Don t miss the final Festival Concert at the Chan Centre:

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2 VANCOUVER, BC Don t miss the final Festival Concert at the Chan Centre: partners Early Music Vancouver gratefully acknowledges the assistance and support of: GOVERNMENT SUPPORT We acknowledge the support of the Province of British Columbia FOUNDATIONS THE BRENNAN SPANO FAMILY FOUNDATION THE DRANCE FAMILY EARLY MUSIC VANCOUVER FUND PRODUCTION PARTNERS EMV s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. pacific baroque orchestra alexander weimann MUSIC director Alexander Weimann music director soloists of Gli Angeli Genève: Aleksandra Lewandowska, Alex Potter, Thomas Hobbs and Stephan MacLeod and Pacific Baroque Orchestra J.S. Bach s great Trauerode bwv 198 is a large-scale secular cantata for orchestra and soloists that he composed in 1727 to commemorate the death of Christine Ebehardine, the wife of Augustus, the Elector of Saxony and King of Poland. This work is unusually richly scored, even for J.S. Bach, and includes not only pairs of flutes and oboes d amore, but also of violas da gamba and lutes in addition to a full string orchestra. Tickets are for sale at the Chan Centre box office tonight during the interval, or on-line at earlymusic.bc.ca production partners in victoria bc: Rosedale on Robson Suite Hotel CORPORATE SUPPORT We also gratefully acknowledge the generosity of our many donors and volunteers. THANK YOU! You can be in good company too! The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike. Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefits tailored to your specific needs. Call Jocelyn Peirce to discuss how our audience profile may fit with your company s objectives: Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I Angela Hewitt staff@earlymusic.bc.ca

3 from the executive and artistic director board of directors Chris Guzy president Fran Watters vice president Spencer Corrigal cpa,ca treasurer Tony Knox past president Ilia Korkh secretary Sherrill Grace Melody Mason Tim Rendell cpa,ca Ingrid Söchting Vincent Tan José Verstappen cm artistic director emeritus staff Matthew White executive & artistic director Nathan Lorch business manager Jocelyn Peirce development coordinator Laina Tanahara marketing & volunteer coordinator Jonathan Evans production coordinator Jan Gates event photographer Murray Paterson Marketing Group marketing & media relations Trevor Mangion and The Chan Centre Box Office Staff emv ticket office: West 7th Avenue, Vancouver BC, V6H 1B6 tel: fax: earlymusic.bc.ca His name should be Ocean, not Brook Ludwig van Beethoven Despite having spent a life in music that has been profoundly touched by the legacy of J.S. Bach, it was only earlier this summer that I had the chance to visit some of the most important places in his life for the first time. Sitting in the Thomaskirche in Leipzig, surrounded by countless other modernday musical pilgrims from all over the globe, it struck me as extraordinary the extent to which the work of this deeply religious man from eighteenthcentury Thuringia continues to have a life changingeffect on so many people from so many different backgrounds. In a world where classical and other non-corporate music is increasingly being relegated to the edges of public awareness, his name is still one of the most powerful advocates there is for communicating the value inherent in deeply inspiring music of any type. The name Bach means great music period. Photo credit Jan Gates The festival this year is our most ambitious yet, and includes a remarkable 15 concerts over two weeks. In addition to performances of some of Bach s greatest works, including the Goldberg Variations, The Well-Tempered Clavier, The Trauer Ode and some of his greatest cantatas, we are also looking forward to an expanded offering of music by other composers. Masterpieces by Schütz, Biber, Handel, Telemann, Couperin, Vivaldi, Pergolesi, Mozart, Beethoven, Schubert, Brahms and even Benjamin Britten are all on the menu. I invite you to take a break from the onslaught of the Trumpian news cycle and to carve out time for music that will help remind you of some of the better aspects of our nature. Matthew White, Executive and Artistic Director THANK YOU TO OUR VOLUNTEERS! Our activities are made possible through the generous assistance of many volunteers who offer their time. For this Festival, we would like to thank the following: Pam Atnikov Richard Cameron Alexandra Charlton Ron Costanzo Donna Cohen Catherine Crouch Bill Dovhey Sandy Dowling David Dyck Helen Elfert Bev Ferguson Elizabeth Ferguson Jean-Pierre Fougeres Gail Franko Maureen Girvan Satoko Hashigasako Martha Hazevoet Delma Hemming Margaret Hendren Michiko Higgins-Kato Maggie Holland Richard Huber Gigi Huxley Ron Jobe Gerald Joe Susan Kaufman Barb Knox Susan Larkin Marlene LeGates Pat Lim Christina MacLeod Wanda Madokoro Dolina McLay Kathryn McMullen Vania Mello Fran Moore Carole Nakonechny Veronika Ong Gina Page Betty Lou Phillips Selma Savage Traudi Schneider Jill Schroder Alison Stockbrocks Eleanor Third Interested in joining our volunteer corps? Phone for details. earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Angela Hewitt Vancouver Bach Festival

4 CHAN CENTRE PRESENTS SERIES SEP 22 Aida Cuevas: Totalmente Juan Gabriel SEP 30 I m With Her OCT 21 Goran Bregovic and His Wedding and Funeral Band NOV 13 Joshua Redman: Still Dreaming FEB 17 Bobby McFerrin: Circlesongs MAR 2 Ladysmith Black Mambazo with Habib Koité and Bassekou Kouyate APR 11 Cristina Pato Quartet APR 27 Anoushka Shankar SUBSCRIPTIONS ON SALE NOW! Cristina Pato Aida Cuevas Bobby McFerrin I m With Her chancentre.com 4 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I Angela Hewitt staff@earlymusic.bc.ca

5 VANCOUVER BACH FESTIVAL 2018 tuesday july at 7:30 pm chan centre the artist well-tempered clavier, book i Angela Hewitt fazioli grand piano Johann Sebastian Bach ( ) Well Tempered Clavier - Book I bwv (1722) No. 1: Prelude and Fugue in C major, bwv 846 No. 2: Prelude and Fugue in C minor, bwv 847 No. 3: Prelude and Fugue in C sharp major, bwv 848 No. 4: Prelude and Fugue in C sharp minor, bwv 849 No. 5: Prelude and Fugue in D major, bwv 850 No. 6: Prelude and Fugue in D minor, bwv 851 No. 7: Prelude and Fugue in E flat major, bwv 852 No. 8: Prelude and Fugue in E flat minor, bwv 853 No. 9: Prelude and Fugue in E major, bwv 854 Supported by Dr. Katherine E. Paton Supported by No. 10: Prelude and Fugue in E minor, bwv 855 No. 11: Prelude and Fugue in F major, bwv 856 No. 12: Prelude and Fugue in F minor, bwv 857 interval No. 13: Prelude and Fugue in F sharp major, bwv 858 No. 14: Prelude and Fugue in F sharp minor, bwv 859 in association with Chan Endowment Fund at the University of British Columbia Pre-concert discussion at 6:30 with host Ian Alexander No. 15: Prelude and Fugue in G major, bwv 860 No. 16: Prelude and Fugue in G minor, bwv 861 No. 17: Prelude and Fugue in A flat major, bwv 862 No. 18: Prelude and Fugue in G sharp minor, bwv 863 No. 19: Prelude and Fugue in A major, bwv 864 No. 20: Prelude and Fugue in A minor, bwv 865 No. 21: Prelude and Fugue in B flat major, bwv 866 No. 22: Prelude and Fugue in B flat minor, bwv 867 THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED No. 23: Prelude and Fugue in B major, bwv 868 No. 24: Prelude and Fugue in B minor, bwv 869 earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Angela Hewitt Vancouver Bach Festival

6 "The Fazioli is a very creative piano, it really lets you do all that your imagination wants to do. It has a huge range of colour, from the most powerful sounds to the most delicate sounds which are all produced with great ease. It is my most precious possession!" Angela Hewitt ~ Concert Pianist 6 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I Angela Hewitt staff@earlymusic.bc.ca

7 programme notes by angela hewitt The six years that Johann Sebastian Bach spent as Capellmeister to Prince Leopold of Anhalt-Cöthen ( ) were some of the happiest of his life. The young prince (only twenty-three years old in 1717) was a viola da gamba player of great skill and had an eighteen-piece orchestra of excellent calibre. Bach was delighted to work for someone who both loved and understood music. On taking up his new duties, Bach relinquished the composition of organ and choral music that had occupied him previously in Weimar. Only a few cantatas were composed to celebrate royal birthdays and special occasions. Cöthen was in Saxony where Calvinism predominated at the time, and there was little music in the local churches (with the exception of the Lutheran Agnuskirche where Bach worshipped and went to practice the organ). He was now expected to produce secular instrumental music, and he did so, as was his custom, with great energy and all his heart and soul. From the Cöthen period date the Brandenburg Concertos, the four orchestral Suites, the Partitas, Suites, and Sonatas for solo and accompanied violin and cello, and the French Suites for keyboard. Bach and the prince became close friends, and he often accompanied the prince on his journeys. Upon returning from a trip to Karlsbad in 1720, Bach was confounded by the news that his wife, Maria Barbara, had died and was already buried. With four children ranging from the age of five to twelve to bring up, he could not remain a widower for long, and within a year had married Anna Magdalena Wilcke (other spellings of her name being Wilcken, Wölcken, Wülcke, or Wülcken), sixteen years his junior and a fine soprano. Their marriage was celebrated on December 3, 1721, with four barrels and thirty-two carafes of wine almost a hundred liters! As his duties at court were not totally time-consuming, Bach was able to devote himself to the musical education of his family. In 1720, when his eldest son Wilhelm Friedemann was nine years old, he presented him with a notebook in which they began to compile pieces that contain, among other things, first drafts of what we know today as the Little Preludes, the Two- and Three-Part Inventions, and eleven of the first twelve Preludes from The Well-Tempered Clavier. It was always Bach s aim to develop musical intelligence from the very beginning, along with technique something which is often overlooked today. Many of the pieces in the Clavierbüchlein are in Wilhelm Friedemann s own hand, as he was undoubtedly learning how to compose. It is impossible to give exact dates of composition of many of Bach s works, as they were often compiled from alreadyexisting material. In the case of The Well-Tempered Clavier Book I, Bach wrote the date 1722 on the title page of the fair copy: The Well-Tempered Clavier or Preludes and Fugues through all the tones and semitones including those with a major third or Ut Re Mi as well as those with a minor third or Re Mi Fa. For the profit and use of musical youth desirous of learning and especially for the pastime of those already skilled in this study composed and prepared by Johann Sebastian Bach at present Capellmeister to His Serene Highness the Prince of Anhalt-Cöthen, and director of His Chamber Music. Anno To satisfactorily explain the adjective well-tempered is to tread on dangerous ground. Treatises have been written on the subject, and even today the debate continues. Tuning a keyboard instrument always has to be a compromise, because the intervals of a perfect fifth and a perfect third are incompatible with each other and with a pure octave. In Bach s day, the common practice was to use the mean tone system, which retained the purity and sweetness of the major third. This meant, however, that it was impossible to play in all twenty-four keys because of errors that would occur in the more remote ones. As musicians became more and more dissatisfied with these restrictions, they turned to equal temperament which favours the interval of a perfect fifth, and which makes each key tolerable (although inevitably one can argue that much is lost by making everything uniform, especially as regards the character of each key). In between these two systems there can be many modifications, and it is thought that Bach must have used his own method of tuning. The only, rather vague, testimony we have on the subject comes from his obituary, written by his son C.P.E. Bach and his pupil J.F. Agricola, where it states that: In the tuning of harpsichords he achieved so correct and pure a temperament that all the keys sounded pure and agreeable. He knew no keys which, because of impure intonation, one must avoid. In 1715 Johann Caspar Fischer had composed a set of preludes and fugues in twenty different keys called Ariadne Música. Four years later, Johann Mattheson wrote a user s manual in figured-bass playing that gave two examples in each of the twenty-four keys. It was left to Bach, however, to give us the first real music in keys like C-sharp Major and E-flat minor. Twenty-two years later, in 1744, he compiled another twentyfour preludes and fugues to complete what is now known as the 48. It is an inexhaustible treasure trove of the greatest possible music, combining contrapuntal wizardry with his immense gift for expressing human emotion in all its forms. Bach amazes us by absolutely never running out of steam. In The Well-Tempered Clavier, we find a piece to suit every mood and every occasion. In Bach s time the word clavier did not denote any keyboard instrument in particular, but meant harpsichord, clavichord, spinet, virginal, or even the organ. An inventory taken at the time of his death lists many different instruments, but gives no details beyond their size and value. Bach reportedly preferred the clavichord for its ability to produce shadings and even vibrato, although surely its extreme delicacy must have made anything but the quietest pieces rather earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Angela Hewitt Vancouver Bach Festival

8 Vancouver's leading arts source. Proud Media Sponsor Early Music Vancouver STAY CONNECTED AT STRAIGHT.COM 8 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I Angela Hewitt staff@earlymusic.bc.ca

9 frustrating. Perhaps for this reason, Bach s friend, the great organ and harpsichord builder Gottfried Silbermann, set about working on a fortepiano (following the first attempt at one by Cristofori), which Bach tried before his death. It is said that he found it interesting, but weak in the high register and too hard to play (complaints often voiced by pianists today about some modern grands!). His music requires great sprightliness, clarity, rapidity, warmth, strength, and subtle shadings that have to be matched by both instrument and player. If Bach s music sounds wrong on the piano, then surely most of the blame must lie with the pianist. The instrument itself is, I find, ideal, as it can be made to sing and dance as Bach demands. The difficulty is in making it sound easy. Abridged programme notes by Angela Hewitt 2007, from liner notes for the CD, Bach: The Well-Tempered Clavier (Das Wohltemperirte Clavier), Hyperion Records. The complete notes are available at earlymusic.bc.ca/events/well-tempered-clavier-1-angela-hewitt Angela Hewitt One of the world s leading pianists, Angela Hewitt regularly appears in recital and with major orchestras around the world. Admitted into Gramophone s Hall of Fame in 2015, Hewitt s performances and recordings of Bach have drawn particular praise, marking her as one of the composer s foremost interpreters of our time. In autumn 2016, Angela Hewitt embarked on a major project entitled The Bach Odyssey, which comprises performances of all of Bach s keyboard works in twelve recitals over the next four years. Hewitt will present these performances in major cities and venues around the world including London s Wigmore Hall, New York s 92nd Street Y, Ottawa s National Arts Centre, as well as in Tokyo and Florence. Other recent recital highlights include performances at the Vienna Konzerthaus, Birmingham Town Hall, Bath Mozartfest, Rotterdam s De Doelen, Sociedad Filarmonica de Bilbao, and a tour of Australia with Musica Viva. Ian Alexander Ian Alexander returned to his roots on the West Coast in 2007, after a 25-year career with the Canadian Broadcasting Corporation in Toronto, where he worked in Radio, Television and Digital Media as an on-air host and programming leader in the classical music area, and later as a senior executive at the corporate level. For six years, he hosted the nightly concert program Arts National on CBC Stereo. Since leaving the CBC, Ian has worked extensively as a consultant, trainer and facilitator, both in Canada and abroad, specializing in strategic planning, organizational development and communications counsel in the not-for-profit sector. He has worked with numerous arts and culture organizations in Victoria, Vancouver, Toronto and elsewhere. Ian co-chairs the very active Music Committee of Christ Church Cathedral in Victoria, which recently entered into a new collaboration with EMV. He was the community representative on the search committee for the new Music Director of the Victoria Symphony. He has known Angela Hewitt for over thirty years. In summer 2015, Hewitt was resident at Shakespeare s Globe in London. Angela Hewitt also performs as a soloist with orchestra including recent engagements with the Baltimore Symphony and Winnipeg Symphony orchestras, the Duisburger Philharmoniker, Orchestre symphonique de Montréal, and the National Arts Centre Orchestra, Ottawa, the Toronto Symphony and Washington s National Photo credit Bernd Eberle Symphony Orchestra, and an Asian tour with the Academy of St Martin in the Fields and Sir Neville Marriner. Hewitt directed the Festival Strings Lucerne from the keyboard at Munich s Gasteig, and in spring 2017 toured the UK with Vienna s Tonkünstler Orchestra. Angela Hewitt s award-winning recordings have garnered praise from around the world. Her recording of Bach s Art of Fugue was released in 2014, and her ten-year project to record Bach s major keyboard works for Hyperion has been described as one of the record glories of our age (The Sunday Times). Hewitt s most recent releases include her sixth volume of Beethoven s sonatas, a new recording of Bach s Goldberg Variations, and Messiaen s Turangalîla Symphony with the Finnish Radio Symphony Orchestra and Hannu Lintu. A first album of Scarlatti Sonatas was released in spring Her discography also includes CDs of Mozart, Schumann, Couperin and Rameau. Born into a musical family, Angela Hewitt began her piano studies aged three, performing in public at four and a year later winning her first scholarship. She studied with Jean-Paul Sévilla and won the 1985 Toronto International Bach Piano Competition. Hewitt was appointed Officer of the Most Excellent Order of the British Empire in the Queen s Birthday Honours in 2006 and was made a Companion of the Order of Canada in She lives in London but also has homes in Ottawa and in Italy, where she is Artistic Director of the Trasimeno Music Festival. earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Angela Hewitt Vancouver Bach Festival

10 BRING EMV HOME! Host an EMV Guest Musician Do you have a guest room that often sits empty? Do you enjoy well-educated, articulate houseguests from across the country and the world? Do you like Classical music? Would you like to get the inside scoop about performing from a professional musician? If your answer to any of these questions is yes, then I invite you to consider joining the growing number of EMV supporters who house visiting guest musicians. Get to know some of the wonderful musicians that come to Vancouver to bring you great music. Host only when it is convenient for you; all you need to provide is a private room. For more information please contact Jonathan Evans, Production Manager, Early Music Vancouver: specialprojects@earlymusic.bc.ca or , extension 2004 Special thanks to the following for hosting our guest musicians: Jill Davidson, Tony Dawson, Martha Hazevoet, Delma Hemming, Michiko Higgins-Kato, Barry Honda & Valerie Weeks, Judy Killam, Tony & Margie Knox, Evan & Janice Kreider, Marlege LeGates & Al Dreher, Deborah Roitberg & Jack Amar, Judy Storr, Mick & Olivia Swindale, John Tulip, Alex Waterhouse-Hayward, Alexander Weimann & Chloe Meyers, Marc White & Joey Schibild, Penny Williams, Jane & Michael Woolnoughs. 10 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I Angela Hewitt staff@earlymusic.bc.ca

11 early music vancouver donors and supporters Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you! Benefactors ( $ 50,000+): The Drance Family *. Presenters ( $ 10,000+): Gail & Bryan Atkins * Vic & Joan Baker * The Mary & Gordon Christopher Foundation * Helen & Frank Elfert * Sharon Kahn * Ralph Spitzer & Hisako Kurotaki * Birgit Westergaard & Norman Gladstone *. Sponsors ( $ 5,000 - $ 9,999): Elaine Adair * RPC Family Foundation Chris Guzy & Mari Csemi * Agnes Hohn * Dorothy Jantzen * In Memory of Peter Wood * The Lloyd Carr- Harris Foundation * Janette McMillan & Douglas Graves David W McMurtry * The Nemetz Foundation * Dr Katherine E Paton * Zelie & Vincent Tan * Jo & Bob Tharalson * José Verstappen * Bruce Munro Wright *. Co-Sponsors ( $ 2,500 - $ 4,999): The Brennan-Spano Family Foundation Meredith & Pat Cashion Mark De Silva Ernst & Young LLP The Hamber Foundation * Tony & Margie Knox * J Evan & Janice Kreider * The McLean Foundation Anona Thorne & Takao Tanabe * Eric Wyness One Anonymous Co-Sponsor. Supporters ( $ 1,000 - $ 2,499): Hugh Anton Colleen & Martin Barlow Marti Barregar * The Estate of Gunnar Brosamler Spencer Corrigal Charles & Lucile Flavelle Family Fund * Heather Franklyn * Dr Val Geddes * Marianne Gibson * Sherrill Grace Ursula Graf * The John & Leni Honsaker Fund * Elsie & Audrey Jang Fund * Evelyn Leaf * Yvonne McLean * Lucie McNeill * Pam Ratner & Joy Johnson * Dr Robert S Rothwell * James & Jean Simpson * Ingrid Söchting * Mark Tindle & Leslie Cliff Dr Carol Tsuyuki * Bruno Wall & Jane Macdonald Fran Watters Lorna Yeates Gordon W. Young * Three Anonymous Supporters. Patrons ($500 - $999): Alan & Elizabeth Bell * Andrea Bertram Buntain Insurance * Christina Burridge Lorene De Silva Lorea DeClercq & Michael Winters Virginia Evans * Martin Ferera Jane Flick & Robert Heidbreder * Nancy & David Fraser Andrew Gay Patrick Gilligan-Hackett * In memory of Barbara Godard Ronald Hagler * Winifred Hall Martha Hazevoet * Delma Hemming * Diana Herbst Ada Ho & Doug Vance * Heather & Bill Holmes Joseph & Jeanette Jones Harold Knutson * Michael Kobald * Paula Kremer David Layton & Zoe Druick John C. Leighton * Ursula Litzcke Susanne Lloyd * Graeme & Paddy Macleod * E.J. Makortoff * Bill Markvoort Melody Mason * Margaret O Brien * Stephen Partridge * Hans-Karl & Irene Piltz * Tim & Janet Rendell Peter & Kay Richards Elaine Sawyer, in memory of John, a true Handelfreak * Karen Shuster * Fumiko Suzuki Tom & Margaret Taylor James Walsh * Gwyneth & Roy Westwick * Michael Stevenson & Jan Whitford Dr. James Whittaker * Karen Wilson * Jane & Michael Woolnough * Two Anonymous Patrons. Friends ( $ $ 499): Patricia & Robert Baird * Sarah Ballantyne * Janet Becker Richard Beecher Richard Bevis Patricia Birch Joost Blom Janine Bond * Valerie Boser & Patrick Tivy Norma Boutillier Gary & Natalie Boychuk Jane Bracken & Fred Stockholder Nonie Brennan Gordon Briggs Mary Brown * Karl Brunner * Lawrence & Maggie Burr Andrew J A Campbell * Jessica Campbell David Chercover * Marylin Clark * Peter & Hilde Colenbrander Gillian & Mike Collins * Michael Collins * Tama Copithorne * Ron Costanzo * Cull Family Fund * Marc Destrubé & Anna Goren * Beatrice Donald Carolyn Eckel * Josine Eikelenboom * Patricia Evans David Fallis & Alison Mackay * Keith Farquhar & Koji Ito * In memory of Eve Farson * Marguerite Fauquenoy & Bernard Saint-Jacques * Alex Fisher & Lisa Slouffman * Judith Forst * Irene Fritschi-Nelin Michael Fuhrmann Andrew Fyson Hannah & Ian Gay Arlene Gladstone * Paul Gravett & Mark Hand * Gordon & Kathleen Gray * Dr Beverley Green * Elizabeth Guilbride * Penelope & Lyman Gurney * Mark Halpern Ian Hampton & Susan Round * Dr. Evelyn J. Harden * Don Harder * Norbert & Jutta Haunerland William M Hay * Beth & Robert Helsley William Herzer * Barry Honda & Valerie Weeks * Ralph Huenemann & Deirdre Roberts * Elizabeth Hunter * Dr. PJ Janson Ron Jobe France-Emmanuelle Joly Valerie Jones Patrick Jordan * Dr. Stanislava Jurenka * Lynn Kagan * Hanna & Anne Kassis * Judy Killam * Dalton Kremer Peter Kwok * Yolande LaFleur * Nicholas Lamm * M. C. Lansdorp Janet & Derwyn Lea David Lemon * Cindy Leung * Audrey Lieberman Leslie Loving * Janet Lowcock Marta & Nicolas Maftei * Catherine Manning * Emil Marek Anne Mathisen Glenys McDonald * James McDowell Ray McGinnis Peter Mercer Bill Meyerhoff Barbara Moon Alfred & Jennifer Muma * Sarah Munro Peter & Roma Nemetz Geoffrey Newman Sharon Newman Christine Nicolas Julie Ovenell JoAnn Perry Randall Peterman & Judith Anderson David Phillips & Margo Metcalfe * Anne Piternick * Jocelyn Pritchard * Dr Patricia Rebbeck S. Reuter * Rhona Rosen * Selma Savage * Allan Sawchuk Erna Schaefer Iris Schindel John Schreiner * Verna Semotuk * in honour of Verna Semotuk Shirley Sexsmith Leah Skretkowicz Colleen Smith Alison Stockbrocks David & Eileen Tamblin * Takeshi & Izumi Tanahara Lynne Taylor * Kathy Thomas Douglas Todd * Ron Toews * Grant Tomlinson * Trevor & Rebecca Tunnacliffe * Vancouver Viols * Urban Impact Recycling * Rika Uto David & Susan Van Blarcom Elinor & Theodora Vassar Barbara M Walker * Heddi & Tony Walter Norma Wasty Jim Wearing * C & H Williams * Elizabeth Wilson & Lauri Burgess Audrey Winch * Martha Wintemute Fred Withers Nancy Wong * Dale & Ted Wormeli * William J Worrall * Reece Wrightman * Elizabeth H. Yip Colin Young Beth Young Jennifer & Kenneth Yule Twenty-four Anonymous Friends. Donors ($25 - $99): Dr Frank Anderson Yvonne Bachmann Jill Bain G. Pat Blunden * Janet Brynjolfsson * Norma Chatwin * Vivien & Patrick Clarke Abe Cohen Bette Cosar * In memory of Daniel Craig Greg Cross * Shelagh Davies * Judith Davis * Jacqueline Day Jan-Steyn de Beer Dr. Gaelan de Wolf * Maureen Douglas Ruth Enns * Missy Follwell Kenneth Friedman * Nancy Garrett * Jolle Greenleaf Susan Jung Kemeny * A donation in memory of Edgar Latimer Susan Lomax Ketty & Alex Magil Reva Malkin * A donation in honour of the Markova Family Ulrike McCrum * Christi Meyers * Colleen Midmore Colin Miles * Jocelyn Morlock Marie Nagy Henry Numan Celia O Neill Danielle Papineau Anna Pappalardo Hannelore Pinder * Thomas Querner * Peter & Elfriede Rohloff Martha Roth Carole Ruth * David Ryeburn * Valerie Shackleton * Juliet H. Simon * Kathryn Simonsen Cheryl Steinhauer * The Stenberg Family * Nicki Stieda Mr. Ronald Sutherland * Teresa Vandertuin Eva Wilson Nine Anonymous Donors. * A Special Thank-You to our Loyal Long-Time Donors These listings include donations received prior to July 17, 2018 The names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you! early music vancouver endowment fund donors We also gratefully acknowledhe the select group of donors that, in addition to their annual donations, has generously contributed to Early Music Vancouver s Endowment Fund which is administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity. ( $ 100,000+): The Drance Family Early Music Vancouver Fund. ($20,000+): Vic & Joan Baker Ralph Spitzer & Hisako Kurotaki José Verstappen 2 Anonymous Donors. ( $ 5,000+): A donation in memory of Tom Blom Frank & Helen Elfert The Nemetz Foundation Dr Katherine E Paton Marcia Sipes A donation in memory of Peter Wood. ( $ 2,500+): The RPC Family Foundation Maurice & Tama Copithorne Tony & Margie Knox James C. & Wendy Russell Anona Thorne & Takao Tanabe. ( $ 1,000+): A donation in memory of Mrs Betty Drance Heather Franklyn Marianne Gibson Patrick Gilligan-Hackett Martha Hazevoet Dorothy Jantzen Ottie Lockey & Eve Zaremba Susanne Lloyd Greg Louis Glenys McDonald Dr Robert S Rothwell Karen Shuster Zelie & Vincent Tan Lorna Weir Four Anonymous Donors. (up to $ 1,000): Evelyn Anderson Alan & Elizabeth Bell Meo Beo Jeffrey Black & Mary Chapman L & C Bosman A donation in memory of C Y Chiu Mary Christopher Gillian & Mike Collins A donation in memory of Basil Stuart-Stubbs Judith Davis Jane Flick & Robert Heidbreder Dr Val Geddes Margot Guthrie Mark Halpern Linda Johnston Peter Kwok Elizabeth Lamberton Rob Mayhew Janette McMillan & Douglas Graves Benjamin Milne Alberto Mondani Alfred & Jennifer Muma Barbara Murray Judith & Greg Phanidis Connie Piper Pam Ratner & Joy Johnson Joan Rike Elfriede & Peter Rohloff David Ryeburn Jo & Bob Tharalson John Tulip James Walsh Fran Watters Glenys Webster & Paul Luchkow Five Anonymous Donors. earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Angela Hewitt Vancouver Bach Festival

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