ORCHESTRA PERSONNEL/PERSONAL DE LA ORQUESTA
Violin I
Isabella Lippi
Concertmaster
Eleanor Bartsch** Associate
Concertmaster
Gerald Loughney
Kate Carter
Eric Pidluski
Joseph Malmquist
Susan Carlson
Carol Dylan
Helen Kim Lee
Wendy Evans
Carmen Abelson
Jennifer Leckie
Violin II
Daniela Folker
Principal
Robbie Herbst
Assistant Principal
Caroline Slack
Maria Arrua
Susan Thorne
Steve Winkler
Cristina Buciu
Elizabeth Huffman
Kelvin Lin
Meg Lanfear
Kathryn Siegel
**On Leave 2024 ++Season Substitute
Viola
Rebecca Swan Principal
Loretta Gillespie
Assistant Principal
Josef Fischer++
Jason Butler
Erin Rafferty
Sava Velkoff
Susan Posner
Cello
Matthew Agnew Principal
Nazar Dzhuryn
Assistant Principal
Kerena Fox
Mark Kuntz
Robert Weber
Elizabeth Start
Sara Sitzer
Double Bass
Timothy Shaffer** Principal
Jeremy Attanaseo
Assistant Principal
Flute
Jean Bishop Principal
Scott Metlicka
Piccolo
Scott Metlicka
Oboe
James Kim
Guest Principal
Joseph Claude
English Horn
Joseph Claude
Clarinet
Gene Collerd Principal
Trevor O’Riordan
Bassoon
Vincent Disantis Principal Collin Anderson
French Horn
Trumpet
Ross Beacraft
Principal
Michael Brozick
David Gauger
Assistant Principal
Trombone
Reed Capshaw
Principal
Adam Moen
Bass Trombone
Mark Fry
Tuba
Charles Schuchat Principal
Timpani
Robert Everson Principal
Percussion
Brian Oriente Principal
Michael Folker
Extra Musicians
Violin Laura Burns, Joanna Nerius, Erik Liljenberg, Betty Lewis, Lisa Fako
Viola Nick Munagian
Cello Larry Glazier
Bass Hannah Novak
Clarinet Barbara Drapcho
Trombone Corey Sansolo
ADMINISTRATION/
Chief Executive Officer, Marc Thayer
Vice President of Artistic Planning & Operations, Eric Gaston-Falk
Director of Marketing, Chuck Kocal
Director of Development, Leslie Antoniel
Orchestra Librarian and Digital Marketing Manager, Macauley Manzano
Community Partnerships & Orchestra Personnel Manager, Greg Heintz
Patron Services and Office Manager, Luiza Moraes
Public Relations Manager, Donna Lake
Corporate Development Manager, Betty Briceño
Development Coordinator, Jonathan Horn
In Harmony Program Coordinator, LaTrisha Williams
Box Office Assistant, Nicholas Urich
Translator, Elsa Jimenez
MUSIC DIRECTOR / DIRECTOR MUSICAL
Chad Goodman has received widespread praise for thrilling conducting that combines “precision, agility and fervor” (N. Stanić Kovačevic, South Florida Classical Review) and for displaying the “pitch perfect combination of abandon and subtlety” (L. Budman, South Florida Classical Review)
The 2024/25 season marks Goodman’s 2nd season as Music Director of the Elgin Symphony Orchestra only the fifth leader in the orchestra’s prestigious seven-decade history. Concerts with the ESO include Tchaikovsky’s Symphony No.6; Beethoven’s Violin Concerto with Stella Chen; Sibelius’ Symphony No. 5, coupled with Tchaikovsky's Violin Concerto, performed by Samuel Vargas; and Holst’s masterpiece, The Planets.
Goodman holds a Bachelor of Music degree from the Eastman School of Music and a Master of Music degree from San Francisco State University. His mentors include Michael Tilson Thomas and Alasdair Neale.
GUEST ARTIST/ARTISTA INVITADA
American violinist Stella Chen gained international recognition after winning first prize at the 2019 Queen Elizabeth International Violin Competition, followed by the 2020 Avery Fisher Career Grant and Lincoln Center Emerging Artist Award.
Since then, she has performed worldwide in concerto, recital, and chamber settings. Recent debuts include the New York Philharmonic, Chicago Symphony, Minnesota Orchestra, Israel Philharmonic, Chamber Orchestra of Europe, and Baltimore Symphony, as well as performances at the Vienna Musikverein and Berlin Philharmonie. She frequently appears with the Chamber Music Society of Lincoln Center and has performed recitals at Carnegie Hall, Lincoln Center, and international festivals such as Rockport, Moritzburg, and Ravinia. Chamber music partners include Itzhak Perlman, James Ehnes, Matthew Lipman, Jan Vogler, and many others.
Her all-Schubert debut album, released in 2023 on Apple Music’s Platoon label, earned her the 2023 Gramophone Young Artist of the Year Award.
Teachers and mentors have included Donald Weilerstein, Itzhak Perlman, Miriam Fried, and Catherine Cho. She received her doctorate from the Juilliard School where she serves as teaching assistant to her longtime mentor Li Lin. She plays the 1720 “General Kyd” Stradivarius, generously loaned by Dr. Ryuji Ueno and Rare Violins In Consortium.
Written by - Daniel Maki
Symphony No. 5 in D major Ralph Vaughan Williams (1872-1958)
The premiere of Vaughan Williams Fourth Symphony in 1935 caused a bit of a ruckus. The highly dissonant style of the work was not at all what audiences had grown to expect from the composer, who had become known as a leading member of the so-called English Pastoral School. This was an informal group of composers including such figures as Gustav Holst and Frederick Delius, who sought to create a specifically English style by use of English folk song, the absorption of influences from music of the Tudor period (often considered a “golden age” of English music), as well as explicit references to the English countryside. It must be said that the style had its detractors among more modernist composers who contemptuously called it the “CowPat School” and derided the use of “folky-wolky” melodies.
Vaughan Williams himself said of the Fourth Symphony: “I don’t know whether I like it— but it’s what I meant.” The premiere of the Fifth Symphony in 1943 would therefore raise the question of the composer’s artistic evolution: Would he continue in the stormy style of the Fourth Symphony or revert to his gentler, more pastoral style? The answer was clear: he had returned to a gentler manner, but as one perceptive critic has put it, he would incorporate elements of the new style as well, producing in the Fifth Symphony one of the richest and most effective works in his entire output.
The work was dedicated to the eminent Finnish composer Jean Sibelius with the following comment written on the original manuscript: “Dedicated without permission and with sincerest flattery to Jean Sibelius, whose great example is worthy of all imitation.” Although many self-consciously modernist composers had abandoned the symphony as an archaic form, composers such as Sibelius and Vaughan Williams continued the noble tradition as a vehicle for their most profound and personal musical ideas.
Many of the themes of the Fifth Symphony were borrowed from Vaughan Williams’ opera The Pilgrim’s Progress (after John Bunyan’s classic), which he had begun many years earlier and would be completed only in time for its premiere in 1951. This material
contributes much to the atmosphere of serene spirituality of the symphony.
The opening Preludio begins with a gentle horn call which will recur throughout the movement. If the horns were heard alone they would create the impression of the home key of D major. Muddying the waters, however, is the sounding of a C natural in the cellos and basses underneath the horns. C natural is a note which is foreign to the key of D, creating a feeling of instability and ambiguity. This is a device which the composer will use in many places throughout the symphony. An important part of this technique is the use of those old scales called church modes, which were the basis of many old folk songs as well as the rich treasury of Tudor period church music. Compared to the major/minor key system which became the primary language of European art music from the 17th to the end of the 19th century, modal music has its own characteristic sound and allows for much of this kind of ambiguity.
A second theme is a quote of the Alleluia portion of Vaughan Williams’ own hymn, For All the Saints, one of the finest Christian hymns of modern times. After that triumphant section the mood darkens and the tempo picks up. Then the opening horn calls return and the music reaches an enormous climax with the return of the Alleluia. But that is not the end of the story, as the music quiets down and ends softly with the by now familiar horn calls, accompanied by the same ambiguous C natural. We are left with a feeling of unresolved tension.
For the second movement Scherzo it is worth bearing in mind that the word means literally “joke” in Italian. This particular joke is a mischievous, sometimes ghost-like fantasy filled with unexpected cross rhythms and beautifully orchestrated colors. It sets the stage for the third movement Romanza, which has been called one of the greatest slow movements in twentieth century music and functions as the emotional enter of gravity of the entire work. The movement is filled with soaring modal sounding melodies, many of which are taken from the Pilgrim’s Progress score and which give the movement its mood of transcendent spirituality. The poignant opening English horn solo is associated in the opera with lines from Bunyan that Vaughan Williams actually wrote in his manuscript of the Romanza: “On this place stood a cross, and a little below a sepulcher. Then he said: ‘He hath given me rest by his sorrow, and life by his death.’” Later on, a particularly emotional passage in a quicker tempo illustrates another quote: “Save me, Lord, my burden is greater than I can bear.”
For the finale, Vaughan Williams uses the passacaglia, a type of variations on a repeating bass line much favored by Baroque composers. To be sure, he uses it freely, adding other melodic material. But the primary responsibility for this movement is finally to earn this symphony its title as a work in D major. To this point, we have heard the use of many different scales but precious little of D major. Here, finally, we have an unambiguous D major as the familiar 1st movement horn calls return one last time without the complicating C natural at a full fortissimo, followed by an Alleluia from the familiar hymn All Creatures of Our God and King. The ever-perceptive musicologist Michael Steinberg has described the music history lesson that this symphony teaches: “It recapitulates in thirty-five minutes the evolution of Western music from the church modes to major and minor keys.” Finally the music quiets down and ends with a mood of ineffable peace and tranquility.
Violin Concerto in D major, op. 61 Ludwig van Beethoven (1770-1827)
Beethoven’s Violin Concerto was written specifically for a young Viennese violinist named Franz Clement, who played the first performance in Vienna on December 23, 1806. Clement, who had been a friend of Beethoven for some time, was a remarkable natural musical mind, famous for his photographic memory and his keen ear. In addition to being one of the finest violinists in Europe, he was also a fine pianist and an important conductor and served as a strong advocate for Beethoven’s music on many occasions. (He conducted the first semi-public performance of Beethoven’s Eroica Symphony.)
It is a revealing commentary on the performance practice of the time that Beethoven wrote the concerto in a desperate hurry and that, according to one source, Clement was actually forced to play the first performance without benefit of rehearsal with the orchestra. The program also included works by other composers including a sonata which Clement played on one string with the violin held upside down (!).
It is tempting to blame these less-than-ideal circumstances for the initial lukewarm reception of the concerto. In fairness, however, it must be said that it was not until several decades after Beethoven’s death that the concerto began to be accepted. The leading
torchbearer was the great Hungarian violinist Joseph Joachim, who first performed the work in 1844 at the age of 12 under the baton of Felix Mendelssohn, and later became one of Johannes Brahms’ closest friends. As one of Joachim’s most important vehicles, the concerto gradually gained acceptance with both audiences and violinists. Today, of course, it is one of the most beloved works in the repertoire and has long been the standard by which other concertos have been judged. Unlike the heaven-storming heroic style of many of Beethoven’s best-known works that has given him his reputation as an angry Titan, the Violin Concerto presents him as a tender lyricist. Although he was working on the stormy Fifth Symphony at the same time, the Violin Concerto is closer in spirit to the Fourth Symphony and the Fourth Piano Concerto, both of which were finished just before and which share its more personal, more tranquil flavor.
The serenely majestic opening movement has justly been called one of the noblest movements in the symphonic repertoire. It is a striking illustration of the observation made by the eminent English musicologist Donald Frances Tovey that many of Beethoven’s works can be identified by their rhythm alone. The famous five note rhythmic motif appears first in the timpani alone (a highly unusual way to begin a work in Beethoven’s time) and then is repeated almost obsessively throughout the movement. Also noteworthy is the beautiful melodic writing for winds, which provides colorful contrast to the timbre of the solo violin.
The beautifully expressive slow movement is a sort of theme and variations but quite unusual in its layout. Much of the writing for violin in this movement is actually ornamentation while the orchestra presents the melodic material. As the violinist and composer George Enescu once put it, the concerto is actually “a great symphony. The violin has the leading voice, but it is merely one of the many orchestral voices that make up the whole.”
The slow movement leads directly into one of Beethoven’s best humored rustic finales, which is a sonata-rondo in 6/8 time.
Special Thanks
To Our Donors
$100,000 and Above
S.E. Ainsworth Family Fund
OTTO Engineering, Inc
Willow Springs Charitable Trust
$50,000-99,999
John B. Sanfilippo & Son, Inc Pepper Family Foundation
Anonymous-2
$20,000-49,999
Illinois Arts Council
Francis J. & Patricia
A. Houlihan Foundation
$10,000-19,999
Herman and Mary Zwirn
John and Sharyon
DaSilva
Florence B. & Cornelia A. Palmer Foundation
$5,000-9,999
Tom and Linda Long
Erik and Nelleke
Roffelsen
Diane Campbell
John and Gwen Gage
Phyllis Blizzard
Lyrasis
Elgin Arts Commission
Frank and Pat Maxson
Bert Crossland
Seigle Foundation
Barrington Area
Community Foundation
Elgin Symphony League
Martin and Brigitte
Nobs
Dave and Dolores
Nelson
Jeanne Sigman
Walter and Alexis Alm Household
Aubrey and Rachel Neville
Jim and Judy Tammi
Music Performance Trust Fund
John and Pat Dekowski
Arlyn and Jeanne Tolzmann
Harry Eng and Fran Zollers
Kim Duchossois
Anonymous-1
Ed and Karen Schock
Margaret Kuhajek
Michy Kabeshita
Semmy and Janice Semerad
James Sosnoski and Patricia Harkin
Phil Zack
Ark Technologies, Inc
Driskill Foundation
Grace Bersted Foundation, Bank of America, N.A., Trustee
W. R. Meadows
Anonymous-1
$1,000-4,999
Sandy Horvath Hagan
Richard and Carol
Leonard Foundation
Jeff and Jayne Griese
Eric Larson and Margaret Williams
Cherry Stoddard
Helen Sprague
Wally and Andrea
Gumm
Dave and Carlene
Kellenberger
James and Valerie
Heintz
Page and Deanna
Engelke
Russ and Diane
Maxwell
Nancy Rascher
Joan Moen
Rob and Jodie
Stackowiak
Ray and Julie Daly
Dave and Suzanne
Johnson
Advocate Sherman
Health Systems
Gene Collerd and Beth Overland
Barb Maring
Andre Fiebig
George and Anita Werderich
Henry and Suzanne Rozycki
Jim and Karen Mansfield
Kairos Counseling Center
Kelley Wall
Taos Community Foundation
Tyndale House
Publications
Michele Clark
Libby Hoeft
Dave Bosely
Rich and Diane
Robertson
Richard Renner
Donna Bach
David Gerber
Chuck and Judy
Hanlon
Craig and Karen
Johnson
Brian Pritchard and Bonnie HennPritchard
Jim and Kathy Pluymert
Laura Brady
Dennis and Janet
Conway
Elizabeth Littel
Horst and Victoria
Fiebig
Joel and Laura Lamplough
Marsha Newcomer
Rich and Esther Bell
U-46 Educational Foundation
Marc Thayer
Dave Kellenberger
Jaime and Donna Garcia
Karl Gabbey
Terry and Sue Gabel
Donna Templeton
George and Meg
Peirce
Jane Lehmann
Mike Dempsey
Wickstrom Auto Group
Walter and Nancy Carlson
Carole Medal
Jean Pechtel
Jon and Jean Stone
Richard Goodman
John and Carole
Ruby
Helen Moore
Jim and Lois MyersBauer
Ann and Greg
Chipman
David and Teresa Fabish
John Mullins
Patricia Kumicich
Phyllis Vinci
St. Charles Bank & Trust Company
The Dallas Foundation
Ursula Klicker
Wells Fargo Advisors
- Schaumberg
Mark and Carol
Taylor
Mike and Marilyn
McCarthy
Candace McCreary
Robert and Francine
Chiappetta
Steve and Kathryn
Huffman
Tom and Barb
Rowan
Bob and Carolyn
Malm
Bob and Sue Johnson
Charlie and Nancy Zimmerman
Dave and Jim Olson
Dave Brown
Diane Neal
Doug Kramp
Edward and Phyllis
Boyd
Jeff Neufeld
John and Muriel
Fenzel
John and Nancy
Robb
$500-999
Mary Maloy
Bonnie Skapyak
Dave and Mary Hunter
Tim Shaffer
Sanford and Monica Morganstein
Anne Burman
Blassick Household
Glenn and Sue Spachman
John and Ruth Bradburn
Kelly and Karen Worden
Stephen and Linda Knight
Robert and Kathleen Hahn
John and Josephine
Muchmore
Richard Schwemm
Sharon Hahn
Donald Bak
Ernest and Joanne Perone
Alex Ehioba
Manny and Carolyn KirkLikou
Laura Sterba
Bob Sommer
Brian Pinon and Christen
Harvey
Doug Anderson
Janet Page
Judy and Gary Griffith
Larry and Debbie Wild
Ken Hebeisen
Mark Kuntz
Mike Czerwionka
Patrick and Therese
Donoghue
Paul and Dottie Foundation of DuPage Foundation
Miko and Tracy Kabeshita
Deb Vensel and Steve
Kennedy
John Pilsits
Barb Long
Kathryn Canny
Hal and Karen Theis
Matt Dorfman
Linda Stolt
Tim Wilson
Andrew Grams
Bob and Jan Andry
Bonnie Wheaton
Murphy Murphy and Assoc. CPA, Ltd.
Allan and Joanne Ayers
Allen and Janet Kennedy
Bill and Agnes Kovacs
Buck and Martha Comstock
Charles Wilt
Conibear Fund, Renaissance Charitable Foundation
Elmer and Mary Sweet
Eric and Jon Gaston-Falk
Frank and George Ann
Kahoun
Fred and Sue Thorne
Harrington and Connie Bischof
Peter and Connie Landwehr
Ron and Kris Rogers
Ron and Pat Henning
Trinidad AguirreArmenta Foundation for the Arts
Anonymous-1
Helen Anderson
Howard and Gene Royer
Jim and Patricia Jocius
John and Cheryl Peacock
John and Kyla Brittain
Larry and Jeanne Hintz
Larry and Pam Cabeen
Lila Fagan
Liz McKay
Mark and Joan Albert
Marlene Boncosky
Melinda Borum
Mike and Cecilia
Anderson
Nancy Fleming
Parker and Katie Thompson
Paul Reed
PK Tax Services, LLC
Rick and Nancy Nelson
Roger and Margaret
Mechtenberg
Ross Beacraft
Sharon LeCount
Tim Baran
Vivian Hileman
Warren and Pat Dahn
ZipSprout
Anonymous-1
$250-499
Wayne Heinmiller
Bob and Tracey Coleman
Karen Meckstroth
Robert and Mary McCann
Rob and Lynn Gilly
Bill and Roseann Stenzel
Carl and Mary Ellen Flaks
Dale and Craig Braun
Judy McDonald
Michael Montgomery
Tom and Joyce Egan
Bob and Barb Green
Garth Anderson
Bruce and Kathleen
Sicklesteel
Glen and Beth Prezembel
Lou and Betty Cella
Dennis Rossow
$100-249
Aimee and Christopher
Dundon
Alain DeLeon
Art and Cathy Malm
Bill and Carol Blohm
Bill and Jane McCauley
Bill Schnell
Bonnie Fitzpatrick
Carl and Guila Zeigler
Charles Burnidge
Charlie Schuchat
Cliff and Linda Scheifele
Debra Chapman
Dorothy Voigt
Ernest and Catherine
Kosciuk
Frank and Colleen
Kirkaldy
George and Gloria Theros
Jerry and Judy
Drommerhausen
Jim and Sara Anderson
John and Marilyn Ortinau
Donald and Marilyn Okonek
Earl and Susan Schulz
Jim and Sue Lamb
Bonita Kalaway
Schaumburg Christian School
Jackie Vossler
Tom and Linda Youngren
Jean Borre
Barb Bonner
Bob Acker and Alison Bleick
Dellora A. Norris Cultural Arts Center
James Dixon
Jay and Deborah Schroeder
John and Stephanie Cullian
Kathleen Lanfear
Ken Wojtkowiak
Leslie Antoniel
Luanne Scola
Melanie Abercrombie
Melissa Sherman
Mike and Karen Chapski
Nancy Rust
Peter Quinn
Philip Johnson
Rich and Patricia Lutz
Richard Vanhoeven
Ron and Margot Sersen
Ron Blake
Sandra Magana
St. Mary's School
Steve and Mary
Etherington
Wayne and Eileen
Reznicek
Terri Elizabeth King
George and Mary Rogers
Jim and Kathy Secora
Jim McNamee
Judy Hopkins
Marc Mellits
Mike and Robin Rothamer
Nancy Kawasaki
Norm and Diana Wilkinson
Savitha Susarla
Tish Calhamer
Tom and Terri Lamberti
Loni Mecum
Ron and Angela Keller
Diane Geary
Arthur J. Gallagher and Company
Walter and Mary Neubacher
Hale Engineering
Roy and Sandra Olson
John and Mary Rooks
Erin Rehberg
Lynn Mall
Robert and Marianne Cox
Donna Lake
Steve Wasilowski
Barbara Furman
Brian Godish
Cip and Linda Siete
Curt and Pam Siegel
Diane Schwemm
Einar and Lene Graff
Gerald and Daria Sapp
Greg and Beverly Tipps
Hugh Brady and Renee
Gladstone
Jane Miller
Jeff and Cheri Hunt
Jeffery and Sherri
Goodlove
Joan Gazdic
Joe and Linda Fagan
John and Karen Becker
John Floeter
John Rosenkrans
Jon and Joy Duerr
Joyce H. Barker
Judy Johnson
Lara Leoni
Lillian Croke
Linda and John Sala
Mary Ellen Endo
Maureen Resheske
Mike and Catherine
Murschel
Mike and Joyce Rawlings
Nancy Lamia
Pat and Kathy Nelson
Paula Mytych
Phil and Helene
Lambruschi
Pradip Sethi
Ray and Jane Mysliwiec
Serge Uccetta
Sharyle Doherty
Sycamore Middle School -
District 427
William Bible
Colin and Gorianne
Campbell
Lucy Duran
Cliff Rot
Patricia Small
Becky Marshall
Lorraine Gornick
Jim Bachman
Ben and Corinne
Grotenhuis
Joan Brozick
Liberty Mutual Matching
Gifts
Chicagoland Theatre Fund
Tom and Amy
LeTourneau
Avid Architecture PC
Carlos and Lilia Chavez
Don and Carol Andler
Gregor Sosnowski
Jean Crisler
John and Flicka Regan
John and Gail Goles
John Schwartz
Judy and Blair Johnson
Linda O'Gara
Marge Sekowski
Paul and Laura
Bruggeman
Reid and Carol
Rauschenberger
Rick Clute
Ryan and Renee Heitman
Susan Kennedy
Robert and Jolene Kappes
Douglas and Kelly Gagne
Lydia Larrabee
Rich and Marcia Rudin
Frank and Marilyn Dreier
John Dempsey
Trey Barker
Mary Harlos Household
Bill and Jusith Kendall
Dale Kuypers
Margaret Zawadzki
Lois Robinson
Devonna Armstrong
Wolko Design Group
Dan and Karen Fox
Eleanor Proctor
Richelle Harris
William Briska
Michael Prais
Scott and Michelle
Beutlich
Steve and Peggy Youngren
Jacqueline Perkins
Alice Garrison
Alignment Collaborative for Education
Art for All
Barb Mueller
Bill and Mary Duewel
Bill and Sue Toussaint
Bob and Sharon Gault
Brian Hebeisen
Brian Hopkinson
Carol Rechtoris
Carol Rupe
Charles and Kristine
Fulton
Dale Carlson
Darryl Deardorff
Dennis Smith
Donna Stroder
Elgin Area Chamber of Commerce
Erica Jimenez
Gerald and Carol Vovix
Greg and Aileen Vogel
James Dufelmeier
Jeannette Wars
Jennifer Durot
Joan Longmire
Joe Slezinger
John and Leslie Mabbott
John and Rita Carmody
Jonathan Horn
Joseph Shearin
Karen Owen
Katharine Compton
Kathleen Eddy
Ken and Martha Kemp
Ken and Ruth Carlson
Kerena Fox
Kurt and Jeanine
Thurmaier
Larry and Linda Fass
Larry and Susan Schuerr
Larry Dobbs and Madeline Beyer
Larry Drafall
Laureen Hildebrand
Lawrence and Renee
Bruce
Liberty Moritz
Linda Munson
Luana and Charles Byte
Mark Gartland
Martin and Marian
McGowan
Marvin Garber and Jane
Sorenson
Mary Thelander
Mike Luby
Mike Tellin
Milan Bagel
Mildred Johnson
Nancy Bachmann
Paul and Jan Weber
Rachel Licudine
Robert Garro
Roy and Lisa Miller
Scott Babus
Soren and Marilyn Backe
Stephen Hartman
Stephen Kammerer
Steve and Sue Tousey
Sue Allen
Suzanne Jongleux
Terry and Jay Carman
Tom and Claire
Johannesen
Tom and Doreen Rodgers
Xavier and Rose Velasco
Thanks to our Sponsors
