Max Hobart’s 25th year as Music Director!


  • Bernstein: Candide Overture
  • Copland: A Lincoln Portrait, narrated by former MA Governor, Deval Patrick
  • Gershwin: An American in Paris

Pre-concert talk by Leslie Holmes begins at 2:15pm

Narrator- Deval Patrick

Originally from the South Side of Chicago, Patrick came to Massachusetts at 14, when he was awarded a scholarship to Milton Academy through the Boston- based organization A Better Chance. After Harvard College and Harvard Law School, he clerked for a federal appellate judge and then launched a career as an attorney and business executive, becoming partner at two Boston law firms and a senior executive at Texaco and Coca-Cola. In 1994, President Clinton appointed Patrick to the nation’s top civil rights post, Assistant Attorney General for Civil Rights. In 2006, in his first bid for public office, he became the state’s first African-American governor. In his two terms as Governor, Patrick oversaw the expansion of affordable health care to more than 98 percent of state residents, launched initiatives stimulating clean energy and biotechnology, won a national Race to the Top grant, and steered the state out of recession to a 25 year high in employment. Patrick currently serves as a Managing Director of Bain Capital Double Impact, where he focuses on investments that deliver both a competitive financial return and significant positive social impact. He is a Rockefeller Fellow, a Crown Fellow of the Aspen Institute, and the author of two books, "A Reason to Believe: Lessons from an Improbable Life" and "Faith in the Dream: A Call to the Nation to Reclaim American Values".

Orchestra Highlight- Annette Emerson

Annette grew up in Wellesley and currently lives in Rhode Island, where she is a Public Awareness Officer for the American Mathematical Society. Her work life has taken a circuitous path, but music has been a lifelong pleasure.

“I’ve come full circle, playing in this concert. As a youngster I used to come to WSO concerts performed at Wellesley High School. My father, Charles “Bud” Emerson, was a charter member of the WSO and was concertmaster under conductor (and BSO violinist) Rolland Tapley. I have fond and distinct memories of hearing those concerts— being excited seeing live performances, catching all the instruments’ unique sounds, hearing world-class soloists play concertos, recognizing the orchestra players who were family friends. That no doubt inspired me to take up the violin.

Fast forward to when I returned to the area after college, and that’s when I joined the WSO violin section for a few years, sometimes as stand partner with my dad, who later in his musical life served as President and then Chairman of the Board of the WSO. Having been an amateur violinist for decades (in orchestra pits of school musicals, in the region’s Gilbert and Sullivan productions, in the Boston Civic Symphony, and accompanying the Providence Gay Men’s Chorus, among other adventures), I’m happy to play with the WSO again. It’s one of metro Boston’s treasures—a community orchestra of talented players under the baton of Max Hobart, bringing great repertoire to the community including a new generation of listeners who may also be inspired to one day take up an instrument for a lifetime of musicmaking, whether professionally or just for fun.”

Tribute- Kerry Thompson

Kerry Thompson, principal French Horn for the Wellesley Symphony for the past 15 years, is playing his last concert with the symphony this afternoon. He and his wife, Marlene Thom, are retiring and moving to Europe.

Kerry earned his Master’s in Music from The University of Michigan, and worked as a professional musician in California for a decade, playing in the Monterey Symphony and serving as Music Director for Carmel’s Forest Theater Guild, among other groups. In 1989 he accepted a position as Professor of French Horn at the Central Conservatory in Beijing, China.

He returned to California after the government crackdown at Tian An Men Square. He was playing principal Horn in the San Francisco Civic Symphony when he moved to the Boston area in 2002 to pursue a career opportunity. He quickly became a regular with several orchestras and chamber groups in the area. One of those orchestras was the Melrose Symphony, where he met Annalisa Peterson, at that time principal Horn in both the Melrose and Wellesley Symphonies.

Ms. Peterson, overloaded with professional obligations, asked Kerry to take the principal spot in Wellesley. Kerry readily agreed, having heard of the accomplishments of the Wellesley Symphony and its Music Director, Max Hobart. In late 2002, he arrived at his first rehearsal in Wellesley about an hour into the rehearsal.Somehow, nobody had notified Maestro Hobart, who later remarked that “You could have knocked me over with a feather” when Kerry walked into the rehearsal, Ms. Peterson got up and moved to another seat, and Kerry took the principal seat.

Apparently Maestro Hobart was satisfied with the result, which led to a rewarding and fruitful 15-year collaboration. In 2003, Kerry also won the audition for the principal Horn seat in the Boston Civic Symphony, which Maestro Hobart was conducting as well, extending their collaboration to two orchestras over a 15-year period.

Mr. Thompson feels that he is leaving the Wellesley Symphony at a key time, when the orchestra is blossoming, under Hobart’s leadership, into one of the premier civic orchestras in the Boston area, having expanded the string section, strengthened the brass, winds, and percussion, and taken on more challenging, and more rewarding repertoire. While Mr. Thompson has regrets about leaving the Wellesley Symphony at such a time, at age 68 he feels it is time to turn the position over to a new generation. He is deeply grateful for the opportunities he has had playing with his fellow musicians in the symphony, whom he holds in the highest regard, and for the opportunity he has had to play under the baton of a true world-class musician, Maestro Max Hobart.