GBS Season #78 Connecting Communities 10.14.23

Don’t miss a minute this season!

We’ve got four more exciting concerts for you here at The Klein

Mozart’s Jupiter and opera highlights in November.

A holiday spectacular in December!

Not The Magic Flute, but the magic of the flute in March.

Big finish with Beethoven!

Tickets are on sale now!

$18 to $65 for singles.

(See back cover for subscription information)

Family Pack Deal: kids $10 any seat, adults 15% off!

Dear Friends

Welcome back to GBS for this memorable season. We have a real adventure before us.

Tonight you’ll become reacquainted with the amazing Eduardo Leandro, as he not only conducts but solos on marimba. He’s planned a rich variety of music for us, and – as you will see in this concert – has already begun to bring local music students into our concerts. We hope you will enjoy it all, and please bring your friends next time!

For those of you coming back to us after the long ordeal of the pandemic, a special welcome. We’ve missed you!

All through the pandemic, our supporters kept on supporting. GBS is so grateful to all of you, especially those came forward with new or increased contributions. You’ve kept us going – and we know you’ll keep us going – as we proudly begin this 78th season with so many friends around us.

Watch for exciting news this season as GBS augments and expands its outreach into the community.

Remember, we’re here for you. If there’s anything Phyllis or I can do to improve your GBS experience, please let us know.

On with the show!

Mark R. Halstead President, GBS Board of Trustees

Meet our new Executive Director

PHYLLIS CORTESE Dear Friends and Patrons:

Please accept my warmest welcome to the Greater Bridgeport Symphony’s 78th season. What a thrilling opportunity for me to join GBS this year to serve as the new Executive Director. I am honored and so very proud to welcome our new Principal Guest Conductor, Eduardo Leandro into our family of culturally vibrant and talented musicians.

As the former Executive Director at The Charles Ives Authority for the Performing Arts and Ives Concert Park for 15 years, on the Western Connecticut State University campus, I have been a lifelong advocate and driver of cultural revitalization through music and the arts.

Studying classical music and opera at a young age at the Hartt School provided an extraordinary foundation for an enduring professional career in the music, recording and broadcast industries and eventually discovering a personal mission to work in the nonprofit sector. I bring to GBS a body of knowledge and wealth of proficiencies including rewarding experiences such as recording and releasing five albums internationally, touring globally for many years, performing in the palace for the Sultan of Brunei and the Royal Family, working with President Ronald Reagan in launching the Presidential Library and working with such great artists as Tony Bennett, Jackson Browne, Moody Blues, Willie Nelson, Brandi Carlile, Chris Thile and Chick Corea not to mention Manhattan String Quartet and Ives Festival Orchestra.

I am passionate about providing educational outreach initiatives and a performance opportunity platform for our local youth who might not otherwise be exposed to the magic of the arts, nurturing the next generation of talent and arts enthusiasts.

Coming full circle. I reflect on when I was a young girl growing up in West Hartford. My uncle Ed Feld was first violin with the Greater Bridgeport Symphony and our lives were filled with stories about his

rehearsals and performances with Maestro Gustav Meier! Perhaps a foreshadowing of things to come!

We are sincerely thankful to our donors and sponsors for their investment and generosity.

We appreciate your support and hope that you’ll bring a friend to our next concert. Like and share our posts on social media and please consider a contribution to our Annual Fund at gbs.org/donate. GBS is committed to building a vibrant community and highlighting the Greater Bridgeport region as a place of distinction and a destination for the arts. Join us on this journey of enrichment!

Get GBS News and Insights by Phyllis A. S. Boros – everything from behind-the-scenes tidbits to what you can expect at upcoming concerts. Subscribe to our newsletter to receive updates when Phyllis releases a new article, and share with your friends! gbs.org/the-up-beat

OUR CONCERT SPONSORS THIS SEASON

The Ernest and Joan Trefz Foundation Doris and Herb Harrington

The Greater Bridgeport Symphony gratefully acknowledges the music lovers listed here, who have contributed to this season’s Annual Fund Campaign, as well as other GBS contribution categories.

Each gift plays an important role in the continued success of GBS programs. The Annual Fund provides critical support for all GBS activities, at concerts and in the community.

More than ever, GBS needs your support, so that we may continue to grow and thrive. Like all arts organizations, we are coming back from a very hard time, and it will be a while before audiences return to levels we’ve seen in the past. We pledge to continue full seasons and rich orchestration, and persevere in our community outreach.

We ask you to step up with us to preserve culture as we step boldly into the future.

Please give generously!

Thank you for helping us make the music!

OUR GOAL THIS SEASON:

$125,000

RAISED TO DATE:

$ 33,668

You may donate online at www.GBS.org, by calling the GBS office at (203)576-0263, or by mailing a donation to GBS at 2385 Park Avenue, Bridgeport, CT 06604

The list on the following pages acknowledges monetary donations received since the publication of our last program journal in April 2023. Donations of $1,000 and above are recognized for a minimum of one season. If your listing in this program does not appear as you would like, please send a short email with the correction to mark@gbs.org.

ENDOWMENT SPONSOR Greenwich Investment Management, Inc.

ANGELS

$7,500 and up

Carstensen Memorial Foundation, Elizabeth J. Tellalian, President

Connecticut Dept. of Economic and Community Development Cyrus W. and Amy F. Jones and Bessie D. Phelps Foundation, Robert F. Tellalian, President

The City of Bridgeport Mr. and Mrs. Herbert Harrington Doc Hermalyn and Dr. Elizabeth Beirne The Neville and Brigitte Fryling Family Foundation The Richard and Alma S. Hiendlmayr Education Fund Ursula Meier Roger N. Pocock and Nancy Westcott Pocock Estate of Pamela Ritter Rotair Aerospace Corporation Wesley Harrington, President

The Ernest and Joan Trefz Foundation

BENEFACTORS $5,000 to $7,499

Doris and Herb Harrington Mr. and Mrs. Herbert H. Moorin

CONDUCTOR’S CIRCLE $2,500 to $4,999

Bannow-Noren Foundation Britta and Richard Cerrato Lisa Gibbons The Hatfield Fund Patricia Kearney & Sandra Bromer Ursula Meier

MUSIC SPONSORS $1,000 to $2,499

Mr. & Mrs. Henry Banach Truman & Elizabeth Bassett Blackbaud Fund John & Desolie Boys Lisa & Guy Cataruza Dr. & Mrs. Robert Folman Steven T. Hartford John E. Herzog Christine & John Kudravy Geert & Catherine Kortlandt Christine & John Kudravy Nancy & Patrick Lapera Music for Youth Lou & Cynthia Schueler Ken Staffey Judith E. Stern Hinda & Martin Wolf

PATRONS

$500 to $999

John & Marilyn Burgeson Sharon Davey David DeQuattro/RGB Architects Mrs. Henry B. duPont III Armando & Nancy Goncalves Mark & Sharon Halstead Percy, Edna & Edward E. Harrison Fund Doc Hermalyn & Elizabeth Beirne James L. King Norman & Cheryl LaBrecque Bruce & Marcia Lorentzen Ingrid Stuhlman

SUPPORTERS $250 to $499

Phyllis Boros & David Keyes Michael Flynt Mr. & Mrs. Robert Kilton Mr. & Mrs. David Nessel Janet Rosen & George Sanders

GBS ANNUAL FOOD DRIVE: SATURDAY, NOVEMBER 11, 2023 to benefit the

BRIDGEPORT RESCUE MISSION Please help! Bring a bag of canned and/or non-perishable food items

to The Klein at our next concert.

ASSOCIATES

$100 to $249 Michael Banten Mr. & Mrs. Robert Blake Mr. & Mrs. Jonathan Bowman Michael Breaux John Breedis Nancy Brown & Rudolph Zeisler Karen Costantini Marc P. Delmonico Ann DeQuattro Ann Drinen Thomas Duffy David Edricks T.D. Ellis & Susan Hanjian Carol A. Fabbri Barbara Freedman Mr. & Mrs. Andrew Geisert Miriam “Mitzi” Goldberg Jeff Higgins Arlene Johnson Myrna Kaufman Victoria Kenna David & Judy Kiselstein Rosalie Krajcik & Peggy Iracki Alex Kuhn Peter & Sarah Lang Mr. & Mrs. Robert H. Laska Matt & Catherine Lincoln Steve & Nina Lurie Sarah Marikar James Miesner Allison Melillo Jenny & Jon Ney Ronald & Renee Noren Edward L. Piquette Jane Rady Kathleen & David Rauscher Barbara A. Rogo Gretchen Shugart Kim Spaulding Kathryn Taylor Kenneth & Barb Tedeschi Robert & Chrissy Tellalian Deborah Wong Steven & Sandra Zalik

CONTRIBUTORS $10 to $99

Diana Stemm Sharon Gordon Robert Levin Manuel Alvarez Sharon Antoniou Robert Bethea William Bivona Christopher Brigham Sandra J. Brown Doreatha O. Brueggemann Karen H. Buckley Carol Cate Alexander Clarkson Phyllis Cortese Janet Dembosky Bryan & Heather Doughty Glenn & Deborah Gemma Richard & Elssa Green Marge & Wayne Hiller

Marcia Hutter Mr. & Mrs. Alfred Jennings Jr. Beryl Kaufman Richard Kelly Francine A. Mancini Beverly J. McCabe Aimee Page Gretchen & Steve Perrett Karen Pirhalla Honore Radshaw Marcia Rosansky Jay Rozgonyi & Suzanne Solensky Therea Scalzo Jeff Scanlan Selina Strong & Ron Blumenfeld Kathie Sumrow Kathryn & Kenneth Twombley Lisa & Ida Tasi Ann & Tom Renstrom Katie Bonner Russo Laurence Smith Aaron Woskoff Raymond & Eileen Anderson John & Lori Csonka Thomas Errichetti Bruce Granville Jill Pellett Levine Aaron Lowman Anthony Benefico Jane & Owen Davis David J. Dembosky Walter & Ona Domeika Bill Gottschalk

Dagny Hassinger Mr. & Mrs. Thomas B. Kasuba Anonymous Patricia L. Knebel Sara Kohane Gloria & Ronald Manning Roger & Carlo Raymond Eleanor & Ernie Razza Bob Straka Martha Summa Barb Upton Peggy Vallerie Mr. & Mrs. Philip White Cheryl Wiener Greg Wilfrid Joe and Josephine Cannata Christine Dupuis Becky LaBombard Anita Myers Maureen O’Brian Lynn O’Grady Kathleen A. Thiesen Sarah Washburn Kathleen McCarthy Mary McCarthy Nancy Wilcox Arthur Finkle Michael McLachlan Aurora Montini Carolyn Boselli

Have you heard about GBS’ Family Pack Deal?

All kids under 19 just $10 – any seat in the house.

Accompanying adults get 15% off.

BRING A FAMILY OF FOUR FOR 50 DOLLARS!

About our Conductor and Soloist

EDUARDO LEANDRO

In 2022-23, GBS auditioned four candidates to succeed Eric Jacobsen as Music Director. After an extensive process of meetings, questionnaires, research and, of course, reviewing the talents of the candidates on the podium, the Selection Committee was impressed by Eduardo Leandro’s conducting, his rapport with the audience, his teaching credentials, and his communication skills – five languages! In March, GBS selected Eduardo Leandro as conductor for the 2023-24 Season. We’d like to know what you think! You’ll receive an online questionnaire a few days from now. Please respond, and let us know your thoughts.

Eduardo Leandro is a conductor and percussionist who specializes

in bringing “new” music’s freshness and excitement to classical and romantic pieces, while bringing classical lyricism and appeal to contemporary music. He conducts the New York New Music Photo: Ken Staffey Ensemble, and has also conducted in Brazil, France and Switzerland. He is an Associate Professor at Stony Brook University, where he teaches graduate percussion and directs its Contemporary Chamber Players. He has taught at Vermont’s Yellow Barn Summer Music Festival, the Haute École de Musique de Genève, lectured at Peabody Conservatory, and directed the percussion program at the University of Massachusetts at Amherst. Eduardo has performed throughout Europe, Asia, and the Americas. In the U.S., he performs regularly with the Lincoln Center Chamber Music Society, and has appeared with the Steve Reich Ensemble and Bang on a Can All Stars.

His percussion duo, Duo Contexto, served as ensemble-in-residence at the Centre International de Percussion in Geneva for ten years. Recent projects include producing, recording, and mixing music for mallet instruments by James Wood based on bird songs.

He says, “I am looking forward to celebrating life through art, and to ƐŚĂƌŝŶŐ ŽƵƌ ďĞĂƵƚŝĨƵů ŵƵƐŝĐ ƐƚƌĂŝŐŚƚ ĨƌŽŵ ŽƵƌ ƐŽƵůƐ ƚŽ LJŽƵ͕ ŽƵƌ ůŝƐƚĞŶĞƌƐ ĂŶĚ ƐƵƉƉŽƌƚĞƌƐ͘ dŚŝƐ ƐĞĂƐŽŶ ďƌŝŶŐƐ ŵƵƐŝĐ ĨƌŽŵ Ăůů ŬŝŶĚƐ ŽĨ ƐŽƵƌĐĞƐ͕ ĂŶĚ ǁĞ ǁŝůů ŝŶƚƌŽĚƵĐĞ LJŽƵ ƚŽ ƐŽŵĞ ŶĞǁ ĂŶĚ ĞdžĐŝƚŝŶŐ ŵƵƐŝĐ͕ ǁŚŝůĞ ďƌŝŶŐŝŶŐ ƚŝŵĞůĞƐƐ ŵĂƐƚĞƌƉŝĞĐĞƐ ďĂĐŬ ĨŽƌ LJŽƵƌ ĞŶũŽLJŵĞŶƚ͘ “

Eduardo’s influence in our community already shows in tonight’s concert.

Not only will we hear the rhythms of his native country, you’ll see Eduardo in action not only as conductor and percussionist, but also as teacher and mentor with students from elementary- to college age, performing with and learning from GBS.

Recently made an American citizen, Eduardo was born in Belo Horizonte, Brazil, and attended the Rotterdam Conservatory in the Netherlands and Yale University. His conducting mentor was Gustav Meier, GBS Music Director for over four decades. When not making music, Eduardo can be found photographing birds, learning new languages, and using his commercial pilot’s license flying his plane along the Eastern seaboard .

GBS welcomes our Community Partners

Please be courteous and silence your cellphones, and refrain from using lighted screens during the performance. Recording in any form is strictly prohibited.

Eduardo Leandro

Principal Guest Conductor

78th Season 1st Subscription Concert

Saturday, October 14, 2023

Connecting Communities Eduardo Leandro, Conductor

The Doris and Herbert Harrington Pre-Concert Talk hosted by Russell Fisher John Stafford Smith

The Star-Spangled Banner (1891)

Traditional Brazilian Percussion-Samba

featuring students from RCA, University of Bridgeport and Stony Brook University

Aaron Copland

(1900-1990)

Ney Rosauro

(b. 1952)

Hoedown from Rodeo (1942)

Op. 110

Concerto No. 1 for Marimba (1986)

I. II. III. IV.

Saudação (Greetings) Lamento (Lament) Dança (Dance) Despedida (Farewell)

Eduardo Leandro, Marimba

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PROGRAM NOTES October 14, 2023

CONNECTING COMMUNITIES

The premiere concert of this season, themed “Building Bridges,” features music from various corners of the Americas. Alberto Ginastera is possibly the most notable composer from Argentina and Ney Rosauro is a virtuosic performer, composer and pedagogue from Brazil. Leonard Bernstein and Aaron Copland both depict American Music in each of their respective works, but representing vastly different populations in doing so. The three symphonic works – Copland, Bernstein and Ginastera -- are all programmatic works distilled from larger settings. The throughline of the program this evening will be their rhythmic vitality and the ways in which these rhythms tell stories and connect communities.

Aaron Copland 1900-1990

Hoedown from Rodeo (1942)

Aaron Copland was one of the preeminent composers of the 20th century in America. Copland’s music was often programmatic and depicted some of the pastoral scenes found in America in ballets, such as Billie the Kid (1938), Rodeo (1942) and, finally, Appalachian Spring (1944).

Tonight’s performance will feature the finale of Rodeo: “Hoedown.” The brief movement paints a picture of classic Western Americana and will present sounds familiar to the ears of many. The sounds of folk-style fiddle, cheeky rhythms in the woodblock reminiscent of horse hooves on pavement, and beautiful trumpet melodies depict the scene of a cowgirl and cowboy square dancing in a ranch.

Ney Rosauro b. 1952

Concerto No. 1 for Marimba and Orchestra (1986)

Ney Rosauro is one of the most important percussion pedagogues and composers in the artform’s young history.

Hailing from Brazil, Rosauro spent several years teaching at the Frost School of Music at the University of Miami. His compositions range from pedagogical etudes to the full-fledged symphonic concerto being performed tonight. Rosauro’s unique compositional style certainly bridges the rich rhythmic vitality of Brazilian folk music with the charming, and playful melodies of American Jazz. The four movements of the concerto each explore a character of performance unique to the marimba. In the first movement, “Saudação” (Greetings) Rosauro greets the audience with an introduction to one of the most tantalizing aspects of marimba, the beautiful rich timbre of the lowend. Throughout the movement, Rosauro sprinkles in beautiful scales covering the full range the instrument, acting as an amuse bouche teasing the sound pallet he will paint with throughout the concerto. In the second movement, “Lamento” (Lament) Rosauro explores the fascinating

techniques of one-handed rolls on the marimba. By utilizing this technique, Rosauro composes a lyrical lament chorale for this movement to be played in duet between the soloist and the orchestra. The third movement, “Dança” (Dance) has five brief sections. The outer-most sections present a lovely lyrical theme, reminiscent of a lullaby. This nostalgic tune surrounds a vivacious imitative dance passed around the orchestra, and finally, at the center of the movement is a triple meter seductive dance that features flourishes of interwoven scales and arpeggios across the whole instrument.

The finale of the movement is a set of variations on theme that is set up in the opening statement of the marimba. The playfulness of the mixed-meter style is met with equal spontaneity from the jazzy melodic variations throughout.

Alberto Ginastera 1916-1983

Danza del Ballet Estancia (1952)

Alberto Ginastera was born in Buenos Aires, Argentina. Estancia was originally written as a full-scale ballet to be performed by the American Ballet Caravan following the success of Ginastera’s first Ballet Panambí (1941). However, the ballet troupe disbanded in 1942 before the premiere of Estancia. In 1943, Ginastera extracted an orchestral suite from the ballet which is the version being performed this evening. The original ballet was intended to be a “ballet in one act and five scenes based on Argentine country life.” Each of the four movement in this orchestral suite represent a different aspect of the Argentine countryside.

The first, “Los trabajadores agrícoles” (The agricultural workers) depicts music from the farm fields of the Argentine countryside. This movement features a persistent rhythmic motor characterized by the dichotomy of triple rhythms against duple. Eventually, a melodic motive emerges from this rhythmic underpinning, but throughout the movement, the focus remains on the motor that keeps the “work” moving.

The second scene, “Danza del trigo,” or “wheat dance” provides a pastoral respite from the unrelenting rhythm of the field dance. The immediately noticeable, and starkly different, thin texture of the initial pizzicato accompaniment provides a lush open space for the various solos to be passed from flute to horn to strings.

The third movement, "Los peones de hacienda,” launches back into an agitated, and irregular meter. “The farm laborers” movement oscillates between rounded compound pulses and more angular square pulses.

Throughout the movement the orchestra is split into two major groups. The first plays the main idea in the irregular 9/8 meter. This group consists of the low strings, horns, clarinets and bassoons. In all of the developed sections with long melodies, the second group responds. Instruments such as the trumpets, high winds, and high strings play this music. The timpani frequently erupts out of the texture with solo passages that propel the music into each repetition of the main motive.

The final dance of the work, “Danza final (Malambo),” paints the picture of the Argentine gaucho, or cowboy. The Malambo is a furious dance that can be performed either in solo or in a group characterized as “a battle between men who stomp to the music.” The scene is set with a rhythmic underpinning texture between the upper winds, first violins and tambourine. Throughout the course of the finale there are several sudden stops in the perpetual eighth-note motor passages where you can hear the gauchos stomping! An intense driving theme emerges from this texture to bring the piece to an exciting conclusion.

RICHARD A. CERRATO ATTORNEY-AT-LAW

Suite 2A, 3180 Main Street Bridgeport, CT 06606

Tel. (203)374-4600 FAX (203)372-0824

Leonard Bernstein 1918-1990

Symphonic Dances from West Side Story

(1960)

Leonard Bernstein was one of the most prolific minds in American 20th century Art Music. Bernstein was a renowned conductor, composer, educator, author, pianist and all-around media personality throughout much of the 20th century. Given his multiple talents and successes, it is no surprise that Bernstein’s output reached across disciplines early on. The musical, West Side Story, was composed between 1955-57 and in 1961 Bernstein distilled the work into a set of symphonic dances. Listeners will hear familiar tunes from the original musical such as “Cool” and “Somewhere.” These familiar tunes are woven into a fabric of Bernstein’s vivacious dances that boast his ability to write complex and intellectual music that remained highly accessible to his listeners. The academic practices of the old, such as, leitmotif are juxtaposed with the eargrabbing practices of the new, jazz and Latin-tinged dance rhythms, and the result is a series of scenes that either make you want to dance or dream. The complexity of the music, as in the “Cool Fugue” drives the dramatic impact of each dance while the melodic development in the more classic styles blurs the programmatic line between reality and dream sequence as in the “dream ballet” of “Somewhere.”

Russell Fisher, University of Bridgeport

Meet our Musicians

ANTHONY DeQUATTRO Percussion

A parent’s nightmare: a child says, “I want a drum set.” Anthony DeQuattro’s parents managed to put the request off for a couple of years, but succumbed when Anthony was six years old. Their quiet home Photo: Amanda Cepero in Smithfield, Rhode Island had become a drum studio. In middle school, Anthony’s music teacher advised Anthony Sr. to get him percussion lessons. Though a part-time guitarist himself, Mr. DeQuattro thought lessons were fine, but couldn’t lead to a career. When Anthony told his parents he wanted to go to The Hartt School for a music degree, they were skeptical – but Anthony loved the variety of sounds and experiences to be found in percussion. Hartt led to a master’s at Yale, and a doctorate at Boston University. By then, though, the career that seemed doubtful had already begun to take wing – in Bridgeport!

While a senior at Hartt, Anthony was picked to play perform Rosauro’s Concerto for Marimba, which you will hear tonight. GBS called him for an audition on the night of the dress rehearsal. His conductor at Hartt was dismayed, but let Anthony miss dress and head to The Klein; he nearly lost his nerve, and thought about turning around halfway to Bridgeport, but made it through his audition. Two hours before the Hartt concert, Executive Director Jena Maric phoned to tell him he

been hired, at age 22. That night he was able to tell his parents he had a job in music – and he received a standing ovation for the Rosauro.

After graduating from Hartt, Anthony played with GBS and other local orchestras, performed jazz gigs, and gave private lessons. Then a friend, whose son was attending Notre Dame High School in Fairfield, called Anthony to see if he would start a student jazz program there. Teaching was a new venture, but he gave it a try; he directed the jazz band at N.D. for the next eleven years. He then began teaching at Regional Center for the Arts (RCA, from whence some of our student players come tonight), as well as at Quinnipiac and Southern Connecticut State Universities.

“Doctor D,” as his students call him, had found he liked teaching for the same reason he loved percussion: the variety. “The students at Quinnipiac aren’t music majors; they’re there for Music Appreciation, so my job is to show them what makes music awesome,’ he states. “At Southern, they are music majors who need guidance toward careers in music. The majority of kids at RCA don’t go into the arts, but they develop important life skills through music. Art – as a product – is the least important thing about arts education.”

Anthony has been married to GBS hornist (now retired) Susan Spaulding for 24 years. Though acquainted at Hartt, they got to know each other at GBS. Yes, “it’s a GBS romance,” he says. He and Sue live in North Haven with their son Frank, where their expanded garage contains a plethora of giant percussion instruments and a drum studio.

For several years, Anthony has gathered friends to donate to the Susan Spaulding Principal Horn Chair. Though he says, “fundraising in Sue’s name is really easy – she’s beloved in the community,” he’s raised a minimum of $3,000 per season for several years. A gifted performer who involves his students in our Symphony and organizes significant financial support to GBS, Anthony too is a beloved member of GBS.

From generation to generation Keep the music you love alive by pledging to the

GBS LEGACY Planned giving options, such as bequests, IRA Qualified Charitable Distributions, Beneficiary Designations or Charitable Gifts, may be your way to ensure a bright future for Classical music at GBS. If you would like to learn more about a planned gift to GBS, please contact

Phyllis Cortese, Executive Director at (203)576-0263 or phyllis@GBS.org Charter Members

Doc Hermalyn and Dr. Elizabeth Beirne Robert and Diana Graziano Mr. and Mrs. Mark R. Halstead Virginia Miles+ Mr. and Mrs. Herbert Moorin Elizabeth M. Pfriem+

Pamela W. Ritter+

+deceased

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*The Susan Spaulding Principal Horn Chair has been sponsored by Susan Allard,

Manuel Alvarez, Anonymous, Anonymous, Robert Bethea, William Bivona, Michael Breaux , Christopher Brigham, Karen H Buckley, Joe & Joy Cannata, Lisa & Guy Cattaruza, Phyllis Cortese, Jane & Owen Davis, Ann DeQuattro. David DeQuattro/RGB Architects, Jeffrey DesRosier, Bryan & Heather Doughty, Ann Drinan, Thomas Duffy , Christine Dupuis, David Edricks, T.D. Ellis and Susan Hanjian, , Carol Fabbri, Michael Flynt, Barbara Freedman, Glenn & Deb Gemma, Sharon Gordon, Richard & Elssa Green, Mark & Sharon Halstead, Doris & Herb Harrington, Jeff Higgins, Vicki Kenna, Becky LaBombard, Norm & Cheryl Labrecque, Marianne Laska, Robert Levin , Matt and Catherine Lincoln, Aaron Lowman, Steve & Nina Lurie, Francine Mancini , Sarah Marikar, Allison Melillo, Jenny & Jon Ney, Aimee Page, Grechen & Steve Perrett, Jill Levine, Jane Rady, Eleanor and Ernie Razza, Janet Rosen and George Sanders, Barbara Rogo, Katie Bonner Russo, Theresa Scalzo , Frank Spaulding, Kim Spaulding , Bob Straka, Martha Summa, Kathie Sumrow, Kenneth & Barb Tedeschi, Kathy Twombly, Barbara Upton, Sarah Washburn, Cheryl Wiener, Greg Wilfrid, and Deborah Wong.

Officers

Chairman

Doris Harrington

President

Mark R. Halstead RA

Vice President

Nancy D. Lapera

Assistant Treasurer

Justin F. Harrington

Corporate Secretary

Richard A. Cerrato, Esq.

Immediate Past President

Ken Staffey

Trustees

Henry C. Banach, Esq. Michael Banten Joseph M. Bierbaum Jeffrey Bishop Alice Caldwell, PhD. Caitlin Carrier Robert J. Flemming, Jr. Tony Fox Frank J. Gallinelli Maureen Hamill Doc Hermalyn Jin Hu

Bruce E. Lorentzen Frank Martignetti, PhD. Kathleen McCarthy David J. Mestre Herbert H. Moorin, Esq. Yasminne Morgan Edward L. Piquette, Esq. Nancy Westcott Pocock Barbara A. Rogo Lisa V. Tasi Kathryn Taylor Hinda Wolf

Orchestra Committee Chair Janet Rosen

Executive Director

Phyllis Rhodes Cortese

Trustees Emeritae Jean Halaby Moffitt Elizabeth M. Pfriem (deceased) Chairman Emeritus Robert Tellalian (deceased)

Visit us at www.GBS.org, or call (203)576-0263 Our offices are located at 2385 Park Avenue, Bridgeport, CT 06604