Great music for free every summer
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The Landmarks 2012 Festival at the Shell is now over. Thank you to everyone who came out! Please check back here in the spring for information regarding our 2013 concert series. To receive our concert schedule in advance sign up for our email list.
Boston Landmarks Orchestra 2012 Season By The Numbers
60,000 shared the excitement and power of Great Music for Free.
55,000 people attended six Landmarks Festival at the Shell concerts, two concerts were rained out, one was held indoors and the other cancelled
800 Bostonians enjoyed our performance at Blackstone Park in the South End
500 families came to our concert in Jamaica Plain at Pinebank Promontory
400 youngsters from Boston neighborhoods (Dorchester, Mattapan, Roxbury, South End, Jamaica Plain, and South Boston) participated in workshops in summer camps and master classes in Boston Public Schools, and an extraordinary demonstration at the Carroll Center for the Blind
200 singers from all over Greater Boston joined our One City Chorus opening night
175 Supporters bought a Musical Chair to help support the orchestra
100 parents and kids attended our performance at Dorchester Park
25 agencies advocated for clean water at our Green Concert
7 groups provided volunteers for our concerts at the Shell: Boston Private Bank, State Street, Boston Cares, Commonwealth School, Chinese Culture Connection, Northeastern University, and Artists For Humanity
6 organizations performed with us this year: Boston Children's Chorus. Alex Arvear Y Amigos. Boston Civic Symphony, Longwood Symphony, Boston Lyric Opera, and Commonwealth Shakespeare Company
5 Special events featured the orchestra the opening of the Boston Tea Party Museum with a concurrent musical playground at the Boston Children's Museum, the Boston Parks Department Rose Garden Party, the Boston Globe/WGBH Summer Arts Weekend in Copley Square and a cookout for all the employees in our office building. Brighton Landing.
We Executed on Our "Pay As We Go Strategy* Finishing the Season in the Black
Donate now to Boston Landmarks Orchestra and help the Orchestra bring beauty and culture into the lives of everyone in Greater Boston. Help us to meet a challenge grant from the Free For All Concert Fund and make next season as exciting as this past one!
For weather alerts and other updates, text: LANDMARKS to 2 7 1 3 8.
On the day of a concert, call 617-987-2000 and press 3 for concert information.
Breaking Down Barriers: Making Great Free Music Accessible to All!
The Boston Landmarks Orchestra is committed to making our concerts accessible to all, including people with disabilities. We would like to thank the Liberty Mutual Foundation and the Bessie Pappas Charitable Foundation for their generous support of the Orchestra's efforts to make our concerts accessible to all.
If you have a disability, we offer our warmest welcome to you. We hope that you will join us for our free concerts. We are committed to treating you with courtesy, respect and dignity, and to helping you enjoy your experience with us at the Hatch Shell.
If you have any questions, comments or suggestions about accessibility, please contact Virginia Walden at 781-913-9631 (voice/text) or via email at email@example.com.
Assistance We Offer at Our Concerts
- Concert programs in large-print and Braille
- FM listening devices for the hearing impaired
- Guidance from the Arthur-Fiedler Footbridge to various points of interest at the venue
- American Sign Language Interpretation of select performances
Description of the Concert Area
The Hatch Shell is an outdoor concert venue. The Hatch Shell itself is a raised stage sheltered by a large partial-dome. The stage faces out to a large, mostly level grassy area where audience members gather to enjoy performances. Seating is self-selected. No chairs are set out in advance, so bring your own blanket or chairs. We offer chairs that can be rented on-site for $5 each. Since the audience area is uncovered, please keep in mind that the ground may be damp.
Amenities at the Hatch Shell
Restrooms: There are both men’s and women’s restrooms in the back of the Hatch Shell itself. Each restroom has a one-half inch rise at the entrance. There are accessible stalls and sinks, but no lowered urinals in the men’s room.
Information Tent: FM listening devices as well as Braille and large-print programs are available at the Boston Landmarks Orchestra information tent. While facing toward the stage, the information tent is located at the right-hand edge of the audience seating area.
Getting to Our Concerts
If you are coming by car or using the RIDE
The Department of Conservation and Recreation has provided a drop-off location on site. We are happy to provide mobility assistance from this site. A limited number of parking spaces reserved for people with handicaps are available near the Hatch Shell along Storrow Drive. Thanks to the City of Boston's Commission for People with Disabilities, there are also a limited number of handicap parking spaces along Beacon Street near Arlington Street.
Recommendations for Scheduling Trips with the RIDE
For all concerts held at the Hatch Shell:
- Suggested arrival time: 6:40pm
- Suggested pick-up time: 9:15pm
- Concerts end at 9:00pm
- Drop-off and pick-up location:
- The Hatch Shell on the Esplanade
- All RIDE employees are familiar with the on-site drop-off location. It is not necessary to give an exact address for the Hatch Shell.
Getting to the Hatch Shell by Public Transit
If you are taking public transportation, the two subway stops closest to the Hatch Shell are both accessible.
From the Arlington Street Station on the Green Line
Take the Fiedler Footbridge from Beacon Street over the westbound lane of Storrow Drive. It is 686 feet in length, and leads directly to the concert area. The first 319 feet of the bridge is uphill, the slope of which varies. At its steepest the slope is as much as 9.7%. There are two level areas at the turns before the ramp on each side. The first level area on the ramps is 63 feet from the beginning of the bridge. Boston Landmarks Orchestra will have volunteers at the bridge who can help, so feel free to ask.
From the Charles / MGH Station on the Red Line
The walking distance from the subway station to the Esplanade concert area is just under one-half mile, or 2,480 feet. The subway station is accessible and meets State and Federal access standards. The pathway to the concert area however has some issues. The path from the station to the footbridge over Storrow Drive has ramps with slopes that exceed accessibility standards in both length and grade of slope.
For some individuals the climb up the bridge could be very difficult. The bridge is 717 feet from Charles Circle to the Esplanade end, 316 feet of which is uphill with grades as much as 10%. There is one level area at the second turn of the ramps on each side. The first turn on each side does not have a level area. The distance from the beginning of the bridge to the first level area is 106 feet. We will not have volunteers stationed near the footbridge over Storrow Drive. If you will need assistance navigating footbridges, we recommend using the Arlington Street T Station and the Arthur Fiedler Footbridge.
American Sign Language Interpreted Performances
Boston Landmarks Orchestra is proud to offer American Sign Language interpretation for the Deaf and Hard of Hearing at select performances.
2011 Breaking Down Barriers Sponsors and Partners
- Derrick Dominique and Ana Ortiz, Multi-Cultural Independent Living Center of Boston
- Thomas McCarthy Commonwealth’s Universal Access Program of the Department of Conservation and Recreation
- Joe Rotondo, Department of Conservation and Recreation
- Angelo Tilas, Department of Conservation and Recreation
- Kristen McCosh, Commissioner of the Office of Disabilities of the City of Boston
- Joe Bellil, Easter Seals
- Judi Zazula, New England Regional Spinal Cord Injury Center at Boston Medical Center
- Charles J. Washburn VSA, Massachusetts
- Donna Danielewski and Larry Goldberg, The Carl and Ruth Shapiro Family National Center for Accessible Media at WGBH (NCAM)
- Stephen Spinetto, Multi-Cultural Independent Living Center of Boston and Overseer of the Boston Landmarks Orchestra
It won't get you on the stage, but it will get you close!
Boston Landmarks Orchestra would like to thank you for your donation with a musical chair card.
Your 75 dollar donation ensures that you will have a chair all summer long for Landmarks performances at the Hatch Shell.
Reserve a seat for yourself or for a fellow music lover!
Musical Chairs make a great gift!
- $75 reserves a single chair.
- $150 reserves two chairs.
- $225 reserves three chairs.
- $300 reserves four chairs.
Reserve your chair online today at:
Or send a check or money order to:
Boston Landmarks Orchestra
10 Guest Street, Suite 280
Boston, MA 02135
Support the Boston Landmarks Orchestra's free summer concerts and educational activities. For a minimum donation of $15 (plus $2.00 shipping) you will receive your choice of one of these CD's with Charles Ansbacher conducting the Moscow Symphony Orchestra or Boston Landmarks Orchestra. To order, follow the link at the bottom of this section to the Boston Landmarks Orchestra recordings list. Select how many of each CD you would like using the drop-down selection menus under each CD description. At the bottom of the page you will find a total for the minimum donation amount. This amount includes shipping costs. Click the submit button to begin the online payment process. Pay with Visa, MasterCard, Discover, American Express or your checking account.
To begin browsing Boston Landmarks Orchestra Recordings, go to:
The Boston Landmarks Orchestra is a professional orchestra dedicated to making great music available to all Bostonians throughout the summer. Its main series takes place at the DCR Hatch Shell on the Esplanade, with regular performances in other sites of civic or historical significance. The orchestra frequently collaborates with other artists and organizations in the region and is dedicated to serving all of Boston’s neighborhoods.
All performances are free.
History of the Boston Landmarks Orchestra
Maestro Charles Ansbacher created the Boston Landmarks Orchestra to make GREAT music available to ALL Bostonians through FREE, innovative performances in locations of special significance.
In 2007, the orchestra made its home at the Hatch Shell on Boston’s Esplanade. In the summers since, the Landmarks Festival at the Shell has established itself as Boston’s newest tradition. The orchestra is committed to maintaining Boston’s reputation as a world-class destination. During the summer much of the city’s cultural activities diminish, but through the Festival at the Shell, the city maintains its position as a cultural capital and center for tourism.
Maestro Ansbacher died in the autumn of 2010. The board unanimously chose Boston native Christopher Wilkins to carry on the orchestra’s mission as Music Director. His clear commitment to Ansbacher’s core values of artistic excellence, community engagement, and inclusive programming are evident.
The orchestra is committed to breaking down barriers for people with disabilities. It has also expanded its volunteer program and it is fast gaining resonance with both the young and the young at heart.
Building community through culture is a part of the orchestra’s DNA. To further underscore its importance, Christopher Wilkins has identified his 20/20 Vision: “By the year 2020, the Boston Landmarks Orchestra will provide all residents of Boston’s 20 diverse neighborhoods opportunities to be involved in its programs both at the Hatch Shell and in the neighborhoods.” The launch in 2012 of Notes in the Neighborhoods has been especially significant.
Maestro Charles Ansbacher died on September 12, 2010 at his home on Brattle Street in Cambridge, Massachusetts. Although he knew for the past 13 months that he had an incurable brain tumor, he courageously continued his life’s mission of bringing free orchestral music to diverse audiences. Even after he was diagnosed, he conducted for more than 100,000 people, including–with his Landmarks Orchestra–the first-ever symphony orchestra concert in Boston’s Fenway Park and the 2010 season of Beethoven on the Charles River Esplanade. He also traveled to Hanoi, and was the first-ever American to lead the Vietnam National Symphony. In addition, the maestro made return performances in such faraway places as Sarajevo, Bosnia, Beirut, Lebanon and Chisinau, Moldova. He also shared his music close to home at Harvard’s Sanders Theatre.
Born in Providence, Rhode Island on October 5, 1942, Ansbacher took up cello as a boy and conducted a Mahler piece with his high school orchestra in Burlington, Vermont. His parents, noted Adlerian psychologists Drs. Heinz L. and Rowena Ripin Ansbacher, encouraged his study by sending him to Greenwood Music Camp and Tanglewood. He studied physics at Brown University but switched to music after creating a successful chamber orchestra with his classmates. He then studied music at the University of Cincinnati in Ohio and at the Mozarteum in Austria. His brother, Max Ansbacher said:
It couldn’t have been easy for Charles to come into the world with three older brothers who were bigger and stronger and thought they were smarter. But he thrived. His potential was already apparent in the second grade when he became the unofficial leader of his class, and this tradition continued right through high school with his election as class president. His interest in music began in earnest when our parents spent the 1955 academic year in Germany; at the age of 13 Charles was introduced to the cello and a superb cello teacher. The rest is history.
I remember countless times coming home to find him practicing the cello or playing with the chamber music group that he organized in high school. He was also an excellent skier and could probably have made the varsity football team but he decided instead to make music his principal avocation. At his high school graduation he was the first student ever to be given the honor of conducting the orchestra, which had always been done by the music teacher. He was a great friend and a wonderful brother; my life and those of my two brothers and our parents were immeasurably enriched by his enthusiasm and ideals.
After short stints teaching and conducting, Charles moved to Colorado, where he helped build not only the Colorado Springs Symphony but also the acoustically superior Pikes Peak Performing Center. Phil Kendall, former president of the Colorado Springs Symphony Board said:
As the conductor and music director of the Colorado Springs Symphony, his most obvious contribution was building a superb ensemble. His life’s mission of bringing free orchestral music to diverse audiences began when he helped inspire the summer symphonies in the parks of Colorado Springs where tens of thousands attended every summer, many experiencing orchestral music for the first time. It was exciting and most fulfilling for all of us who considered ourselves on Charles’ team. He was the brilliant strategist behind the construction of the Pikes Peak Center for the Performing Arts, a versatile concert hall with unparalleled acoustics.
He involved himself deeply and broadly in many aspects of Colorado Springs future, often appearing before City Council to urge thoughtful and visionary planning for our community. His visions were bold; he inspired me along with many others to take on challenges we would otherwise have shunned. He instilled confidence in all who worked with him. He had brilliant focus and an indefatigable drive, but at the same time was a wonderfully warm and dear friend to many. He has indeed left a lasting legacy on our community. He will be sorely missed as a community force, but more significantly as a dear friend.
In 1976, Maestro Ansbacher took a leave of absence and moved to Washington, D. C., where he served as special assistant to the secretary of transportation, and in the White House with “Joan of Arts” Mondale, wife of the vice president. There he was influential in pushing forward a bill allowing a percentage of federal funds for mass transit projects to be spent on the arts. Gail Klapper, former White House Fellow, said:
I told everyone that Charles was selected by the Department of Transportation because they needed a "conductor." Charles made major contributions during his Fellowship year, finding creative ways to install art in subway systems and other sites that needed the aesthetic lift he envisioned. He brought enormous energy to that task and created a lasting legacy. Every member of our class of White House Fellows – 15 in number – adored Charles. He was smart, energetic, inspiring and genuinely nice. He lifted the spirits of everyone he touched. He will be greatly missed.
Ansbacher returned to Colorado where his interest in design and architecture led to the appointment by Federico Peña, Denver’s first Hispanic mayor, to the Blue Ribbon Committee for the design of the new Denver International Airport. Roy Romer, governor of Colorado, also selected him as chair of the state’s Council on the Arts and Humanities. In 2010 Mayor Hickenlooper dedicated the Charles Ansbacher Hall, which connects the terminal with Concourse A, in recognition of the maestro’s involvement in the airport’s planning. At that ceremony, Peña pointed out that a billion travelers have had their spirits lifted by the majestic and whimsical touches the maestro embedded in the project. Mayor of Denver, John W. Hickenlooper, said:
This is…the largest, most comprehensive public art project of any airport on earth. It’s certainly the most provocative, the most transformational… Ansbacher has enriched every place he has been by his own vision and his willingness to give of himself back to the community.
In an interview with Ansbacher for the Brown Alumni Magazine, Zachary Block reported, “Ansbacher had to improvise his career path after President Clinton appointed his wife, Swanee Hunt, as US ambassador to Austria in 1993. The move left him ‘underemployed.’” Unpacking his baton, he used the opportunity to carry musical inspiration from his new base in Vienna, where he conducted the finest orchestras in the finest halls to states suffering from imploded economies and war. President Clinton once called Ansbacher “the unofficial ambassador of America’s music.” Bosnian refugee and longtime colleague, Mirsad Jacevic, said:
Maestro Ansbacher was a true hero for the people of Sarajevo, and of all Bosnia. He brought music back to a city wounded by war and destruction. Maestro revitalized our decimated Philharmonic, literally. He brought the needed instruments, new scores, and materials, and trained the players who for three years worked hard to survive (12 of the original 80 did not). He took the Orchestra to its many international performances. More importantly, he kept coming back (25 times in all) and was named Principal Guest Conductor, a rare honor. He performed Beethoven's Ninth, proclaiming "Alle Menschen werden Bruder…" (“All people will be brothers”). In truth, that was his message and his legacy in Bosnia: he replaced hatred and hurt with compassion and love for all, making us feels part of the human family. Through his music, in a place where 3,000 children were killed, many a Bosnian heart was healed. For that, my city and country will remain forever grateful.
While in the course of his career, Maestro Ansbacher led major orchestras in more than 40 countries. In the past 15 years he focused his international work on countries in economic or political transition, such as Colombia, Kyrgyzstan, and Serbia. In 2004, he conducted the world premiere of the Mandela Portrait in Johannesburg, South Africa. The next year he led the Jerusalem Symphony with Palestinian soloist Saleem Abboud Ashkar. In Russia, the Moscow Symphony named Maestro Ansbacher guest conductor. In addition to pieces by Beethoven, Copland and other major composers, the orchestra recorded four new works for children commissioned by Landmarks: Make Way for Ducklings, The Midnight Ride of Paul Revere, The Journey of Phyllis Wheatley and Lifting the Curse: The Story of the Red Sox.
Uncharacteristically for conductors, Ansbacher served on many boards of directors throughout his career, often with organizations unrelated to music. Such boards included the World Affairs Council and Urban League in Colorado Springs, the Public Education Coalition in Denver and in his last adopted city, GlobalPost, First Night, Commonwealth School, and the International Institute of Boston. For 25 years, he served as treasurer of Hunt Alternatives Fund, a private family foundation.
His final foray into public policy and the arts was the creation of the Free for All Concert Fund, to raise a $20 million portfolio to support in perpetuity outdoor orchestral concerts and related activities that are accessible and friendly to families from every neighborhood in the Boston area.
Ambassador Swanee Hunt, the maestro’s wife of 25 years, said:
Concerts, audience members, and passengers can be counted, but the impact of his ideas is incalculable. He imagined opportunities where others saw barriers. How many of us have dreamed bolder dreams, reached unimaginably farther, because of his stubborn encouragement and prodding? Our work is an extension of his work—no, of his life.
He will long be cherished by his family: his children—Henry Ansbacher, Lillian Shuff, and Theodore Ansbacher-Hunt; his grandchildren—Alex, Max, and Ella Ansbacher; and his brothers—Max, Benjamin, and Theodore.
Christopher Wilkins was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then the orchestra has reaffirmed founder Charles Ansbacher’s vision of passionate music-making with a civic purpose. Mr. Wilkins has led the development of programs with an emphasis on collaborative work and broad accessibility.
Mr. Wilkins has initiated collaborations with the Villa Victoria Center for the Arts in the South End, The Conservatory Lab Charter School, and schools and community centers in the Boston area through the orchestra’s new “Notes in the Neighborhoods” project. Programming for the summer of 2012 also includes collaborations with Commonwealth Shakespeare Co., Boston Lyric Opera and on Opening Night, a chorus assembled from all 21 Boston neighborhoods.
Mr. Wilkins also serves as Music Director of the Orlando Philharmonic and the Akron Symphony. As a guest conductor, Mr. Wilkins has appeared with many of the leading orchestras of the United States, including those of Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh and San Francisco. He has also appeared overseas, with regular concerts in recent seasons in Ireland, Latin America, New Zealand and Spain.
He has served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony, and is currently Artistic Advisor to the Opera Theatre of the Rockies in Colorado Springs. During his tenure in San Antonio, he and the orchestra received six programming awards from ASCAP, including the first-ever Morton Gould Award for creative programming. He also served as resident conductor of the Youth Orchestra of the Americas, helping in the formation of that orchestra in its inaugural season, and subsequently leading it on tours throughout the Americas.
Mr. Wilkins was winner of the Seaver/NEA Award in 1992. He has served as associate conductor of the Utah Symphony, assisting his former teacher Joseph Silverstein, assistant conductor of the Cleveland Orchestra under Music Director Christoph von Dohnányi, conducting assistant with the Oregon Symphony under Music Director James DePreist and was a conducting fellow at the Berkshire Music Center at Tanglewood.
Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978. As an oboist, he performed with many ensembles in the Boston area, including the Berkshire Music Center Orchestra at Tanglewood, and the Boston Philharmonic under his mentor, Benjamin Zander. He studied with Otto-Werner Mueller at Yale University, receiving his master of music degree in 1981, and in 1980 attended the Hochschule der Künste in West Berlin as a recipient of the John Knowles Paine traveling fellowship, awarded by the Harvard music department.
Mr. Bravo is principal bassoonist with the Boston Landmarks Orchestra, Harvard Chamber Orchestra, Boston Musica Viva, Boston Ballet, Boston Lyric Opera, and performs with the Boston Pops Esplanade Orchestra. He has been the soloist with the Detroit Symphony, Collage New Music, Boston Symphony Chamber Players, Boston Symphony Orchestra at Tanglewood, and Montreal Symphony. He is on the faculty of The Boston Conservatory.
Mr. Couture is a graduate of the New England Conservatory of Music and is principal trombone at Boston Ballet, Boston Lyric Opera and Handel & Haydn Society. He has recorded with the Boston Ballet, New England Ragtime Ensemble, Boston Pops, Boston Camerata, Boston Modern Orchestra Project, Dinosaur Annex and Handel & Haydn Society. Robert is a member of the faculty at Wellesley College. He has also been associated with Monadnock Music’s in-school Lend An Ear! program.
Mr. Fischer is a percussionist with the Boston Ballet Orchestra and is the Timpanist of the Boston Lyric Opera Company, the Pro Arte Chamber Orchestra and the New Hampshire Symphony Orchestra. He is the head of the percussion department at University of Massachusetts Lowell. As a composer he was a member of the Composers in Red Sneakers, has had works performed by Alea III and was awarded a new works grant by the Massachusetts Cultural Council for Street Music. His composition Blue Song/Plastic Dance has been performed throughout the United States.
Ms. Hennessy is principal flutist with the Portland Symphony Orchestra and the Boston Landmarks Orchestra. She also performs regularly with the Boston Ballet, Boston Lyric Opera, Boston Philharmonic, Boston Pops Esplanade Orchestra and Rhode Island Philharmonic. She holds a Master’s in Music, with distinction in performance from the New England Conservatory, and a Bachelor of Arts in Music, summa cum laude from the University of Houston.
Mr. Jackson was born in Chicago, IL where he began playing clarinet at the age of nine. A graduate of Boston University, he now performs regularly with the Boston Landmarks Orchestra, Boston Ballet, Boston Lyric Opera, Nashua Symphony, and the Orchestra of Indian Hill.
Mr. Lynam also performs with the Boston Ballet Orchestra, Boston Lyric Opera, and the Boston Pops Esplanade Orchestra. Mr. Lynam holds a Bachelor of Music Performance from the New England Conservatory, where he studied under William Rhein and Henry Portnoi. He also studied privately with Edwin Barker.
Mr. Oaks attended the New England Conservatory in Boston where he was awarded a performance degree with distinction in 1982. He currently holds positions in the Boston Ballet Orchestra, the Portland Maine Symphony and the Boston Philharmonic. Other groups include the Rhode Island Philharmonic, Albany Symphony, Boston Lyric Opera, Boston Modern Orchestra Project (BMOP) and Chorus Pro Musica. He is adjunct faculty at the University of Massachusetts at Lowell, MIT, and The Boston Conservatory.
Ms. Oaks graduated from Ithaca College in 1986. Since 1998, she has lived in the Boston area freelancing in both violin and piano. She currently performs with the Boston Ballet Orchestra, the Boston Landmarks Orchestra, the National Lyric Opera Orchestra, Boston Virtuosi, and is a member of the New Hampshire Symphony.
Mr. Owen is principal horn of Boston Lyric Opera, the Rhode Island Philharmonic, the Boston Philharmonic, and performs with the Boston Pops Esplanade Orchestra. He has toured internationally with the Empire Brass and Boston Chamber Music Society. He attended Boston University and has taught at Brown University, Brandeis University, The Boston Conservatory and Rhode Island College.
Mr. Price performs with the Boston Pops Esplanade Orchestra and plays regularly with the Boston Pops as well as the Boston Symphony Orchestra. He is a 1995 Graduate of Boston University, where he studied oboe with the late Ralph Gomberg. Mr. Price was an assistant faculty member of the Boston University Tanglewood Institute from 1997 until 2007.
Mr. Rankin has been an active performer in the Boston area for over 20 years. He is currently the principal tubist with the Boston Ballet Orchestra, Boston Philharmonic Orchestra, Portland Symphony, and Boston Modern Orchestra Project. He has also performed on numerous occasions with the Boston Symphony Orchestra and the Boston Pops. He has recorded with the Boston Symphony Orchestra, the Boston Ballet Orchestra, the Boston Philharmonic Orchestra, the Boston Modern Orchestra Project and others.
Mr. Schultz is a member of the Boston Modern Orchestra Project, Auros Group for New Music, Boston Musica Viva, Fromm Players at Harvard, Music at Eden's Edge and the newly formed Mistral (of the Andover Chamber Music Series). He has worked with the Boston Symphony, Boston Pops, Boston Ballet and Pro Arte orchestras, as well as the Boston Chamber Music Society, Collage New Music, Dinosaur Annex and Firebird Ensemble. In 2004 he was nominated for a Grammy Award in the category of Best Small Ensemble Performance for his work on Yehudi Wyner's The Mirror.
Mr. Stalberg received a B.M. at Oberlin Conservatory of Music and an M.M. at Boston University. Currently, he is principal viola of the Boston Pops Esplanade Orchestra, the Boston Lyric Opera Orchestra, the Boston Landmarks Orchestra and the Boston Classical Orchestra.
Mr. Vitale is the concertmaster of the Boston Landmarks Orchestra and former concertmaster of the New England String Ensemble. He has appeared as soloist with the Brookline Symphony, Wellesley Symphony, Cascade Festival Orchestra and the Nashua Chamber Orchestra. He has also performed with the Boston Symphony, Boston Pops Esplanade Orchestra, the Boston Ballet and Boston Lyric Opera.
Ina Zdorovetchi is the principal harpist with Boston Lyric Opera, performs with the Boston Pops Esplanade Orchestra, teaches at Boston Conservatory, Wellesley College and New England Conservatory Pre-College and is the founder and artistic director of the Boston Harp Festival.
Our Musicians Have Included
- Gregory Vitale, Concertmaster
- Paula Oakes, Principal Violin II
- Stacey Alden
- Lisa Brooke
- Robert Curtis
- Maynard Goldman
- Tera Gorsett
- Kenneth Stalberg
- Abigail Cross
- Jean Haig
- Donna Jerome
- Jolene Kessler
- Melanie Dyball
- Steven Laven
- Mark Simcox
- Robert Lynam
- Barry Boettger
- Lisa Hennessy
- Theresa Patton
- Andrea Bonsignore
- Lynda Jacquin
- Barbara LaFitte
- Andrew Price
- Steven Jackson
- Margo McGowan
- Donald Bravo
- Gregory Newton
- Kevin Owen
- Richard Menaul
- Carolyn Cantrell
- Nancy Hudgins
- Dana Oakes
- Jesse Levine
- Robert Couture
- Hans Bohn
- Donald Robinson
- Donald Rankin
- Jeffrey Fischer
- Robert Schulz
- Ina Zdorovetchi
- Maynard Goldman
Since 2008, the Boston Landmarks Orchestra has been a proud participant in John Hancock Financial’s MLK Summer Scholars program. Each summer, a small group of high school students from Boston have the unique opportunity to serve as stage crew members for each of the orchestra’s concerts and gain valuable insight into what it takes to present an artistic event. Working in close partnership with the Boston Globe, Boston University, Partners HealthCare and the City of Boston, John Hancock’s MLK Summer Scholars program addresses what was deemed a critical need by Mayor Thomas Menino — summer jobs for city youth. The initiative builds pride and confidence in more than 650 local teens through valuable paid summer work experiences. Along with the on-the-job training during the week, students attend interactive workshops at Boston University's John Hancock Student Village to learn the important life skills they need to reach for their goals. MLK Summer Scholars is the largest, most comprehensive corporate-based summer jobs program in the nation.
Although the Boston Landmarks Orchestra’s concerts are free, they do come with a price. Your generosity will ensure that live, high-quality classical music is something that everyone in Boston can enjoy. Every gift, at any level, is important to us.
Support and contribute to the Boston Landmarks Orchestra's free summer concerts and educational activities.
Donate online today!
The online donation form begins after the link labeled “giving-chairs” on the following page:
Boston Landmarks Orchestra
10 Guest Street, Suite 280
Boston, MA 02135
The Boston Landmarks Orchestra is a 501 (c) (3) organization. Donations are tax deductible.
Volunteer With Us!
To sign up as a volunteer with Landmarks Orchestra, send an email with the “volunteer” in the subject line to firstname.lastname@example.org. Please include your first and last name, your date of birth, your phone number and your email address.
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Boston Landmarks Orchestra
10 Guest Street
Boston, MA 02135
To join our email list, send an email with "Join Email List" in the subject line to email@example.com. Be sure to include your name, email address, phone number and your address in the body of your email.
- Jeff Makholm, Chair
- Megan Blackwell
- Frederick C. Cabot
- Alfred D. Chandler, III
- Priscilla H. Douglas
- B. J. Krintzman
- Katharine Pell
- J. Brian Potts
- Diana Rowan Rockefeller
- Roger L. Snow
- Epp Sonin
- Stephen Spinetto
- Stephen Symchych
- Stephen Spinetto, Chair
- Robert Ackerman
- Kathryn Beaumont
- Deborah Bernat
- Suzanne Bloomberg
- Dorothy Bourassa
- Richard M. Burnes
- Marian "Hannah" Carlson
- Conrad Crawford
- Julie Crockford
- Gene D. Dahmen
- Alicia Demirjian
- Kate S. Flather
- Howard Gardner
- David Gergen
- Charles Glick
- Ernest Haddad
- Sean Hennessey
- Pamela Humphrey
- Mary J. Kakas
- Katharine D. Kane
- Joan Bennett Kennedy
- Robert M. Krim
- Fernando Leon
- Steven Levitsky
- Vivien Li
- Anne Linn
- Bill Nigreen
- Jeryl Oristaglio
- Ben Roe
- Maureen Ruettgers
- Penelope McGee Savitz
- Andrea Schein
- Eileen Shapiro
- Donna Storer
- Edwin Tiffany
- Clara Wainwright
- William Walczak
- Stephanie Warburg
- Arthur Winn
- Gerry Wright
- Harron Ellenson, Executive Director
- Arthur Rishi, Artistic Administrator
- Michelle Major, Chief Financial Officer
- Laura Jennings, Manager of Communications, Outreach and Education
- James Murray, Manager of Development
- Harron & Associates, PR and Marketing Consultants
- Maynard Goldman, Orchestra Personnel Manager
- Steve Colby, Audio Supervisor
- Virginia Walden, Coordinator, Breaking Down Barriers
- Emerson Kington, Technical Director & Stage Manager
- Benjamin Vickers, Assistant to the Music Director
- Sound Engineering: MJ Audio
- Photography: Michael Dwyer
- Design: Serafin Design
- Website Design: Hart–Boillot
- Free For All Concert Fund
- The Lynch Foundation
- Classical New England WGBH
- Mabel Louise Riley Foundation
- Fay Chandler
- Ambassador Swanee Hunt
- The Boston Foundation
- Margaret Stewart Lindsay Foundation
- Yawkey Foundation
- The Harold Whitworth Pierce Foundation
- LIberty Mutual
- National Endowment for the Arts
- Bessie Pappas Foundation
- State STreet
- Cogan Family Trust
- Ray Foundation
- MLK Summer Scholars
- Massachusetts Cultural Counsel
- Massachusetts Department of Conservation and Recreation
- The City of Boston
- Boston Parks and Recreation
- Massachusetts Bay Transportation Authority
- 99.5 FM All Classical, A Service of WGBH
- WCVB TV Channel 5 Boston
- The Boston Globe
- Hampshire House, Beacon Hill
- Hunt Alternative Fund
- Kika Tapas
- Polar Beverages
- Whole Foods Market
- Boston Symphony Orchestra
- Myrna Johnson Audio
- Johnson String Instrument
- The Musary, JRP Inc.
2012 Audience Building Associations
- Arts Boston
- Boys and Girls Clubs of Boston
- Charles River Conservancy
- City of Boston, ParkArts
- City of Boston, Parks and Recreation Department
- City of Boston, Thomas M. Menino, Mayor
- Commonwealth of Massachusetts, Deval Patrick, Governor
- Emerald Necklace Conservancy
- The Esplanade Association
- Friends of Jamaica Pond
- Massachusetts Department of Conservation and Recreation
- Massachusetts League of Environmental Voters
- Boston Cares
- Boston Private Bank
- The Commonwealth School
- State Street
- Boston Landmarks Orchestra Concerts.mp3
- 2012 Season by the Numbers.mp3
- Weather Alerts.mp3
- Landmarks Accessibility Program.mp3
- Assistance We Offer At Our Concerts.mp3
- Concert Area and Amenities Description.mp3
- Getting to Our Concerts by Car or the RIDE.mp3
- Getting to Our Concerts By Public Transit.mp3
- American Sign Language Interpreted Performances.mp3
- 2011 Breaking Down Barriers Sponsors and Partnners.mp3
- Play Musical Chairs With Us.mp3
- Landmarks Recording.mp3
- About the Boston Landmarks Orchestra
- Remembering Boston Landmarks Orchestra Founder Charles Ansbacher.mp3
- Meet Music Director Christopher Wilkins.mp3
- Meet Our Musicians.mp3
- MLK Scholars.mp3
- Donate to the Boston Landmarks Orchestra.mp3
- Volunteer With Us.mp3
- Contact Us.mp3
- Boston Landmarks Orchestra Board and Staff.mp3
- Welcome (top of page)
- Boston Landmarks Orchestra Concerts
- 2012 Season by the Numbers
- Weather Alerts
- Landmarks' Accessibility Program
- Play Musical Chairs With Us
- Landmarks Recording on CD
- About Boston Landmarks Orchestra
- Remembering Our Founder Charles Ansbacher
- Meet Music Director Christopher Wilkins
- Meet Our Musicians
- MLK Scholars
- Contact Us
- Board and Staff
- Our Sponsors
- Talking Website MP3 List