified in Hahn’s musical personality, arranged according to an acrostic formed from her first name:

Heart Immensity Love Art Reflexive You Within each of the partitas, though, there is a dramatic arc—“flowing, abstract, impressionistic and very expressive,” Hahn adds—that moves through contrasts of emotion and technique. TräumeHans Peter Türk (b. 1940)Hans Peter Türk was born and educated in the Transylvania region of central Romania, where he has spent the majority of his subsequent career. From the time of his first childhood lessons on piano and cello, Türk felt the impulse to be a composer, and studied music education as well as composition at the Music Academy in Cluj, Romania’s second-largest city. After graduation he remained as a lecturer at the

Academy, and also earned a doctorate in musicology. In 1979 Türk was awarded the Georges Enescu Prize in composition, but because of his refusal to join the national Communist Party was denied any kind of leadership position at the Academy. He was finally appointed a professor in 1989. In addition to orchestral and chamber works, Türk is known for his choral and liturgical music, producing a series of award-winning motets and passion settings.

It was at the Music Academy in Cluj that Türk first met pianist Robert Levin. Levin’s abilities as a gifted improviser are widely known, and Türk submitted a tune on which Levin improvised. Captivated by the tune itself, Levin asked Türk if he would write a piano work for him, but the composer declined, feeling unworthy of the commission. He had not written for piano before, and as his own wife, Gerda, was a piano professor at the Academy in Cluj, he felt that if he were to compose a piano work in the future it should be for her.

Levin stayed in contact with Gerda Türk, and when she became seriously ill his messages to her were a great comfort. After her death, Levin suggested again to the composer the idea of a new piano work, one that could represent “a kind of spiritual dialog, a flexible discourse” between the three of them.

Türk completed the work in 2012, borrowing the title Träume (“Dreams”) from his late wife’s notebooks, where she recorded her dreams during her final illness. “The piece is meant to be played as freely as possible,” Türk wrote to Levin, “appealing at the end to your unsurpassed mastery of improvisation. Some of the prescribed tones and rhythms lend themselves to improvisation, creating the impression of bells chiming, as such were the

contents of Gerda’s last dream.” Levin premiered Träume in 2014.

This quasi-improvisatory work opens with a gentle lullaby section before veering into a wild, grief-stricken frenzy, a tumultuous hive of devastating anguish. At its conclusion, the music moves toward quietude, with the tolling bells of Gerda’s final dream pronouncing a benediction. Rondo in B Minor, D. 895Franz Schubert (1797-1828)Franz Schubert was raised in an extraordinarily musical family. His father, a schoolmaster, was a talented amateur musician in his own right. He instructed his own children in string performance, and played cello in the family string quartet, with Schubert’s older brothers, Ferdinand and Ignaz, on violins, and young Franz on the viola. But as part of his formal musical training, young Franz Schubert played violin in the Vienna City Seminary every evening. Violin was his first instrument, and his later writing for it, especially in chamber music, manifests the confidence of a first-hand practitioner.

In Sir Jack Westrup’s analysis of Schubert’s chamber works he noted that for Schubert, “chamber music was not simply a form of self-expression. It was something to be played.” This pragmatism by no means implies that Schubert’s chamber works are artless or casual, but they generally do avoid the relentless gravity found in compositions like Beethoven’s late quartets, with which they are roughly contemporary. Still, their proportions were decidedly Romantic, and in addition to being unfailingly adroit and beautifully crafted, Schubert’s chamber music tends also to be more forgiving to the amateur listener.

Like Mozart, Schubert had composed some

violin sonatas in his youth, then wrote nothing for solo violin for nearly a decade. Then in 1826 he composed a rondo in B minor for violin and piano (D. 895) for the Czech violinist Josef Slavík, who performed the work in Vienna in 1827. The rondo was published by Artaria the following year—one of only three of Schubert’s chamber works to be published during his lifetime. Along with the better-known C-major Fantasy (D. 934), it is the only mature music Schubert wrote for solo violin and piano.

The rondo opens with a slow (Andante) introduction, characterized by fanfare-like rhythms. A more lyrical theme follows, played over supple, arpeggiated harmonies, but the accompaniment never quite leaves the dotted rhythms behind and the fanfare returns, eventually distilling into a B-to-C# motif that leads directly into the main theme of the rondo itself.

But once the rondo begins, Schubert’s main focus centers on the two contrasting episodes, not the Hungarian-flavored theme itself. As with Beethoven, the more predictable elements of the form hold less interest than the exploratory passages, and Schubert sometimes seems reluctant to leave behind the freedom of the extended episodes for the restatements of the main theme. The first episode, a march principally in D major (though with numerous harmonic adventures), ends with a recollection of the slow introduction. The second episode is a jaunty dance in G major that leads to one final restatement of the main theme before the work concludes in triumphant B major.

Dr. Luke Howard © 2016 An associate professor of music at Brigham Young University, Luke Howard is a program annotator for the Aspen Music Festival and School, the 92nd Street  Y, the Mormon Tabernacle Choir, and the Philadelphia  Orchestra.

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Hilary Hahn violin, three-time Grammy Award-winner, is renowned for her virtuosity, expansive interpretations, and creative programming. Her dynamic approach to music-making and her commitment to sharing her musical experiences with a broad global community have made her a fan favorite.

Hahn’s distinct stylistic choices honor the traditional violin literature while delving into the unexpected. Since last season, in recital tours across the United States, Europe and Japan, Hahn has been premiering six new partitas for solo violin by composer Antón  García Abril. The works are Hahn’s first commissioning project for solo violin and her first commission of a set of works from a single composer. In 27 Pieces: the Hilary Hahn Encores is Hahn’s multi-year commissioning project, started in 2011, to revitalize the duo encore genre. Hahn’s album of those encores won a Grammy for Best Chamber Music/Small Ensemble Performance in 2015, and the print edition of the complete sheet music will be released by Boosey & Hawkes. Complete with Hahn’s fingerings, bowings and performance notes, the sheet music will ensure that the encores become part of the active violin repertoire. A special vinyl edition of the recording is available from Deutsche Grammophon.

Hahn’s 2015-2016 artist  residency  at Vienna’s Konzerthaus  featured  her performing Mozart with the Camerata Salzburg, Dvorák with the Vienna Symphony, and Vieuxtemps with the Vienna Philharmonic, plus a solo recital. As part of her  residency  Hahn piloted free—and sometimes surprise—concerts for parents with infants, a knitting circle and a community dance workshop as the live music for their end-of- year performance. The 2016-2017 season will  see  Hahn in  residence  with both the Seattle Symphony and the Orchestre National de Lyon.

In conjunction with her performances with those orchestras and her recitals in Seattle and Lyon, Hahn will create outreach activities customized to each city. She will also continue her free community-oriented concerts, encouraging music lovers to combine live performance with their interests outside the concert hall. Other activities in the 2016-2017 season include European concerto tours with the Czech Philharmonic, the Orchestre Philharmonique de Radio France and the Orchestre National de Lyon; appearances with the Cincinnati, Detroit, Indianapolis and National Symphony Orchestras, the London Philharmonic Orchestra, the Frankfurt Radio and Swedish Radio Symphony Orchestras, and the Spanish National Orchestra; and recital tours with pianist Robert Levin throughout North America and Europe.

Hahn took her first violin lessons in the Suzuki program of the Peabody Institute in her hometown of Baltimore at the age of three, and at five she began lessons with Klara Berkovich, who had just emigrated from St. Petersburg. At ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia to study with Jascha Brodsky, a former pupil of Eugène Ysaÿe and Efrem Zimbalist. Hahn completed her university requirements at sixteen, having already made her solo debuts with the Baltimore, Pittsburgh, Utah and Bavarian Radio symphony orchestras; the Philadelphia, Cleveland and Budapest Festival orchestras; and the New York Philharmonic, among others. Hahn continued her studies for three more years, delving into languages, literature and writing, and received her bachelor’s degree at nineteen. She spent four summers at the Marlboro Music Festival and another four in the total-immersion German, French and Japanese programs at Middlebury College. She holds honorary doctorates from Ball State University and Middlebury College.

ABOUT THE ARTISTS

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Hahn has released sixteen albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning recording for children and various compilations. Spanning an extremely wide range of repertoire, including Bach, Stravinsky, Elgar, Beethoven, Vaughan Williams, Mozart, Schoenberg, Paganini, Spohr, Barber, Bernstein, Ives, Higdon and Tchaikovsky, her recordings have received every critical prize in the international press and have met with equal popular success. All have debuted in the top ten of the Billboard classical chart.

Hahn’s first Grammy came in 2003 for her Brahms and Stravinsky concerto album. A pairing of the Schoenberg and Sibelius concerti spent 23 weeks on the charts and earned Hahn her second Grammy. In 2010, she premiered her recording of Jennifer Higdon’s Violin Concerto along with the Tchaikovsky concerto. Higdon’s composition, written for Hahn, went on to win the Pulitzer Prize. In 2012, Hahn launched Silfra with experimental prepared-pianist Hauschka. The album was produced by Valgeir Sigurðsson and was entirely improvised by Hahn and Hauschka following an intensive period of development. Her latest album, Mozart 5, Vieuxtemps 4—Violin Concertos, pairs concerti that have played an active part in her repertoire for more than twenty-five years.

Hahn is an avid writer, having posted journal entries for two decades on her website,  hilaryhahn.com, and published articles in mainstream media. On YouTube (youtube.com/hilaryhahnvideos), she interviews colleagues about their experiences in music. Her violin case comments on life as a traveling companion on Twitter and Instagram (@violincase). In 2001, Hahn was named “America’s Best Classical Musician” by  Time  magazine, and in 2010, she appeared on  The Tonight Show  with Conan

O’Brien. Hahn was featured in the Oscar- nominated soundtrack to  The Village  and has participated in a number of non-classical productions, collaborating on two records by the alt-rock band ….And You Will Know Us By The Trail of Dead, on the album Grand Forks by Tom Brosseau, and on tour with folk-rock singer- songwriter Josh Ritter. This is Hilary Hahn’s first engagement at the Hopkins Center. Robert Levin piano has been heard throughout the United States, Europe, Australia and in Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Joseph Silverstein. On period pianos he has appeared with the Academy of Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan and Sir Roger Norrington. Renowned for his improvised embellishments and cadenzas in Classical period repertoire, Levin has made recordings for DG Archiv, CRI, Decca/London, Deutsche Grammophon Yellow Label, ECM, New York Philomusica, Nonesuch, Philips and SONY Classical. These include a Mozart concerto cycle for Decca/London with Christopher Hogwood and the Academy of Ancient Music; a Beethoven concerto cycle for DG Archiv with John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique (including the world premiere recording of Beethoven’s arrangement of the Fourth Concerto for piano and string quintet together with his arrangement of the Second Symphony for piano trio); and the complete

ABOUT THE ARTISTS CONTINUED

CONNECTING ARTISTS TO THE COMMUNITYWhile at Dartmouth, Hilary Hahn visited a class in the Music Department and Robert Levin will participate in a post-performance discussion. For more information on Hop Outreach & Arts Education, call 603.646.2010 or visit hop.dartmouth.edu/online/outreach.

Bach harpsichord concertos with Helmuth Rilling; and the six English Suites (on piano) and both books of the Well-Tempered Clavier (on five keyboard instruments) as part of Hänssler’s 172-CD Edition Bachakademie. The first recording of a Mozart piano sonata cycle was released by Deutsche Harmonia Mundi last year. A passionate advocate of new music, Levin has commissioned and premiered a large number of works, including Joshua Fineberg’s Veils (2001), John Harbison’s Second Sonata (2003), Yehudi Wyner’s piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands’ Preludes (2007) and Thomas Oboe Lee’s Piano Concerto (2007).

Levin’s active career as a chamber musician includes a long association with the violist Kim Kashkashian. He appears frequently with his wife, pianist Ya-Fei Chuang, in duo recitals and with orchestra. After more than a quarter century as an artist faculty member at the

Sarasota Music Festival he succeeded Paul Wolfe as artistic director in 2007.

In addition to his performing activities, Levin is a noted theorist and Mozart scholar and is the author of a number of articles and essays on Mozart. A member of the Akademie für Mozart-forschung, his completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and recorded and performed throughout the world. His completion of the Mozart C-minor mass, commissioned by Carnegie Hall, was premiered there in January 2005 and has since been recorded and widely performed. Levin is president of the International Johann Sebastian Bach Competition (Leipzig, Germany), a member of the American Academy of Arts and Sciences, and Dwight P. Robinson, Jr. Professor of the Humanities at Harvard University. Robert Levin last performed at the Hopkins Center with the Academy of Ancient Music in 2002.

ABOUT THE ARTISTS CONTINUED

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MEMBER Anonymous (4)Beatrice and Heywood AlexanderAyeshah Al-HumaidhiAnita and James AlicJacqueline A. AllenNancy and V. Blake Allison IIIErik R. AltmanInge-Lise AmeerKristofer AndersonLisa and David AndrewsMarjorie and Peter Aptakin

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Anne CarlinLynn Adams and Simon CarrNancy and Bill CarterDeborah and Peter CarterKathy Brown and David CartonJennifer and Michael CaseyBrian CatlinJanice and Robert ChapmanNancy M. ChasePriscilla and William Chester JrJonathan W. ChipmanAlison and Frederick ChisolmKeith W. ChrismanMartha G. ClarkTina and Ray ClarkElizabeth and William ClendenningElissa L. CloseAnne Flagler CollinsMitzi Carleton and David ColtLaura E. ConkeyChristine and Ben ConroyThomas CoochMarjorie and Russell CookCeleste and David CookLouis L. CornellLisa and Richard CorreaCarolyn Murray Cravero and Joseph CraveroCarol and John CrouthamelRobert Christie and Debby CrowellJane B. Ackerman and Randy CurrSara and Robert DanzigerJane B. DarrachMarilyse de BoissezonFrank A. DemersMary and John DenisonEllen C. DesMeulesJ. Oliver DoneganDorothy DorionMarjorie and Len DorrMarianne DoyleSheila DoyleVirginia and John DresserMargaret and Philip DrinkerVicky and Reid DruckerMarybeth DurkinHolly K. DustinNancy and Richard DuttonBetsy EcclesPatricia W. EckelsBeatrice and Antony EdgarAntoinette D. EggerElizabeth and Theodore EismeierMidge EliassenDavid Ellenbogen

Soong and Rogers ElliottLinda and Richard ElyJohn S. EngelmanMarie H. EsselbornAlex EstinSara and Scott EvangelosFieke and Arnold FabricantJean and Frank FaheyHarlan W. FairCatherine Cannan and John FarleyAlison E. FarrarPhyllis and Elliot FenanderJune FichterGloria and Sydney FinkelsteinJanice and William FischelNaomi and James FitzgibbonsLinda and Stephens FowlerPhyllis J. FoxMarcia and Peter FrederickBarbara and Barry FreedmanLea and Conrad FreyNan and Alec FrostKathleen and Robert FulmerMary and Bill FurmanEmily Blanchard and Eric FurstenbergMargaret and Michael GalbraithAnn and Henry GallagherRoberta and Paul GalleraniKate GambleSylvia and John GarfieldLeane Page GarlandMargaret McCall GeldensPaul GerkeEdith M. GiegMary and Charles GierschSusan and Al GillottiRosalind and Goodwin GilmanBetty and Roger GilmoreKaren and Sandy GilmourSarah and Benjamin GilsonJane and Gerard GoldAlice and Martin GoldsteinKaren M. GolleglyNancy and Michael GolowkaElizabeth and Michael GonnermanStacey GorenNadia and Greg GormanKirthi and Vijay GovindarajanCarol Barr and Donald GrahamLizi Boyd and Gordon GreenfieldJoseph Grimes JrBobbi GrossErik Blanchard and Calli GuionJonathan Bellis and Virginia GwynnHonore and Robert Hager

Carl and Nancy HaggeMarcy Chong and Alden HallDavid A. HallRandi HallarmanLaurie and Jerry HalpernJanette E. HannahDeborah HannamGenevieve Hardigg and Beverly Carter IVAnn and Robert HargravesAlice and John Harrison JrCatherine and Philip HarrisonSusan and Arnold HawkFiona and John HeaneyPolly and Charles Hebble JrNancy and James HeffernanKaren L. HeinzmannRebecca Dabora and Joseph HelbleEleanor and William Helm JrJane and Donald HelmsRobert T. HerzVictoria and Donald HerzbergElizabeth B. HestonMargaret HiattNancy and Richard HiggersonRobert Drysdale and Patricia HigginsGrace Hope HillArlene and David HirshbergNancy L. HoblinSandra HoehDeborah and David HofferAmy and Paul HoffmanMary Ann HolbrookBaxter C. HollandJames Atkinson and Gretchen HolmTheresa HontasHeidi and Garlan HoskinJon Gilbert Fox and Darrell HotchkissBeverly and Robert HoughtonMargaret and Kevin HughesMarilyn and Windsor HunterPamela Ely and Richard Husband JrVirginia Q. HutchisonLorraine and Arthur HuttonLorie IshimatsuVictoria and Anthony JacobineBarry F. JacobsonAnne and Bruce JamesMargaret and G. Christian JernstedtSandra and Gary JohnsonRita and Edwin JohnsonMargaret A. JohnsonMarsha and Bruce JohnsonPenelope and Stuart JohnsonEmily and Gerard Jones

Barbara H. JonesMarianne and Stephen JordanCarolyn and J. Richard JudsonAlla and Sergei KanAnthony KaneMary Ann S. KaplinskyWayne Barstad and Anne KapuscinskiSue and Dennis KaufmanJean and Robert KeeneJoanne and Alan KeillerAnn and Rusty KeithSusan Johnson and Jason KelleyGail KelloggLorraine T. KellyElise and Mark KendallAnnette L. KennedyBarbara KennedyAnn D. KentKathleen M. KentnerJeanne Hover and Stewart KetchamJoan S. KidderElizabeth N. KimballMarie KirnPauline and Louis KislikCatherine and Earl KnightBeth and Richard KolehmainenPatricia Glowa and Donald KollischJulia K. KorkusRebecca Chollet and Erik KrausAnn M. KraybillLakshmi and Periannan KuppusamyPeggy LahsThea F. LahtiE. D. M. LandmanBarbara LaneJoan R. LangRuth and Fred LappinDonna and John Largent IIIRebecca LarkinNancy and Larry LarsenKatherine and Lee LarsonBonnie Bollman and Blanche LavoieCynthia and Daniel LawrenceRebecca LawrenceJessica Brooks and Carl LazarusDeborah LeachPatricia Dickens and Robert LeatonDavid M. LemalRenee and David LentElaine and James LenzBarbara F. LesherDianne and Gary LevineMargot and Richard LewinBronwen B. LewisMary R. Lincoln

Jane Finlay and Charles LindnerKay and Larry LittenZenghong Chen and Weiping LiuSharon and David LockwoodAda H. LoganBrett LongPatricia H. LongLouise and Daniel LongneckerAnne and Dana LowNancy and Gordon LuceNancy and William LuebbertElsa M. LukerDeborah and Peter LuquerElizabeth and James LustenaderEllen and James LynchSusan and Morton LynnSpencer Burdge and Steve LyonElizabeth Keefauver Lyons and James P. Lyons JrAndrea MachtDavid MagagnaDonald G. Magill JrWilliam MagnerVera and DeWitt MallaryJosette and Raymond MalleyRobert ManchesterRosemary and David MandelbaumWendy and Paul ManganielloMartha ManheimTita and Oliver ManiceRuth Craig and Lou MarescaCarol-Lynn and Robert MarrazzoPeggy and Timothy MartinKenneth MasonLaurie Harding and Peter MasonRoger D. MastersRichard Enelow and Cheri MatherMarjorie and James MatthewsSusan C. MattsonPeter Blodgett and Ruth MayerAna M. MayorCarmen and Stuart McCampbellIsabel and Michael McCarthyMary Lou Guerinot and Rob McClungFrench and Robert McConnaugheyJames Gold and Penny McConnelDorothy and Norman McCulloch JrHeidi Maurer and Bruce McDowellJohn Higgins and Suzanne McDowellDianne and Thomas McFarlandEmma and John McGeachieThomas McGrailChristine and Leo McKennaCarol Campbell and John McKennaEd McLaughlin

Lucy and Robert McLellanJane Ann and F. Graham McSwineyRuth and Larry MengedohtElyse Holsberg and Peter MerrillPrudence MertonDeborah and Henry MetzgerJan and Phil MeyerRichard Blair and Karen MeyersJill MichaelsAmy Dingley and Richard MiliusPatricia Jackson and Will MillardJeanne Baer and Michael MillerNancy and Jerry MitchellAmy L. MitsonEvangeline and Gerald MonroeDavid Millstone and Sheila MoranSharon and James MorganJune B. MorganMeredith M. MorganMadge MorrisDaniela Ligett and Michael MortonAllison Shutz MoskowAntonia Barry and Russell MuirheadNancy and David MullerMargaret and Albert Mulley JrMargaret and Stanley MyersLucianna R. NatkielAndrew Johnson and Joanne NeedhamNoel and Donald NeelyCynthia J. NeilyCorlan Johnson and Richard NeugassRhona and Frederic NeuwirthCatharine and David NewburyTamara and Daniel NixonJoyce and Walter NollKaren F. NorthJoanne and Richard NortonMarge duMond and Emi NotargiacomoAlice D. NulsenElise and Kevin NultonBrenda and Jerry NunnallyArthur Gardiner and Robin NuseSherri ObergGerald O’ConnorMary-Jane OgawaLinda and Ernst OidtmannAllen Dietrich and Ardis OlsonJannette P. OlsonRosita M. OlsonJoann and Zygmon OnackiRosamond F. OrfordSusan and Fredrick OrkinTed Hilles and Jane OsgoodMiriam and Aaron OsofskyMary and David Otto

Gerald L. PaistEthel and Roger PaquinNancy G. ParkerLynne ParshallJudith E. PayneLaurie Johnson and L. Carl PedersenBarry Isaacs and Monique PelletierCarol and Michael PenkertBarbara and David PerlmutterPatricia Kuzmickas and Erik PetersonLeon PetrusLinda PhillipsLouise PietschKelly and Hal PikusJohn J. PintoWinthrop PiperMartha McDaniel and Stephen PlumeAlix Olson and Martha PoppAvery D. PostAnne and Michael PotterMargaret and Dick PowellJane and Robert PowellR. Kirsten and Ray PowelsonSusan H. PrattGranthia PrestonCaryl ProcitaTeri and Antonio D. PyleJane Barlow and Anah PytteDeborah Hanson and Jane QuimbyJames Barry and Mary Quinton-BarryDick DuMez and Kimberley QuirkMargaret and Russell RabitoBetty and John RabySharon and Robert RacusinJane L. RalphMarcus RatliffJill Mortali and Chad ReedPam and Jack ReeseBrenda and Douglas ReeserKenneth Baker and Judith ReeveCarol S. ReevesZara D. ReevesDonna and Charles ReillyJennifer and Conrad ReiningSusan RenaudSally Ann and Harold ResnicDiane RiceMiriam and Stuart RichardsDaniel P. RichardsonLise and John Richardson JrHorst J. RichterJames RickerCarol and Dave RingelbergSusan M. RivesEugenia S. Robbins

Lenita and Raymond RobbinsEvelyn RobertsKathryn and David RobertsEllen and George RobertsonAnne and John RogersVirginia and Ellis RolettNancy and Robert RomanoMaggie Kemp and Bernard RosenCheryl Boghosian and Neil RothArline and Barry RotmanPriscilla and Peter RunstadlerMargaret Read and Charles RussellLeslie and Mark RutanLinda D. RydmanMarlene and Rusty SachsJoanne and Eric SailerLaney and Jack SammonsEileen and Alexander SamorTerry and Andrew SamwickCharlotte J. SanbornGail and Nick SandersBrinna and Frank SandsJennifer and Steven SargentHarry Saul JrSylvia and Barry ScherrSue SchillerLinda P. SchmidtMeg and Jim SchmidtRonnie Lesser and Erica SchoenbergNoreene Davis and Robert SchultzJeanne Childs and John SchumacherRosemarie and Lou ScibettaJohn T. ScottMary Lyons Scott and William ScottAudrey and Raymond SearsPaula and Raymond SeitzBernice Miller and June SeligmanKaren and Marc SeltzerMatthias W. SengerNancy P. SevcenkoMartha Hennessey and Stephen SeversonElizabeth J. ShabelCindy M. ShannonMargaret Carpenter and Charles ShermanBrenda and Jeff ShornickFlorence ShortMichelle and Richard ShreveSteven Chapman and Cathy ShubkinSheila and Lawrence ShulmanAnne and Peter SilberfarbEmily and Joe SilverKatherine and Clay SimpsonDiane and David Simpson

Carolyn and Martin SingerBrenda E. SirovichConnie and Jack SkewesCarol and Roger SlobodaMargaret A. Caudill-Slosberg and Richard SlosbergLinda and James SmiddyCory Ahonen and Elizabeth Smith Jacqueline Y. SmithJean and Mike SmithSae-Im Nam SmithPi SmithMartia R. SmithRenee and Norman SnowPamela SobelHilda and Robert SokolMargaret and David SolbergMarianna McKim and Reinhart SonnenburgMaribel and John SoutherChristopher Eldredge and Sophie SparrowDavid Powsner and Jessica SpeckertSarah T. SpencerPatricia and Thomas SpencerPeregrine and Peter SpiegelConnie Anderson and Orson St. JohnCynthia and Daniel StadlerLynne and John StahlerIngrid and Joseph StallsmithAlan Budney and Catherine StangerRuth and Fred StavisMuriel and Robert SteinbergEleanor B. StephensonBarbara and Dennis SternJohn Cavender and Rosalind StevensPatricia StewartShyla Nelson Stewart and Andrew StewartKenneth R. StoddardJasmin Bihler and Elijah StommelJessica Londa and Scott StoneNan and William StoneHerman Dieckamp and Marjorie StorrsMelinda and Richard StuckerMarilyn and Skip SturmanSarah Robson and Swaminathan SubbiahAndrew R. SuppleeShiela and Steven SwettPaul Natkiel and Marsha SwislockiNelle Johansen and Vincent TalentoSara and Kevin TallyJill and Stuart TaneJosephine Hanlon Tate

Audrey Cherin and William TateAnne and Bruce TaylorChing-Wen and Carl TaylorChristine and Jack TaylorEllen TerieBarrett and Anthony ThacherCynthia S. ThompsonAnn and Dennis ThronStephen Bartels and Elizabeth Tomlinson Carol and Howard TrachtenbergBarbara B. TravisRuth Friend and Michael TrimpiPaula TsaiFrederick C. TuckerRichard L. Cohen and Anna C. Typrowicz Lee UdyMarian B. UlrichJodi and Tim Van LeerCindy and Jim VarnumJulia A. ViazmenskiCasey P. VillardPamela VoelkelRichard WackerSusan and Timothy WaggRoger Vogler and Mary Jane Wallace

Elizabeth A. WardBarbara and David WardJan and Curt WardCarol WarrenAndrea WassermanGail and John WassonPeter Kaufman and Ann WaterfallMildred and James WaterfallMary F. WatersClaudia and Johnathan WeedSusan E. WeeksUlrike WegstCarol P. WeingeistChris WeinmannLiz Ross and David WestbyBarry Fudim and Amy WheelerJeffrey A. WheelerJane and John WhelihanBill Mlacak and Joanna Whitcomb Suzanne and Richard WhitingSherry WhitneyMartha H. WienckeFrederick WieseKatherine and Stephen WilkersonSarah and Chuck WillMame Willey

Letha Mills and Dana WilliamsK. Sandra Anderson and Reeve WilliamsEdward Cooney-Moore and Susan WilliamsPerry and John WilliamsonSybil B. WilliamsonTheodore Eck and Mary WilsonLois and Peter WinklerAndrew WinterBarbara Pringle and Morton WiseJoanne and Doug WiseChristianne and William WohlforthHarry A. WollmanKristin and Stewart WoodSuzanne and Austin WoodBarbara and Michael WoodardDeborah Hall and Mike WoodsJaqueline and Chris WrenPenelope and Peter WrightDavid Gladstone and Lisa YaffeeAnne YatesJudy Manley and Eugene YeatesRuth A. ZalesClaudia ZayfertJeanne and William Zeilman

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HOPKINS CENTER DIRECTORATE

Maria Laskaris ‘84 Interim Director

HOPKINS CENTER BOARD OF OVERSEERS

Austin M. Beutner ’82, P’19 Kenneth L. Burns H’93

Barbara J. Couch Allan H. Glick ’60, T’61, P’88, GP’19

Barry Grove ’73 Caroline Diamond Harrison ’86, P’16, P’18

Kelly Fowler Hunter ’83, T’88, P’13, P’15, P’19

Robert H. Manegold ’75, P’02, P’06Michael A. Marriott ’84, P’18Nini MeyerHans C. Morris ’80, P’11, P’14 Chair of the Board Laurel J. Richie ’81 Trustee RepresentativeJennifer A. Williams ’85

Jay Cary ‘68, T’71 Business and Administrative Officer Joshua Price Kol ‘93 Director of Student Performance Programs/

Interim General Manager

Margaret Lawrence Director of Programming Sydney Stowe Acting Director of Hopkins Center Film

Music Department Residency APOLLO’S FIREwed MAY 3 • 7 pm • SPAULDING AUDITORIUM Led by charismatic harpsichord virtuoso Jeanette Sorrell, Cleveland’s famed early music ensemble channels the music of Bach, Telemann and Vivaldi.

For tickets or more info, call the Box Office at 603.646.2422 or visit hop.dartmouth.edu. Share your experiences! #HopkinsCenter

THE GLOAMINGfri APR 21 • 8 pm • SPAULDING AUDITORIUM Transatlantic supergroup takes Celtic music to breathtaking new heights while staying true to its roots.