Harold Shapero, A Brief Biography

Harold Shapero (1920-2013) was an American composer and music educator, known for his contributions to the development of modern classical music in the mid-20th century.

He was born on April 29, 1920, in Lynn, Massachusetts, to a family of Russian Jewish immigrants.
Shapero began studying music at a young age, and by the time he was a teenager, he had already composed several pieces for piano and chamber ensembles.

In 1938, he entered Harvard University, where he studied composition with Walter Piston and music theory with Edward Burlingame Hill.

He was one of the first students at Tanglewood in the early '40's, where he studied with Paul Hindemith and befriended the older Aaron Copland.
Upon graduation from Harvard in 1941, like virtually seemingly every significant 20th Century musical figure, he studied with Nadia Boulanger at the Longy School of Music.

In the latter 1940's, Shapero and his wife, the painter Esther Geller, whom he married in 1945, were several times resident at the MacDowell Colony, in New Hampshire, where they were free to explore their artistic creativity and he composed some of his more celebrated works.
Shapero's music was heavily influenced by the neoclassical style of Stravinsky and Hindemith. His compositions are characterized by their clear formal structures, contrapuntal textures, and harmonic complexity. He achieved significant éclat when Leonard Bernstein performed his Symphony for Classical Orchestra with the Boston Symphony Orchestra in 1948. Two of his other best-known works are the String Quartet No. 1 (1950), and the Piano Sonata (1952).

In addition to his work as a composer, Shapero was also a dedicated music educator and many of his students went on to become successful composers in their own right. He was a founding member of the Brandeis University music department in 1951 and was instrumental in the development of electronic music studies.
The Shaperos lived the suburban life in Natick, where they raised their daughter Hannah (Pyra), who went on to become a visual artist and electronic musician in her own right. He taught at Brandeis for 37 years, until 1988, and remained involved in an emeritus status until his death.

Shapero was considered one of the “Boston School” (although Copland referred to it as the “Stravinsky School”) of composers in the 1950s, largely orbiting about Brandeis, that included Lukas Foss, Irving Fine, Arthur Berger, and sometimes Bernstein and Copland.
He was a polymath whose interests ranged from ornithology to photography to electronics and he could discourse knowledgeably upon any number of topics. His fellow composer and colleague, Eric Chasalow, chairman of the Brandeis music department, observed, “He was...a true eccentric of the best sort, often catching people off-guard by saying something totally unexpected.”*Harold Shapero died on May 17, 2013, in Cambridge, Massachusetts, at the age of 93. His contributions to American classical music continue to be celebrated and studied by musicians and scholars today.
*Boston Musical Intelligencer,
2023.03.27 David Derow

Program Notes

Bagatelles for Solo Piano
A bagatelle is a short piece of music, typically for the piano, and usually of a light, mellow character. An example is Beethoven’s popular Bagatelle No. 25 in A minor, WoO59, for solo piano, commonly known as "Für Elise". 
Harold Shapero modeled his Bagatelles after J.S. Bach's 24 Preludes and Fugues in each of the 12 major and 12 minor keys.
Researching the Bagatelles at the Brandeis library music archive I found some bagatelles, #23 for example, incomplete. I imagine he was hoping to finish them before time ran out on his life. Harold would compose “bagatelles” on occasions for guests visiting at his home. I found there are completed Bagatelles for numbers 1, 3, 5, 7, 8, 9, 10, 12, 15, 16, 17, and 18 in major and minor keys.
Michael Finegold

Whittier Songs, a Song Cycle for Soprano, Tenor, Flute, Cello, and Piano
A song cycle is a group of related songs designed to form a musical entity.
Essex Chamber Music Players commissioned Harold Shapero to compose a work for its Local Cultural History Through Music project. Harold chose to set five poems by John Greenleaf Whittier (1807 –1892) the Haverhill-born poet, abolitionist, and editor, and one by his sister Elizabeth Whittier: Night and Death. As Shapero completed the songs from 2005 to 2007, they saw performances by ECMC in Merrimack Valley venues, most notably in Whittier's birthplace in Haverhill in 2006, when they were complete save for Haschish, which poem Shapero recited with no little eloquence.
Michael Finegold

The Merrimac is my contribution to the request for "a musical piece with historical relation to the region." It is part of a song cycle...written using Whittier’s poems (as well as one by his sister Elizabeth). The Merrimac's musical character is somewhat like a folk song hymn, simple, and stanzaic, in keeping with the style of the poetic construction. Entirely tonal in the key of E major, I would hope that this piece would be easily followed and understood by the listener.

The Trailing Arbutus was conceived as a duet for voice and flute. I found it more expressive as a voice solo, with a few comments by the flute. I find Whittier’s poem lovely and subtly touching. I would hope that the music has done it no harm.

The Hymn of the Children - Whittier also composed a great many poems in Hymn format. I have used "The Hymn of the Children," which, in its touching simplicity transcends the typical ecclesiastical format. Whittier's heart was almost always in the right place.

Night and Death - In the vast edition of Whittier's collected poems there is a modest section in which is found the poetry of his sister Elizabeth. Among these, one, in particular, caught my attention: "Night and Death.” It is a strange, almost expressionistic poem, somewhat incomprehensible, yet haunting and "modern" in its dramatic intensity.

Haschish - At first glance this poem seems to be comedic with some pretty good laughs. However, Whittier turns it all around at the end with a bitter denunciation of “cotton” (equated with slavery). He fought for most of his life, together with his friend William Lloyd Garrison, and often under great hardships, for abolition.

Within the Maddening Maze of Things - This title line I find one of the most “modern” and original inventions in Whittier’s entire vast output. The poem is one of his Quaker Hymns, with fairly conventional, though sincere sentiments. There are hints of doubt, along with a rather special “cosmic” feeling.
Program notes by the composer

THE POEMS

1. THE MERRIMAC
O child of that white-crested mountain whose springs
Gush forth in the shade of the cliff-eagles wings,
Down whose slopes to the lowlands thy wild waters shine, Leaping gray walls of rock, flashing through the dwarf pine;

From that cloud-curtained cradle so cold and so lone,
From the arms of that wintry-locked mother of stone,
By hills hung with forests, through vales wide and free,
Thy mountain-born brightness glanced Down to the sea!

No bridge arched thy waters save that where the trees Stretched their long arms above thee and kissed in the breeze; No sound save the lapse of the waves on thy shores,
The plunging of otters, the light slip of oars.

Green-tufted, oak-shaded by Amoskeag's fall Thy twin Uncanoonucs rose stately and tall, Thy Nashua meadows lay green and unshorn, And the hills of Pentucket were tasseled with corn.

But thy Pennacook valley was fairer than these,
And greener its grasses and taller its trees,
Ere the sound of an axe in the forest had rung, Or the mower his scythe in the meadow had swung.

In their sheltered repose looking out from the wood
The bark-build wigwams of Pennacook stood; There glided the corn dance, the council fire shone, And against the red war post the hatchet was thrown.

There the old smoked in silence their pipes and the young
To the pike and the white-perch their baited lines flung;
There the boy shaped his arrows, and there the shy maid
Wove her many-hued baskets and bright wampum braid.

O Stream of the Mountains! if answer of thine
Could rise from thy waters to question of mine,
Me thinks through the din of thy thronged banks a moan of sorrow would swell for the days which have gone.

Not for thee the dull jar of the loom and the wheel,
The gliding of shuttles, the ringing of steel;
But that old voice of waters, of bird and of breeze,
The dip of the wild-fowl, the rustling of trees!

2. THE TRAILING ARBUTUS
I wandered lonely where the pine trees made
Against the bitter East their barricade,
And guided by its sweet
Perfume, I found, within a narrow dell, The trailing spring flower tinted like a shell Amid dry leaves and mosses at my feet.

From under dead boughs, for whose loss the pines
Moaned ceaseless overhead, the blossoming vines
Lifted their glad surprise,
While yet the bluebird smoothed in leafless trees

His feathers ruffled by the chill sea-breeze,
And snow-drifts lingered under April skies.
As, pausing, o'er the lonely flower I bent,
I thought of lives thus lowly, clogged and pent,

Which yet find room,
Through care and cumber, coldness and decay,
To lend a sweetness to the ungenial day,
And make the sad earth happier for their bloom.

3. HYMN OF THE CHILDREN
Thine are all the gifts, O God!
Thine the broken bread;
Let the naked feet be shod,
And the starving fed.

Thy children, by Thy grace,
Give as they abound,
Till the poor have breathing-space,
And the lost are found.

Wiser than the miser's hoards
Is the giver’s choice;
Sweeter than the song of birds
Is the thankful voice.

Welcome smiles on faces sad
As the flowers of spring;
Let the tender hearts be glad
With the joy they bring.
Happier for their pity's sake
Make their sports and plays.
And from lips of childhood take
Thy perfected praise!

4. NIGHT AND DEATH
The storm wind is howling
Through old pines afar;
The drear night is falling
Without moon or star.

The roused sea is lashing
The bold shore behind,
And the moan of its ebbing
Keeps time with the wind.

On, on through the darkness
A spectre, I pass
Where, like moaning of broken hearts,
Surges the grass!

I see her lone head-stone,—
‘T is white as a shroud;
Like a pall hangs above it The low drooping cloud.

Who speaks through the dark night
And lull of the wind?
‘T is the sound of the pine-leaves
And sea-waves behind.

The dead girl is silent,—
I stand by her now;
And her pulse beats no quicker,
Nor crimsons her brow.

The small hand that trembled,
When last in my own,
Lies patient and folded,
And colder than stone.

Like the white blossoms falling
To-night in the gale,
So she in her beauty
Sank mournful and pale.

Yet I loved her! I utter
Such words by her grave,
As I would not have spoken
Her last breath to save.

Of her love the angels
In heaven might tell,
While mine would be whispered
With shudders in hell!

‘T was well that the white ones
Who bore her to bliss
Shut out from her new life
The vision of this;

Else, sure as I stand here,
And speak of my love,
She would leave for my darkness
Her glory above.

5. HASCHISH!
Of all that Orient lands can vaunt
Of marvels with our own competing,
The strangest is the Haschish plant,
And what will follow on its eating.

What pictures to the taster rise,
Of Dervish or of Almeh dances!
Of Eblis or of Paradise,
Set all aglow with Houri glances!

The poppy visions of Cathay,
The heavy beer-trance of the Suabian;
The wizard lights and demon play
Of nights Walpurgis and Arabian

The Mullah and the Christian dog
Change place in mad metempsychosis;
The Muezzin climbs the synagogue,
The Rabbi shakes his beard at Moses!

The Arab by his desert well
Sits choosing by some Caliph's daughters
And hears his single camel's bell
Sound welcome to his regal quarters.

The Koran's reader makes complaint
of Shitan dancing on and off it;
The robber offers alms, the saint
Drinks Tokay and blasphemes the prophet.

Such scenes that Eastern plant awakes;
But we have one ordained to beat it,
The Haschish of the West, which makes
Or fools or knaves of all who eat it.

The preacher eats, and straight appears
His Bible in a new translation;
Its angels negro overseers,
And Heaven itself a snug plantation!

The man of peace, about whose dreams
The sweet millenial angels cluster
Tastes the mad weed, and plots and schemes,
A raving Cuban filibuster!

The noisiest Democrat, with ease
It turns to Slavery's Parish beadle;
The shrewdest statesman eats and sees
Due southward point the polar needle.

The Judge partakes, and sits erelong
Upon his bench a railing blackguard;
Decides off-hand that right is wrong,
And reads the ten commandments backward.

O potent plant! so rare a taste
Has never Turk or Gentoo (penguin) gotten;
The hempen Haschish of the East
Is powerless to our Western cotton!

6. WITHIN THE MADDENING MAZE OF THINGS
Within the maddening maze of things,
When tossed by storm and flood,
To one fixed trust my spirit clings;
I know that God is good!

No offering of my own I have,
Nor works my faith to prove;
I can but give the gifts He gave,
And plead His love for love.

I know not where His islands lift
Their fronded palms in air;
I only know I cannot drift
Beyond His love and care.

I know not what the future hath
Of marvel or surprise,
Assured alone that life and death
His mercy underlies.

And so beside the silent sea
I wait the muffled oar;
No harm from Him can come to me
On ocean or on shore.

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ECMP Board of Trustees Barry Finegold, Michael Finegold, Sondra Finegold, Ann Hall

ECMP Committee
David Derow, Sally Gordon

ECMP Board of Composers
Peter Farmer
Elliott Miles McKinley - composer in residence

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Special thanks to Temple Emanuel of Andover for hosting the Essex Chamber Music Players Tribute to Harold Shapero Concert

Essex Chamber Music Players and Guests Biographies

Barbara Kilduff - soprano (Guest)
Barbara has had a long, internationally acclaimed career as a leading coloratura soprano. Her career began as a National winner of the Metropolitan Opera Council auditions, going from there to win first prize in the Munich International Competition and the silver medal in the Tchaikovsky Competition in Moscow. Barbara has performed in Munich, Vienna and Hamburg State Operas, Basel, the Metropolitan Opera, La Scala, Vancouver, Athens, San Diego and Cologne, Washington Opera, Zurich, Geneva, Bonn, Graz, Madrid, Mannheim. In the New England area, she has performed as Lucia (Lucia di Lammermoor) with Granite State Opera, Norina (Don Pasquale) with the Newton Symphony Orchestra, Morgana (Alcina), Queen of the Night (The Magic Flute) and Konstanza (Abduction from the Seraglio) with Emmanuel Music.In concert Barbara has appeared with Masterworks Chorale, New England Classical Singers, Dedham Choral Society, Cambridge Community Chorus, the Harvard-Radcliffe Collegium Musicum, and the New Bedford Symphony. In parallel with her busy singing career Barbara has taught voice at Phillips Academy for the past seventeen years. Barbara lives locally in Andover with her husband, Dermot, and their two daughters, Eileen and Caroline. Further background information can be found on Barbara’s website at barbarakilduff.com


Frank Kelley – tenor (Guest)
Frank Kelley sings a wide variety of music throughout North America and Europe. He has performed many roles with the Boston Lyric Opera, Opera Boston, Florentine Opera, Opera Theater of St. Louis, and the San Francisco Opera Company, has appeared at the Gran Teatre del Liceu in Barcelona, the Theatre de la Monnaie in Brussels, The Frankfurt Opera and l’Opera de Monte Carlo. In concert performances, Mr. Kelley has sung with the Boston Symphony Orchestra, the Cleveland Orchestra, the Chicago Symphony Orchestra, the National Symphony, the Dallas Symphony, the St. Paul Chamber Orchestra, and the Orchestra of St. Luke's. He has performed medieval and renaissance music with Sequentia, the Boston Camerata, and the Waverly Consort, and he performs baroque music with the Handel and Haydn Society, Boston Baroque, Emmanuel Music, Music of the Baroque, and Aston Magna. Mr. Kelley has participated in the Blossom Festival, the Tanglewood Festival, Ravinia Festival, Marlboro Music Festival, Pepsico Summerfare, the Nakamichi Festival, the New England Bach Festival, Next Wave Festival, Wexford Festival Opera, and the Boston Early Music Festival. He has recorded for London, Decca, Erato, Harmonia Mundi France, Teldec, Telarc, Koch International, Deutsche Harmonia Mundi, Arabesque, and Northeastern. A resident of Boston, Mr. Kelley sings there regularly with Emmanuel Music, both in the ongoing series which presents the complete Bach cantatas and in special projects.

Constantine Finehouse – piano
Constantine Finehouse has performed extensively in the US and abroad, including in Salzburg, Trieste, London, Ghent, Moscow, St. Petersburg, and Odessa. His 2009 solo release, "Backwards Glance," interweaves works by Brahms and Richard Beaudoin. “The Bolcom Project”, made in collaboration with his American Double partner, violinist Philip Ficsor, included an Albany Records two-CD album and a national tour with concerts in Boston, New York, Denver, Santa Barbara, Spokane, and at Yale University. Fanfare praised the recording as “indispensable to any serious collector with an interest in later 20th-century duo repertoire for violin and piano.” The American and European premieres of William Bolcom's Horn Trio, in collaboration with Ficsor and Steven Gross took place in the summer and fall of 2018. The work, commissioned by the group, was recorded at the Martinu Hall in Prague and released on Naxos Records in December 2021. Finehouse's recording of Bolcom’s piano solo works for Naxos saw its world-wide launch in December 2017. His new album "Rhythm and the Borrowed Past" with violinist, Daniel Kurganov, was released on Orchid Classics in November 2021, following their 2018 release "Between the Notes" on Spice Classics. Finehouse's latest album with Sebastian Baverstam, duo's second release, features sonatas by Brahms and Shostakovich. During recent concert seasons Finehouse has performed at the Mozarteum (Salzburg), Miaskovsky Hall (Moscow Conservatory), Merkin Recital Hall, Weill Recital Hall (Carnegie Hall), and Jordan Hall (Boston), as well as at Harvard, Yale, and Emory universities, and St. Vincent's and Elmira colleges, among others. With degrees from Juilliard and Yale, Finehouse teaches at New England Conservatory and serves as Visiting Artist/Faculty at Westmont College, CA.

Sebastian Bäverstam – cello
Praised by The Strad for his “…powerfully expressive style,” cellist Sebastian Bäverstam is a winner of the 2009 Concert Artists Guild International Competition. His recent performance at Weill Recital Hall at Carnegie Hall was noted in The Strad for its “consummate instrumental mastery,” with critic Dennis Rooney declaring “…the emergence of a mature artist.” This remarkable recital led to Mr. Bäverstam’s subsequent selection by Musical America as its “New Artist of the Month” for June 2011.
Highlights of his 2011-12 season include concerto performances with the Symphony of Northwest Arkansas (Elgar) and the Boston Landmarks Orchestra (Dvorak), and he gives recitals throughout the East Coast, including CAG series at the Brooklyn Public Library and at Coe Hall in Oyster Bay, NY. Other recent recital highlights are Merkin Concert Hall, St. Vincent College (PA), the Honest Brook Music Festival (Delhi, NY) and concerts in Boston, Connecticut, and Switzerland.
Sebastian Bäverstam, age twenty-two, has appeared multiple times on the nationally syndicated radio show From the Top, and he has also been heard on international radio broadcasts on Voice of America. On television, he was featured on the PBS TV version of From the Top, and he has participated in a PBS documentary filmed at Carnegie Hall, as well as a film by the Masterclass Media Foundation of Great Britain and a nationally televised commercial for Bose speakers.
A Boston Symphony Orchestra’s Concerto Competition winner, Mr. Bäverstam performed the Shostakovich Concerto with the BSO at Symphony Hall. In 2007, he was called on to substitute for Lynn Harrell with the Cape Cod Symphony on only six hours notice. He delighted the audience playing Schumann’s Cello Concerto and was praised by the Cape Cod Times for his “insightful musicianship and poetic feeling.”
Other recent concerto performances include the Albany Symphony Orchestra, Boston Civic Symphony, Brockton Symphony Orchestra, Concord Symphony Orchestra, and the Chernikov Symphony Orchestra, among others, and he has toured China, Venezuela and Brazil as a soloist with the New England Conservatory Youth Philharmonic Orchestra
Committed to performing music of our time and to working with living composers, Mr. Bäverstam was the 2006 winner for contemporary interpretation at the Johansen International Competition for String Players. He has attended many summer festivals, including the Aspen Festival, the Banff Centre in Canada, the Verbier Festival Academy and the International Music Academy of Switzerland, directed by Seiji Ozawa.
Mr. Bäverstam offered his first full recital at the age of six at Harvard University and his first concerto with orchestra at the age of seven. In 2002 at the age of fourteen, he made his Weill Hall debut. Since then, he has given numerous solo recitals, recently performing all six Bach cello suites at Williams College. He appeared as the featured young artist of the 2005 Williamstown Chamber Concerts and has also performed at the Cape Cod Chamber Music Festival, the ASCAP awards at Lincoln Center, the Théatre des Champs Elysées in Paris, and many other venues.
Additional recognition includes the 2006 Harvard Music Association Young Artist Award, the New England Chamber Music Foundation Award in 2004, first place in the 2002-2003 and the 2000-2001 New England Conservatory Preparatory School Concerto Competitions, the 2002 Suzuki Association of America and the International Young Virtuoso Competition of 2001-2002.
A dual citizen of the United States and Sweden, Sebastian Bäverstam has participated in master classes with Frans Helmerson, Orlando Cole, Pieter Wispelwey, and Bernard Greenhouse, among others, and he currently studies with Paul Katz at the New England Conservatory in Boston.

Michael Finegold - flute
Michael G. Finegold – Artistic Director of ECMP, flutist, composer and Northern Essex Community College Professor Emeritus of Music enjoys a diversified career in music. He founded the Essex Chamber Music Players at Northern Essex Community College in 1999 while Professor and Coordinator of Music. Michael has performed with symphony orchestras, theater orchestras, jazz groups, and given many recitals. In 1994 with pianist David Pihl, he recorded William Thomas McKinley’s Romances #2, Secrets of The Heart for the MMC (Master Musicians Collective) Recordings. In 1995, he recorded and performed in concert McKinley’s Concerto for Flute and Strings with the Prague Radio Symphony Orchestra, Prague, Czechoslovakia for MMC. In 1998, he premiered Georgetown, Massachusetts composer Ray Loring’s Celebration for Flute and Strings, composed for Mount Ida College’s Centennial. In 1998, he performed as soloist, NECC faculty J. Windel Brown’s About Time and Mitch Hampton’s Pop Goes the Concert Hall: The Swingin’ Seventies with the Czech Radio Orchestra when they visited the United States performing at Boston’s Symphony Hall and the Everett Collins Center in Andover. In February of 1999, Finegold recorded the works in Prague with the orchestra. In 2000 he and internationally renowned clarinetist Richard Stolzman recorded Mitch Hampton’s The Four Humors with the Warsaw Philharmonic. In 2002 he premiered and recorded Marc Rossi’s Dance to The Music of Being and Fantasy in Adi Talam with ECMP. In 2003 he recorded William Thomas McKinley’s Three Movements for Flute and String with the Slovak Radio Symphony Orchestra, Bratislava, Slovakia. The work is on the new (2006) CD release, The Four Flutists on Parma (MMC) Recordings.
Michael’s music composition works include: Quintet for amplified Flute, Violin, Piano, Bass, and Drums (1969) performed at Sprague Hall, Yale University, New Haven, Connecticut, Salon Musings (1998) composed for and performed by the Thuringer SalonQuintett at Carnegie Recital Hall, and Barge Music, New York and on tour throughout the United States and Europe, Rave Reflections for Flute, Cello and Piano (2006) for the Essex Chamber Music premiered November 19, 2006, at Northern Essex Community College, Haverhill, Massachusetts and Fire and Ice, poem of Robert Frost for Tenor, Flute, Violin, Cello, and Piano to be premiered in 2024. He has composed jazz works: Remember the Time, Flautist’s Intrigue, In Pursuit of Nirvana, Dark and Somber, Way Would, Flowers In Autumn, and Wisteria for his jazz group- the Essex Jazz Ensemble.
From 2001-2023, Michael was chosen for inclusion on the Massachusetts Cultural Council (MCC) roster in the Category of Performing and Touring. The MCC Roster is a list of high-quality Massachusetts artists across a wide range of artistic disciplines, who are qualified to give performances and/or conduct school residencies.
Past honors have included recipient of the Fromm Fellowship in Contemporary Music while at the Berkshire Music Center, Tanglewood (1968). The Essex Chamber Music Players, “ECMP”
The Essex Chamber Music Players (ECMP) create and present new classical music along with great musical treasures of the past. ECMP is a cultural gem in the Merrimack Valley and Essex County in Massachusetts Under Artistic Director Michael G. Finegold, ECMP has been presenting popular concerts at Northern Essex Community College and throughout the area since its founding. ECMP’s acclaimed project, “Preserving Local Cultural History through Music,” sets the work of famous local authors and poets, as well as historical settings, to original music created by area composers. ECMP offers an educational program that uses music to bring local cultural history alive for area middle school students.

ECMP has issued three CD recordings:

Classical Contemporary Chamber Music for the 21st Century, Volume 1”
The compositions represent a variety of music styles by American composers: the neo-impressionism of J. Windel Brown; free atonal expressionism of Elaine Erickson; neo-classicism of Emma Lou Diemer, and the Eastern-Indian-influenced Western music style of Marc W. Rossi.

Classical Contemporary Chamber Music for the 21st Century, Volume 2
The original music compositions on this enhanced CD are by four composers three of whom are versed in classical, jazz and World Music, as present in their music. The three composers and compositions are Michael Finegold -Rave Reflections, Marc Rossi – Shiva’ 50 Steps, and William Thomas McKinley-Streets of New York. Marc Rossi is immersed in the music of India. Elaine Erickson has a pure individual classical style and sets her own poetry. Michael Finegold’s work glistens with evocative and interesting textures.

“Local Cultural History Through Music” Vol. 1: The Merrimack Valley
David Bennett Thomas: Contemplations: Five Songs on Anne Bradstreet for Soprano, Flute, Cello, and Piano
David McMullin: Queen Slipper Serenade for Flute, French horn, Cello, and Piano; Ray Loring: June on the Merrimack for Tenor, Flute, Cello and Piano based on John Greenleaf Whittier’s poem; J. Windel Brown: Whittier Sketches for Flute and Cello
William Thomas McKinley: A Diary, Growing Up in North Andover’ 1874-1892 by Horace Nathaniel Stevens for Flute, Violin, Cello, Piano, Percussion, and male narrator

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Program by Michael Finegold. Special thanks to committee member David Derow and board member Ann Hall for their assistance.