Fall Concert Program - Audience Favorites by Lauren Anderson

Singing City

Fall Concert - Audience Favorites

Cover Photo by Nick Antony at The Morris Arboretum of the University of Pennsylvania

Singing City Jeffrey Brillhart, Music Director presents

Audience Favorites â&#x20AC;Żwith Singing City Choir

Jeffrey Brillhart, conductor James Batt, pianist

Saturday, November 6, 2010, 8 p.m. Arch Street Friends Meeting House 4th & Arch Streets Philadelphia, Pennsylvania

Singing Cityâ&#x20AC;&#x2122;s Fall Concert 2010

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Dear Friends,

elcome to Singing City’s Fall Concert and the beginning of our 63rd season. Tonight we honor you, the listener, by performing works by composers you have told us you love. At each of last season’s concerts, we invited your suggestions of beloved works. At the conclusion of the season we invited the choir to submit their choices. The result was a five-page, single-spaced list of choral works that spanned 400 years of music composition. A daunting list for sure, but the composers whose works you will hear tonight rose to the top of that list. What is most remarkable about this list was that so many of the works were what we would describe as being choral works that spoke “from the heart.” Very few asked for “lite” fare! In fact, what came through over and over was the desire to hear venerated, profound musical statements that set great poetry. How gratifying for us! This is an exciting time for Singing City. The past few months have been especially stimulating. Thanks to the hard work of the leaders of Singing City and the West Philadelphia Children’s Choir, Singing City now includes the Singing City Adult Choir you hear this evening and the new Singing City Children’s Choir, a choir of nearly one hundred children based in West Philadelphia. You’ll hear both choirs in our upcoming Winter Concert and again in late April. Stay tuned! Yours,

Lauren Anderson

Jeffrey Brillhart

Executive Director

Music Director

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Audience Favorites

Please turn off cell phones, pagers and personal alarms.

Audience Favorites Program Bogoroditse Devo

Sergei Rachmaninoff (1873-1943)

The Last Words of David

Randall Thompson (1899–1984)

Water Night Dirait-on

Eric Whitacre (b. 1970) Morten Lauridsen (b. 1943)

Jesu Meine Freude J.S. Bach (1685–1750) 1. Jesu, meine Freude 2. Es ist nun nichts Verdammliches 3. Unter deinem Schirmen 4. Denn das Gesetz Mindy Rubinlicht, soprano; Joyce Barton, soprano Sharon Babcock, mezzo-soprano 5. Trotz dem alten Drachen 6. Ihr aber seid nicht fleischlich 7. Weg mit allen Schätzen 8. So aber Christus in euch ist Sharon Babcock, mezzo-soprano; Luke Brown, tenor David Perry, baritone 9. Gute Nacht, o Wesen 10. So nun der Geist 11. Weicht, ihr Trauergeister Elizabeth Thompson, cello Intermission Alleluia

Randall Thompson

Nänie Johannes Brahms (1833–1897) In Memory of Harris Ominsky Soon-ah Will be Done Ezekiel Saw de Wheel

Singing City’s Fall Concert 2010

William Dawson (1899-1990) William Dawson

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Texts Bogoroditse Devo Bogoroditse Devo, raduysia, Blagodatnaya Mariye, Ghospod s’ Toboyu. Blagoslovenna Ti v’zhenah, . i blagosloven Plod chreva Tvoyego, yako Spasa rodila, yesi dush nashih. Rejoice, O Virgin Mother Of God, Mary full of grace, the Lord is with You. Blessed are You among women and blessed is the Fruit of Your womb, for You have borne the Savior of our souls.

Dirait-on From Les Roses by Rainer Maria Rilke (1875-1926), published 1927 English translation by Barbara and Erica Muhl Abandon entouré d’abandon, tendresse touchant aux tendresses... C’est ton intérieur qui sans cesse se caresse, dirait-on;

Abandon surrounding abandon, tenderness touching tenderness… Your oneness endlessly caresses itself, so they say;

se caresse en soi-même, par son propre reflet éclairé. Ainsi tu inventes le thème du Narcisse exhaucé.

self-caressing through its own clear reflection. Thus you invent the theme of Narcissus fulfilled.

Water Night (from Agua Nocturna by Octavio Paz) Night with the eyes of a horse that trembles in the night, night with eyes of water in the field asleep is in your eyes, a horse that trembles, is in your eyes of a secret water. Eyes of shadow-water, eyes of well-water, eyes of dream-water. Silence and solitude, page 4

Audience Favorites

two little animals moon-led, drink in your eyes, drink in those waters. If you open your eyes, night opens, doors of musk, the secret kingdom of the water opens flowing from the center of night. And if you close your eyes, a river fills you from within, flows forward, darkens you: night brings its wetness to beaches in your soul. Agua nocturna La noche de ojos de caballo que tiemblan en la noche, la noche de ojos de agua en el campo dormido, está en tus ojos de caballo que tiembla, está en tus ojos de agua secreta. Ojos de agua de sombra, ojos de agua de pozo, ojos de agua de sueño. El silencio y la soledad, como dos pequeños animales a quienes guía la luna, beben en esos ojos, beben en esas aguas. Si abres los ojos, se abre la noche de puertas de musgo, se abre el reino secreto del agua que mana del centro de la noche. Y si los cierras, un río, una corriente dulce y silenciosa, te inunda por dentro, avanza, te hace oscura: la noche moja riberas en tu alma.

Singing City’s Fall Concert 2010

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Jesu Meine Freude 1 Jesu, meine Freude, Meines Herzens Weide, Jesu, meine Zier, Ach wie lang, ach lange Ist dem Herzen bange Und verlangt nach dir! Gottes Lamm, mein Bräutigam, Außer dir soll mir auf Erden Nichts sonst Liebers werden.

Jesus, my joy, my heart’s delight, Jesu, my treasure, how long, ah, how long my heart is troubled and longs for you! God’s lamb, my bridegroom, beside you, nothing else on earth shall become dearer to me.

2 Es ist nun nichts Verdammliches an denen, die in Christo Jesu sind, die nicht nach dem Fleische wandeln, sondern nach dem Geist.

There is now nothing condemnable in them who are in Christ Jesus, who walk not according to the flesh, but according to the spirit.

3 Unter deinem Schirmen Bin ich vor den Stürmen Aller Feinde frei. Laß den Satan wittern, Laß den Feind erbittern, Mir steht Jesus bei. Ob es itzt gleich kracht und blitzt, Ob gleich Sünd und Hölle schrecken: Jesus will mich decken.

Under your protection I am free from the storms of all my foes. Let Satan curse and swear, let the foe become bitter; Jesus stands by me. If a storm suddenly crashes and flashes, if sin and hell suddenly frighten me, Jesu wants to protect me.

4 Denn das Gesetz des Geistes, der da lebendi machet in Christo Jesu, hat mich frei von den Gesetz der Sünde und des Todes

For the law of the spirit, which gives life in Christ Jesus, has made me free from the law of sin and death.

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Audience Favorites

5 Trotz dem alten Drachen, Trotz des Todesrachen, Trotz der Furcht dazu! Tobe, Welt, und springe, Ich steh hier und singe In gar sichrer Ruh. Gottes Macht hält mich in acht; Erd und Abgrund muss verstummen, Ob sie noch so brummen.

Despite the old dragon, despite death’s jaws, and despite fears as well, even though the world might rage and burst, I will stand here and sing in utterly confident peace. God’s might holds me in awe; earth and abyss must become silent, even though they still grumble.

6 Ihr aber seid nicht fleischlich, sondern geistlich. So anders Gottes Geist in euch wohnet Aber Christi Geist nicht hat der ist nicht sein.

You, however, are not carnal, but spiritual. if indeed God’s spirit dwells in you. But anyone who does not have Christ’s spirit does not belong to him.

7 Weg mit allen Schätzen! Du bist mein Ergötzen, Jesu, meine Lust! Weg ihr eitlen Ehren, Ich mag euch nicht hören, Bleibt mir unbewusst! Elend, Not, Kreuz, Schmach und Tod Soll mich, ob ich viel muss leiden, Nicht von Jesu scheiden.

Away with all treasures! You are my delight, Jesu, my pleasure! Away, you vain honors, I do not want to hear you; remain unknown to me! Misery, distress, cross, shame and death shall not, though I must suffer greatly, separate me from Jesu.

8 So aber Christus in euch ist, so ist der Leib zwar tot Um der Sünde willen der Geist aber ist das Leben um der Gerechtigkeit willen.

But if Christ is in you. the body is indeed dead because of sin; the spirit, however, is alive because of righteousness.

Singing City’s Fall Concert 2010

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9 Gute Nacht, o Wesen, Das die Welt erlesen, Mir gefällst du nicht. Gute Nacht, ihr Sünden, Bleibet weit dahinten, Kommt nicht mehr ans Licht! Gute Nacht, du Stolz und Pracht! Dir sei ganz, du Lasterleben, Gute Nacht gegeben.

Farewell, O life that the world has chosen; you please me not! Farewell you sins. Stay far behind me; come no more into the light! Farewell pride and pomp; to you, life of iniquity, a final farewell be bidden.

10 So nun der Geist, des, If the spirit of him der Jesum von den Toten who has raised Jesus auferwekket hat, from the dead in euch wohnet, dwells in you, so wird auch derselbige so will the same one der Jesum von den Toten who has raised Jesus auferwekket hat, from the dead eure sterbliche Leiber lebendig machen, bring life to your mortal bodies, um des willen, dass sein Geist because his spirit in euch wohnet. dwells in you. 11 Weicht, ihr Trauergeister, Denn mein Freudenmeister, Jesus, tritt herein. Denen, die Gott lieben, Muß auch ihr Betrüben Lauter Zucker sein. Duld ich schon hier Spott und Hohn, Dennoch bleibst du auch im Leide, Jesu, meine Freude.

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Give way, you spirits of sadness, to my Master of joy, Jesu enters in. For them who love God, must their afflictions also be pure delight. No doubt, here I suffer mockery and scorn, Yet you also endure suffering, Jesus, my joy.

Audience Favorites

Nänie Auch das Schöne muß sterben! Das Menschen und Götter bezwinget, Nicht die eherne Brust rührt es dem stygischen Zeus.

Even the beautiful must die. That which subdues mortals and gods does not touch the unyielding heart of the Stygian Zeus.

Einmal nur erweichte die Liebe den Schattenbeherrscher, Und an der Schwelle noch, streng, rief er zurück sein Geschenk.

Only once did love soften the ruler of the shades, and yet, at the threshold, sternly he recalled his gift.

Nicht stillt Aphrodite dem schönen Knaben die Wunde, Die in den zierlichen Leib grausam der Eber geritzt.

Aphrodite does not soothe the wounds of the beautiful boy, whose delicate body the boar cruelly tore.

Nicht errettet den göttlichen Held die unsterbliche Mutter, Wann er am skäischen Tor fallend sein Schicksal erfüllt.

The immortal mother does not rescue the divine hero, when, at the Scaean gate, falling, he fulfills his destiny.

Aber sie steigt aus dem Meer mit allen Töchtern des Nereus, Und die Klage hebt an um den verherrlichten Sohn.

But she rises out of the sea with all the daughters of Nereus, and begins the lament for her glorified son.

Siehe! Da weinen die Götter, es weinen die Göttinnen alle, Daß das Schöne vergeht, daß das Vollkommene stirbt.

Behold, the gods weep, all the goddesses weep, because the beautiful perishes, the perfect dies.

Auch ein Klagelied zu sein im Mund der Geliebten ist herrlich; Denn das Gemeine geht klanglos zum Orkus hinab.

Even to be a lament on the lips of a loved one is glorious, for the common ones go down to Orcus unsung.

Singing City’s Fall Concert 2010

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Program Notes Tonight's program opens with one of the most stirring works from the Russian choral tradition, Sergei Rachmaninoff's "Bogoroditse Devo," from All-Night Vigil. Though Rachmaninoff avoided affiliation with the established church, elements of its music and ritual appeared in several of his compositions, and he contributed magnificent settings of the Divine Liturgy (1910) and Vigil (1915). Both works, but especially the latter, were influenced by a late-19th-century movement to return Russian sacred music to a style based on traditional Russian chant and harmonizations. Unlike many pieces from Rachmaninoff’s Vigil, the stunning "Bogoroditse Devo" (the Russian Orthodox version of Ave Maria) does not contain chant per se, but uses chant-like melodic formulas with simple yet expansive harmonic textures. Without question, the quintessential American choral composer is Randall Thompson. It's no surprise that this man showed up over and over on our audience surveys last year. Of his works, The Last Words of David shows up on "top-ten" lists most frequently! Though the text is sacred, it is a staple of both church and community choirs alike. Composed in two parts, it begins with a flourish in the piano as the choir resonates "He that ruleth over men must be just!" What follows this brief opening is Thompson at his best—long, elegant choral phrases which demand tremendous breath control and vocal focus. Eric Whitacre (b. 1970) studied at the University of Nevada, Las Vegas, and has composed choral, wind band, and electrical music. He is probably the most widely-performed choral composer of his generation. Water Night is based upon a poem by Octavio Paz. Whitacre describes composing it as being more like "cleaning the oils from an ancient canvas to reveal the hidden music than composing." Whitacre's compositional language is marked by long, sustained writing where the choir is often called upon to sing extremely dense chord structures. No concert of choral favorties could be offered without something substantial by Johann Sebastian Bach. Tonight we offer the most substantial of his six motets, Jesu, meine Freude. All of Bach’s motets were written between 1723 and 1727 for St. Thomas’ Church, Leipzig, where Bach was appointed as director of music in 1723. During this period, Bach’s major output consisted of the majority of his cantatas (more than two-hundred), and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition, reserving his own motet compositions for special occasions; page 10

Audience Favorites

four of the six were written for funeral services of prominent members of the congregation of St. Thomas. Jesu Meine Freude (BWV 227), the longest, most musically complex and earliest of the six, was written in 1723 for the funeral of Johanna Maria Käsin, the wife of Leipzig’s postmaster. It uses as its basis the chorale of the same name by Johann Crüger (text by Johann Franck), but includes passages from St. Paul’s Epistle to the Romans. It is set in eleven short movements arranged in a symmetrical musical structure which can be divided into three groups of settings: choral tune and text (nos. 1, 3, 7, 11); free settings of the chorale (nos. 5 and 9) and settings of the extra biblical text (nos. 2, 4, 6, 8, 10). The whole piece is centered around the fugal number 6; on either side of this are two groups (nos. 3–5 and nos. 7–9) containing a chorale, a trio and an aria-like movement. Numbers 2 and 10 have material in common and numbers 1 and 11 use identical music. Shortly before the opening of the Boston Symphony’s Berkshire Music Center at Tanglewood, Serge Koussevitsky, its director, decided that the special occasion called for a special ceremony. The inaugural piece he commissioned, written and presented on the spur of the moment, became a veritable symbol of American choral singing—Randall Thompson’s Alleluia. Since that day in 1940, this classic of classics has become one of the nation’s most-often performed choral works. Rare is the church, school, community, or professional choir that has not sung it. The masterful construction and simplicity of text (Alleluia, Amen) make the Alleluia suitable for almost any choir for almost any occasion. The poem Nänie was written in 1799 by the German author Friedrich Schiller, a leading figure of German literature, not only of poetry, but also as a dramatist and writer of short stories and philosophical articles emphasizing German idealism. Johannes Brahms composed the music for Nänie in 1881 as a tribute honoring his German artist friend, Anselm Feuerbach, who had recently died. Many of Feuerbach´s paintings were scenes from classical antiquity—Greek myths and philosophers. Nänie means Song of Mourning; it laments the death of all things beautiful or perfect. Schiller illustrated the idea that "Even beauty must perish" with two stories from Greek mythology. Although he did not give names to all the beings mentioned in the poem, we are able to identify them in the stories, for they are well-known Greek myths. The opening section mourns the death of Adonis, a beautiful young hero, beloved of the goddess of love, Aphrodite. In an earlier myth, Zeus, ruler of all the gods including Hades, had allowed a loved one to leave the Singing City’s Fall Concert 2010

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underworld, but then he had cancelled his gift.* However, in the case of Adonis, Zeus does not relent and Aphrodite is unable to heal the wounds inflicted by a wild boar. The closing section has to do with the perfect Achilles, son of the sea nymph Thetis. Achilles dies in battle at the Scaean Gate, the main gate of Troy. Thetis rises from the sea with the other sea nymphs, singing a song of lament at the loss of her son. Schiller closed the poem with the observation that even though "Beauty must fade," and "the perfect must die;" nevertheless they are glorified because of the songs of lamentation, for common ordinary people have no songs to honor them. *There is confusion about the myth referred to—Eros is mentioned only in this translation (and not at all in the German); other translators omit "the pleading of Eros." (Research on Schiller and Greek mythology involved in Nänie by Louise Smith, 2001) "No one has made a stronger contribution to the presentation and understanding of the Afro-American folk song" than William Levi Dawson, according to historian John Lovell in his comprehensive study of the African-American spiritual, Black Song: The Forge and the Flame. As one of the founders of African-American classical composition in the United States and as a leader of the Tuskegee Institute Choir for 25 years, Dawson arranged spirituals, composed new religious music in an African-American folk idiom and created larger classical compositions that showcased black folk idioms. William Levi Dawson was born in Anniston, Alabama, on September 26, 1899, as the youngest of seven children. He loved music as a child, and admired the work of a local jazz band called the Gresham Band, which rehearsed in an Anniston grocery store. Upon discovering that the band's leader was a graduate of Tuskegee (Institute) University, Dawson sold his bicycle for six dollars and headed for Tuskegee himself. He was 13 years old. A talented trombonist, Dawson made his greatest mark as an arranger of spirituals. During a long tenure on the faculty at Tuskegee, he not only created masterful settings of spirituals, he wrote independent works related to the spiritual tradition. Dawson’s compositions include the "Negro Folk Symphony," which was world premiered by Leopold Stokowski and the Philadelphia Orchestra.

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Audience Favorites

After a distinguished career at Tuskegee, he went on to found his own publishing company, providing college, community, and professional choirs with his compositions. He was also engaged in recording projects, thus providing a valuable record of his approach to performing spirituals. Dawson died on May 2, 1990, and is buried in the Tuskegee University cemetery. His legacy lives on through the Tuskegee University Golden Voices Choir which he began and directed nearly a century ago.

Jeffrey Brillhart, Music Director Appointed in 1999, Jeffrey Brillhart directs the Singing City Choir and oversees all aspects of Singing City’s musical initiatives. He provides artistic leadership for a rich program of formal concerts, choral music workshops as part of Singing City in the Schools, and outreach concerts in diverse communities in and around Philadelphia. Jeffrey is also Director of Music and Fine Arts at Bryn Mawr Presbyterian Church in Bryn Mawr and is recognized as one of the foremost musicians working in the Presbyterian Church. He has won national recognition for his abilities in organ improvisation, organ performance, and conducting. Mr. Brillhart’s formal training was at Drake University, where he received his Bachelor of Church Music degree in 1977, and at the Eastman School of Music, where he received a Master of Performance and Literature Degree in 1979 and studied piano, organ, harpsichord, voice and conducting. In addition to his position as Director of the Fine Arts Program at Bryn Mawr Presbyterian Church, where he works with over 600 youth and adults, Jeffrey supervises nine choral and handbell ensembles, an art program and “Young-in-Arts,” a music and art school for children. He directs the 120-voice Senior Choir which sings for two services each week and prepares several special performances each season. Mr. Brillhart also directs the Bryn Mawr Chamber Singers, a 24-voice ensemble specializing in baroque and 20th century music. His church ensembles have performed for national conventions of the American Guild of Organists and the American Choral Directors Association. Mr. Brillhart has presented master classes at the Curtis Institute of Music, the University of Iowa, Drake University, and the Eastman School of Music. He served as chorus master for The Philadelphia Orchestra’s Martin Luther King Tribute Concert in January 2004. In January 2005, he joined the music faculty of Yale University to teach organ improvisation.

Singing City’s Fall Concert 2010

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James A. Batt, Pianist James A. Batt, with over twenty years of experience in accompanying and religious music, is proficient in both organ and piano and is well-known in the Delaware Valley for his musical talent and expertise. Mr. Batt is Assistant Conductor and Accompanist of Singing City Choir and Associate Director of Music and Fine Arts at the Bryn Mawr Presbyterian Church. Prior to these positions, Mr. Batt served as Minister of Music at St. Thomasâ&#x20AC;&#x2122; Church, Whitemarsh, Fort Washington; Director of Music at Old Pine Street Presbyterian Church, Philadelphia; Director of Music at First Presbyterian Church, Morrisville; and Choir Director/Organist at Reform Congregation Keneseth Israel, Elkins Park. Mr. Batt has participated in world premieres of two major choral/ instrumental works and is also recorded on Arkay Records. He is on the roster as accompanist for Columbia Arts Management and accompanies professional vocalists and instrumentalists throughout the Tri-State area.

Singing City Adult and Childrenâ&#x20AC;&#x2122;s Choir members at our fall retreat at Fellowship Farm in Pottstown, PA

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Audience Favorites

Singing City: History and Mission

inging City was founded as an integrated choir in 1948 in Philadelphia by Dr. Elaine Brown. The Choir was born out of the Fellowship House movement, which believed that differences between races, religions, and cultures could be bridged by people coming together in shared activities. In addition to performances in and around Philadelphia, the Choir traveled to the South during the 1950’s and ’60’s struggle for civil rights, performing before integrated audiences. As a result of critical acclaim through performances with The Philadelphia Orchestra, the Choir was invited to perform in Israel with Zubin Mehta and the Israel Philharmonic and also in Jordan and Egypt while on tour in the 1970’s and ‘80’s. Singing City was the first western choir to perform with the Leningrad Philharmonic in Leningrad in 1990. In May 2000, Singing City was the lead choir at the First International Choral Festival de Cuba. The choir toured Northern Ireland and the Republic of Ireland in the summer of 2004 and Brazil in July 2009. A tour to Bosnia and Serbia is planned for the summer of 2012. The Choir remains committed to artistic excellence and to the betterment of the community. Singing City offers programs corresponding to the three “pillars” of its mission and vision: Performance, Community, and Education. The Choir’s multi-faceted mission continues to include choral performance at the highest levels, community involvement and educational outreach. Singing City continues to bring choral music to the under-served, performing not only in concert halls, but also in homeless shelters and nursing homes in and around Philadelphia. Singing City’s nationally recognized schools residency program, Singing City in the Schools, has brought music rudiments, choral singing, and composition techniques to children in the Philadelphia public schools and to some private schools in the area. Singing City in the Schools was taken to a new level with the launching of the Singing City Prize for Young Composers in 2003. This is a composition competition for area high school and college students. The winners benefit from a monetary prize, a performance of their work by Singing City, and a year under the tutelage of a professional composer. The Singing City Children’s Choir joined the Singing City family in the fall of 2010. Under the banner of Performance, Community and Education, Singing City strives to be an artistic, social and spiritual force, bringing people together through choral music. Singing City’s Fall Concert 2010

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Singing City Choir Lauren Anderson Soryl Angel Charles Babcock Sharon Babcock Aminda Baird Joyce Barton Andrew Beck Kathleen Brady Wendy Browder Gloria Brown Luke Brown Sara Harris Brown Theresa Carter Emily Cashin Lorance Checchia Elizabeth Childs Deborah Clarke Steve Crandall Howard Crossland Peggy Curchack Anthony Del Vecchio Elaine Del Vecchio Kelly Anne Dolan Susan Domingos Chelsea Erdmanis Chris Escuti Doug Faulkner Dana Fiero Karl Ford

Anjali Gallup-Diaz Laura Gibson Melissa Graf-Evans Marlene Graham James Grant Martha Grant Jack Hill Mark Hollern Robert Holmes Claire Huff Laila Nada Isaacson Lauren James Barbara Jenkins Beth Johnson Jeffrey Knightly Jay Kuder Glenn Kutler Jeremy Lane Francine Levin Laura Lukasewycz Robert Mann Blake Marshall Yuko Martin Fritz Miller Ryan Miller Beth Mirzai Betty Morrell Jennifer Mosher

Charles Murphy, III A. Michael Nasielski Rosalyn Ominsky Alicia Paist C. Stewart Patrick David Perry Mark Rader Sterling Randolph Carol Restifo Betsy Riley Mark Ritter Mindy Rubinlicht Mâ&#x20AC;&#x2122;Annette Ruddell Sarah Learned Sciarra Heather Simmons Richard Sobel Betty Stockwell Erika Strasburg Robert Thuener Luke Van Meter Rick Wiles Amberly Williams Kerri Williams Barbara Willig Austen Wilson Joelle Winter LaVerne Wood Bill Young

Singing City Board of Directors Linda Madara, President Nancy Frandsen, Vice-President Jim Boerckel, Treasurer Margaret C. Gregg, Secretary Warren Cooper

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Steve Crandall Linda Deeter Kelly Anne Dolan Leonard Dow Nancy Frandsen Sonya Garfinkle Robert Guthrie Elizabeth L. Haslam Walter Johnson

C. Stewart Patrick Thomas B. Roberts Cheryl Slipski Sandra Stouffer Radclyffe Thompson Janet White Joelle Winter Janet Yamron

Audience Favorites

Advisory Board Anton E. Armstrong Jack Asher Jeffrey Cornelius Peggy Curchack Joseph Flummerfelt R. Thomas Friedman DeVonne Gardner

Robert H. Holmes Scott Jenkins Mary Tryon Ledwith Claire McKinley Weston Noble Helmuth Rilling Ruthanne Schlarbaum Andre J. Thomas

Season

Benefactors

Lauren Anderson • Jeffrey Brillhart • Gloria Ruszkiewicz Brown • Deb Clarke and Cheryl Bruttomesso • Peggy and Mark Curchack • Bill Garrow • James and Martha Grant • Ron and Peggy Gregg • Clare and Jim Mackie • Rosalinda R. and Ted Madara • Kim and Jane Murphy • Evelyn Parker • C. Stewart and Leny Patrick • Bill and Betty Stockwell

Patrons

Mr. and Mrs. James Affleck • Susan Alpine • Norman and Carla Block • Dr. Barbara Domingos • Beverly Ejsing • Nancy Frandsen • Sonya Garfinkle • Helen Gilmore • Sue Anne Grier • Bob and Jane Guthrie • Elizabeth Haslam • Warren and Claire Huff • John Immerwahr and Kathy Byrnes • Don and Laila Isaacson • Beth Johnson • Mary Tryon Ledwith • Linda Litwin • Claire McKinley and Bill Krewson • Maris Ogg • Thomas and Barbara Rittenhouse • Roberta Rubinlicht • Mr. and Mrs. Gary Schlarbaum • Elaine B. Shaffer and Ruth M. Ewing • John and Sandra Stouffer • Mary Ann Sullivan • Janet White • Bobbi Willig • Janet Yamron