Dr. Sándor Szabó, Music Director & Conductor
George Frideric Handel’s Judas Maccabaeus
Saturday Nov. 18, 2023 Union Congregational Church
FR FAM IE I N LY D LY !
Tuesday, December 5, 2023 7:30 p.m. Dr. Sándor Szabó, Conductor Sing Along or Listen to Handel’s Messiah (Part I and the Hallelujah Chorus) Music is Available
St. James Episcopal Church 581 Valley Road Montclair, NJ Suggested donation $10
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WELCOME We are pleased to welcome you to our Fall 2023 performance. Listening to music has the wonderful capability to stir our emotions in ways that stay with us our whole lives. Hearing a certain song can immediately transport me back to a time and place with remarkable accuracy and speed, opening memory files that had been long forgotten. Tonight we will perform a musical masterpiece by one of the greatest at the art of oratorio. As a performer, the appreciation of music can reach an even higher level. Most of us are not soloist caliber. We begin each season focusing on our own part, hearing, at first, only our own voice as we work to get the notes and syllables to work together. The next step is hearing our neighbors and singing as a section. As our confidence grows, we start hearing the other parts and it all starts to make sense to our ears. Even though you will see us all singing with gusto and enthusiasm, we can only succeed when we are able to listen and work as one. The opportunity for each of us to bring our voices together and create something so much bigger than ourselves is truly a privilege and we could not do this without your support in every way that you do. We invite you to continue to share our experience. If you’re interested, we always welcome new members without auditions. You can keep up with us on our website www.oratoriosociety.org and on social media on Facebook and Instagram. Peter W. Braley President
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The Oratorio Society of New Jersey Dr. Sándor Szabó, Music Director and Conductor
Saturday, Nov. 18, 2023 Union Congregational Church, Montclair Linda Tsatsanis, soprano; Christina Swanson, mezzo-soprano Matthew Newhouse, tenor; Jared Taylor Swope, baritone Newark Boys Chorus, Donald Morris, music director
PROGRAM Judas Maccabeus, HWV 63
George Frideric Handel (1685-1750) ACT ONE ACT TWO Intermission ACT THREE
The Oratorio Society of New Jersey programmed this work for our fall concert, prior to the onset of war in the Middle East. We make no political statements concerning that tragic conflict, but express deepest sympathies for all the innocent victims of the war.
Notes on the Program Handel: “Judas Maccabeus” While performances of Handel’s Messiah abound each year, there are 26 other oratorios composed by this master of vocal music, all of them containing choruses, arias and ensemble pieces that are often the equal of the familiar Messiah selections. Such is the case with Handel’s grand oratorio Judas Maccabeus, in his day almost as popular as Messiah, but sadly not performed frequently in our day. To understand the reason for its great popularity in Handel’s time, its best to take in some English history of the time. In the year 1745, Handel was on a downside in his career as composer and musical director of the Royal Academy of Music. After years of success for this German immigrant, including George Frideric Handel, 1748 painting writing great works in by Thomas Hudson (British Museum) English for his adopted country, he had hit a slump. In January 1745 he communicated his distress with a letter in the Daily Advertiser: …Having for a series of years received the greatest obligations from the nobility and gentry of this nation, I have always retained a deep Impression of their goodness. As I perceived that joining good sense and significant works to Musick was the best method of recommending this to an English audience, I have directed my studies that way, and endeavored to shew that the English language ....is the best adapted of any to the full and solemn kind of music. I have the mortification now to find that my labours to please are become ineffectual when my expenses are considerably greater. The letter engendered some new support and appreciation from the London public, and Handel put aside his intention to cancel the remaining works of the season, and instead reprised his oratorios Samson, Saul, Joseph, and Belshazzar.
Notes on the Program At the same time, England was experiencing the second Jacobite rebellion from Scotland, led by Prince Charles Stuart, whose army suffered a calamitous defeat the following spring by the King’s army under the Duke of Cumberland. England was now awash in patriotic fervor, and Handel, after recovering from illness in late 1745, took up his pen in the new year, with an oratorio that would celebrate the English victory over the Scottish rebels. As the composer was fond of biblical stories from the Old Testament, the tale of Judas Maccabeus and the victory he led over the Syrian oppressors, made a perfect fit for a work to celebrate the victory of Cumberland and his army. Judas Maccabaeus is now often referred to as the “Hannukah oratorio” as that holiday celebrates the victory of the Israelites and the restoration of the temple in Jerusalem. Handel approached the priest Thomas Morrell to prepare the libretto, and soon after was thoroughly occupied with setting this dramatic story to equally dramatic music. As the oratorio begins, the chorus sings the deeply emotional “Mourn ye afflicted children,” the first of many standout choruses. While the soloists, via recitatives and arias, customarily move the story along, in this oratorio the chorus is also very much part of the action. As Dame Jane Glover writes in her book Handel in London, “the involvement of the chorus at every stage of the narrative makes the victory celebration ....a truly collective experience.” That victory celebration contains the best-known chorus in this work, “See the Conquering Hero Comes,” sung first by the children’s chorus, and then taken up by all the voices. This music, so easy to love, has been frequently adapted and reused, most notably by Beethoven in his twelve variations on the tune for cello and piano, from 1796.
Notes on the Program Strong messages of the righteous cause of war run throughout Judas Maccabeus, with stirring music, yet in the third act Handel focuses his musical genius to celebrate peace. From the aria “Father of Heaven,” celebrating the recapture of the temple and the feast of lights, to the joyous duet “Oh Lovely Peace,” with its unforgettable text (“Let fleecy flocks the hills adorn, and valleys smile with wavey corn,”) to the final “Hallelujah” chorus (no, not that one), Handel once again has bestowed us with music of profound meaning and resonance. – Helen S. Paxton for further reading: Jane Glover, Handel in London, Macmillan 2018 www.gfhandel.org
Handel: Judas Maccabeus Libretto by Thomas Morrell
& ACT ONE
Overture Scene 1 Chorus of Israelites, men and women, lamenting the death of Mattathias, the father of Judas Maccabaeus. Chorus Mourn, ye afflicted children, the remains Of captive Judah, mourn in solemn strains; Your sanguine hopes of liberty give o’er, Your hero, friend and father is no more. Recitative Israelitish Man Well, may your sorrows, brethren, flow In all th’expressive signs of woe: Your softer garments tear, And squalid sackcloth wear, Your drooping heads with ashes strew, And with the flowing tear your cheeks bedew. Israelitish Woman Daughters, let your distressful cries And loud lament ascend the skies; Your snowy bosoms beat, and tear, With hands remorseless, your dishevell’d hair; For pale and breathless Mattathias lies, Sad emblem of his country’s miseries! Duet Israelitish Woman and Man From this dread scene, these adverse pow’rs, Ah, whither shall we fly? O Solyma! Thy boasted tow’rs In smoky ruins lie. Air Israelitish Woman Pious orgies, pious airs, Decent sorrow, decent pray’rs, Will to the Lord ascend, and move His pity, and regain His love. Chorus O Father, whose Almighty pow’r The Heav’ns, and earth, and seas adore; The hearts of Judah, thy delight, In one defensive band unite. And grant a leader bold, and brave, If not to conquer, born to save.
Accompagnato Simon I feel, I feel the deity within, Who, the bright cherubim between, His radiant glory erst display’d; To Israel’s distressful pray’r He hath vouchsafe’d a gracious ear, And points out Maccabaeus to their aid: Judas shall set the captive free, And lead us all to victory. Air Simon Arm, arm, ye brave! A noble cause, The cause of heav’n your zeal demands. In defence of your nation, religion, and laws, The Almighty Jehovah will strengthen your hands. Arm, arm. . . da capo Chorus We come, we come, in bright array, Judah, thy sceptre to obey. Recitative Judas Maccabaeus ‘Tis well, my friends; with transport I behold The spirit of our fathers, fam’d of old For their exploits in war. Oh, may they fire With active courage you, their sons inspire: As when the mighty Joshua fought, And those amazing wonders wrought, Stood still, obedient to his voice, the sun, Till kings he had destroy’d, and kingdoms won. Air Judas Maccabaeus Call forth thy pow’rs, my soul, and dare The conflict of unequal war. Great is the glory of the conqu’ring sword, That triumphs in sweet liberty restor’d. Call forth. . . da capo Duet Israelitish Woman and Man Come, ever-smiling liberty, And with thee bring thy jocund train. For thee we pant, and sigh for thee, With whom eternal pleasures reign. Come. . . da capo
Chorus Lead on, lead on! Judah disdains The galling load of hostile chains. Recitative Judas Maccabaeus Ambition! If e’er honour was thine aim, Challenge it here: The glorious cause gives sanction to thy claim.
Air Israelitish Woman Ah! wretched, wretched Israel! fall’n, how low, From joyous transport to desponding woe. Chorus Israelites Ah! wretched, wretched Israel! fall’n, how low, From joyous transport to desponding woe.
Air Judas Maccabaeus No unhallow’d desire Our breasts shall inspire, Nor lust of unbounded pow’r! But peace to obtain: Free peace let us gain, And conquest shall ask no more.
Recitative Simon Be comforted, nor think these plagues are sent For your destruction, but for chastisement. Heav’n oft in mercy punisheth, that sin May feel its own demerit from within, And urge not utter ruin. Turn to God, And draw a blessing from his iron rod.
Chorus Hear us, O Lord, on Thee we call, Resolv’d on conquest, or a glorious fall.
Air Simon The Lord worketh wonders His glory to raise; And still, as he thunders, Is fearful in praise.
& ACT TWO
Chorus Fall’n is the foe; so fall Thy foes, O Lord, Where warlike Judas wields his righteous sword! Air Israelitish Man So rapid thy course is, Not numberless forces Withstand thy all-conquering sword. Tho’ nations surround thee, No pow’r shall confound thee, Till freedom again be restor’d. So rapid. . . da capo
Recitative Judas Maccabaeus My arms! Against this Gorgias will I go. The Idumean governor shall know How vain, how ineffective his design, While rage his leader, and Jehovah mine. Air Judas Maccabaeus Sound an alarm! Your silver trumpets sound, And call the brave, and only brave, around. Who listeth, follow: to the field again. Justice with courage is a thousand men. Sound an alarm. . . da capo
Duet Israelitish Woman and Man Hail, hail, Judea, happy land! Salvation prospers in his hand.
Chorus We hear, we hear the pleasing dreadful call, And follow thee to conquest; if to fall, For laws, religion, liberty, we fall.
Chorus Israelites Hail, hail, Judea, happy land! Salvation prospers in his hand.
Recitative Simon Enough! To Heav’n we leave the rest. Such gen’rous ardour firing ev’ry breast, We may divide our cares; the field be thine, O Judas, and the sanctuary mine. For Sion, holy Sion, seat of God, In ruinous heaps, is by the heathen trod; Such profanation calls for swift redress, If e’er in battle Israel hopes success.
Air Judas Maccabaeus How vain is man, who boasts in fight The valor of gigantic might! And dreams not that a hand unseen Directs and guides this weak machine. How vain. . . da capo
Air Simon With pious hearts, and brave as pious, O Sion, we thy call attend, Nor dread the nations that defy us, God our defender, God our friend. Duet Israelitish Woman and Man O! never, never bow we down To the rude stock or sculptur’d stone. We worship God, and God alone. But ever worship Israel’s God, Ever obedient to his awful nod. Chorus We never, never will bow down To the rude stock or sculptur’d stone. We worship God, and God alone.
& ACT THREE
Air Israelitish Priest Father of heav’n! From thy eternal throne, Look with an eye of blessing down, While we prepare with holy rites, To solemnize the feasts of lights. And thus our grateful hearts employ; And in thy praise This altar raise, With carols of triumphant joy. Father of heav’n. . . da capo Recitative Israelitish Woman Oh, grant it, heav’n, that our long woes may cease, And Judah’s daughters taste the calm of peace. Sons, brothers, husbands to bewail no more, Tortur’d at home, or havock’d in the war. Air Israelitish Woman So shall the lute and harp awake, And sprightly voice sweet descant run, Seraphic melody to make, In the pure strains of Jesse’s son. March Chorus Youths See, the conqu’ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, Songs of triumph to him sing.
Virgins See the godlike youth advance! Breathe the flutes, and lead the dance. Myrtle wreaths, and roses twine, To deck the hero’s brow divine. Israelites See, the conqu’ring hero comes! Sound the trumpets, beat the drums. Sports prepare, the laurel bring, Songs of triumph to him sing. See, the conqu’ring hero comes! Sound the trumpets, beat the drums. Soli (alto, tenor) & Chorus Sing unto God, and high affections raise, To crown this conquest with unmeasur’d praise. Air Judas Maccabaeus With honour let desert be crown’d, The trumpet ne’er in vain shall sound; But, all attentive to alarms, The willing nations fly to arms, And, conquering or conquer’d, claim the prize Of happy earth, or far more happy skies. Air (Duet) Israelitish Woman (and Man) O lovely peace, with plenty crown’d, Come, spread thy blessings all around. Let fleecy flocks the hills adorn, And vallies smile with wavy corn. Let the shrill trumpet cease, nor other sound But nature’s songsters wake the cheerful morn. O lovely peace. . . da capo Air Simon Rejoice, O Judah, and, in songs divine, With cherubim and seraphim harmonious join! Chorus Hallelujah! Amen.
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MEET THE ARTISTS OSNJ Music Director and Conductor Dr. Sándor Szabó is actively engaged as conductor, organist, pianist, harpsichordist, vocal coach, arranger, and adjudicator. Choirs and orchestras under his leadership have toured throughout Europe, Canada, and the United States, and he has performed in major concert halls and cathedrals in Europe and North America. Dr. Szabó began his musical education in Yugoslavia. He graduated from the University of Novi Sad in 1984 with the diploma “Academic Musician in the Piano Art” and received a Master’s degree from the University of Music Arts, Belgrade. From 1983 until his immigration to Canada in 1988, Dr. Szabó carried on a performing career while teaching piano at the University of Music Arts, Novi Sad, and working as assistant conductor/accompanist at the Serbian National Opera. Dr. Szabó has studied with many distinguished musicians, including conducting with Stanko Šepić, Ann Howard Jones and Joseph Flummerfelt; piano with Bordás Lajos, Jokuthon Mihajlović, Nevena Popović, Anthony di Bonaventura and Tong Il Han; organ with Max Miller, Eugene Roan and McNeil Robinson; and harpsichord with Mark Kroll. Dr. Szabó holds Master’s degrees in organ performance and sacred music from Westminster Choir College, where he was awarded the full-tuition Currin scholarship, and earned a DMA in piano performance at Boston University. He also holds the Fellowship Certificate (FAGO) from the American Guild of Organists and is a member of Phi Beta Delta, an honor society for international scholars, as well as Pi Kappa Lambda, a national music honor society. Dr. Szabo has held the post of music director in prominent churches in Ontario, Canada, MA, NJ and NY. Dr. Szabó is the music director and conductor of the Oratorio Society of New Jersey, music director/ organist at Sacred Heart and Our Lady of Pompeii parishes, Dobbs Ferry NY, and organist/choir director at Temple B’nai Abraham, Livingston, NJ.
MEET THE ARTISTS Soprano Linda Tsatsanis enjoys a career that has taken her across the United States, Canada and Europe. Shehas performed with groups such as the Tallis Scholars, Toronto Symphony, Seattle BaroqueOrchestra, Mark Morris Dance Group, Pacific Baroque Orchestra, American Classical Orchestra,and Seattle Opera. Tsatsanis holds a master’s degree from Indiana University specializing in Historical Performance, and she has collaborated with some of the country’s most prominent period performance organizations such as Pacific Baroque Festival, Indianapolis Early Music Festival, San Francisco Early Music Society, Early Music in Columbus, Renaissance and Baroque Society (Pittsburgh), Early Music Now (Milwaukee), Magnolia Baroque Festival (NC), Dumbarton Oaks, and theSmithsonian National Gallery of Art. She resides in New York City with her husband, cellist Nathan Whittaker. Mezzo-Soprano Christina Swanson is an emerging artist based in New York City. She is active in the arenas of opera, recital, sacred music, new music, and choral repertoire. Recent operatic performance credits include Second Lady in The Magic Flute (Utah Festival Opera), Idamante in Idomeneo and Orfeo in Orfeo ed Euridice (NYU Opera Theater), and Nicklausse in Les Contes d’Hoffman (Hudson River Opera). Swanson’s concert, recital, and chamber repertoire is diverse, with recent credits ranging from the solo in Mahler’s Fourth Symphony (NYU Orchestra), to Astor Piazolla’s tango standard Oblivion arranged for chamber ensemble. As a choral artist, she has worked with such ensembles as the Detroit Symphony Orchestra and Lakeland Symphony Orchestra. In addition, Swanson is the co-founder of Killer Queen Opera company. She received her Master of Music in Vocal Performance and Vocal Pedagogy from New York University and her Bachelor of Music from the University of Michigan. Texas-born tenor Matthew Newhouse brings power, tenderness and evocative story-telling to the concert stage. As a soloist, Matthew recently made his debut as the Evangelist debut in J.S. Bach’s Christmas Oratorio with Yale’s Schola Cantorum. Other soloist highlights include J.S. Bach’s Magnificat (TENET Vocal Artists), Haydn’s Creation Mass (Juilliard 415), Mendelssohn’s Lobgesang (Norfolk Chamber Music Festival) and Schütz’s Weihnnachtshistorie (Harmonium Stellarum). His professional ensemble singer engagements have included collaborations with Apollo’s Fire, The Thirteen, TENET Vocal Artists, VOCES8, Evergreen Ensemble, The Carmel Bach Festival and Emmanuel Music. He has sung and worked with esteemed conductors Grete Pederson, Masaaki Suzuki, Nic McGegan, David Hill, Richard Bado, Steven Stubbs, Craig Hella Johnson, and Jeanette Sorrel. An avid proponent of Icelandic vocal
MEET THE ARTISTS repertoire, Newhouse strives to incorporate Icelandic works into the classical music canon. Newhouse received his Master of Music in Early Music Voice from the Yale School of Music and a Bachelor of Music in Vocal Performance from Baylor University, and is a proud alumnus of the Virginia Best Adams Masterclass at the Carmel Bach Festival in California. Baritone Jared Swope has won acclaim as a soloist and chorister in genres spanning early music, oratorio, contemporary classical works and more. From Gregorian Chant to newly-composed oratorios and song cycles, he can be heardin a vast array of performance venues. Upcoming solo engagements include a concert of English & American folk music (Three Notch’d Road Baroque Ensemble), Bach’s Wachet auf, ruft uns die Stimme (True Concord) and Das neugeborne Kindelein (First Presbyterian Stamford), Handel’s Messiah (New Haven Symphony Orchestra), and Haydn’s Lord Nelson Mass (Missouri State University), among others. Swope is a recent graduate of Yale University, where he earned a Master of Music with concentration in Early Music, Oratorio and Chamber Ensemble. He also holds a Master of Sacred Music in Vocal Performance from the University of Notre Dame, and bachelors degrees from Missouri State University in Vocal Performance and Music Education. The Newark Boys Chorus is among the most renowned children’s choirs in the U.S. Founded in 1969, the ensemble has performed extensively, including on tours bringing them to six continents. Often referred to as “Newark’s Musical Ambassadors,” the boys perform a diversified repertoire that includes traditional classical music, spirituals, folk music and jazz. The Chorus has been heard at Carnegie Hall, Lincoln Center, The Kennedy Center for the Performing Arts, and the New Jersey Performing Arts Center, in addition to the White House. OSNJ is pleased to bring the Newark Boys Chorus back to perform with us once again in the music of Handel.
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ABOUT OSNJ The Oratorio Society of New Jersey (OSNJ) has enriched the cultural environment of the North Jersey community for more than 70 years. Dr. Sándor Szabó, music director and conductor of OSNJ since 2005, continues the tradition of presenting choral masterpieces begun by OSNJ’s first music director, Melvin Strauss. Subsequent directors included Nixon Bicknell, Dr. Jack Sacher, and Gary Schneider. OSNJ’s repertoire includes classics of the western choral tradition from the Renaissance through the 21st century. Professional soloists and instrumentalists join the volunteer choir for concerts each spring and fall in Essex County. The membership of OSNJ includes adults of all ages and of diverse racial, ethnic, and religious backgrounds who come together weekly to experience the joy of singing, expand their musical knowledge and improve their vocal technique. While OSNJ does not require auditions, members are expected to be able to read music and have prior choral experience. OSNJ is managed by a volunteer board of trustees, and relies on generous financial gifts from community businesses, organizations, and individuals in order to continue the tradition of presenting high quality performances at modest ticket prices. We heartily sing the praises of our audiences and supporters!
OSNJ MEMBERS SOPRANOS Bambi Barry Grace Baumgarten Elizabeth Begnoche Sarah Candido Dianne Ciccone Eileen DeFreece Mary Derengowski Danielle Elias Mitola Patricia Fullilove Ernestine Galloway Elizabeth Glynn Izumi Hara Kathleen Kelly Joan Loiacono Lauren Marinaro Laraine Muller Mary Jo Reid Sherry Rollins Cia Siebert Jean Siegel Rosie Vallese Ladylease White ALTOS Robyn Burns Bette Chamberlin Theresa Dougherty Jennifer Gladsky Donna Karanja Anne Kirkland Ulrike Kloppers Susan Ladov Tara Lynn Diana Martinez Jan McKee Norma Messing
Barbara Nagle Helen Paxton Cynthia Rogers Judith Rogers Lois Ross Patricia Sarro Claudette Scutari Seraphina Thorpe Sibylle Wallace Kristina Wicke Eileen White TENORS John Easterlin Bob Hodgson Bill Weeks John Willard BASSES Peter Braley Michael Cavalier Nat Cheney Don Cohen Don Foster Luis Jimenez Arnold Shurkin Bob Simmons Stuart Turnbull David Waggett
ORCHESTRA Violin Toma Iliev Cathy Yang Viola Kristen Giles Cello Jackie Stern Bass Dennis Masuzzo Oboe Gary Hamme Bassoon Andrea Herr Trumpet Thomas Boulton Timpani Jennifer Sylvia Organ David Tisbert
OSNJ PATRONS
The Oratorio Society of New Jersey is immensely grateful for your support.
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Joseph Barry Apex Ensemble Brookdale Dental Group Izuma Hara and David Koschik Robyn Burns New Jersey State Council on the Michael Cavalier Arts/Essex County Division of Sandra Chamberlin and Paul Cultural and Historic Affairs Michaels Judy and George DeFeo The Poses Family Foundation
Vincent DeVincentis Lois Dimore and Joel Jacobson Theresa Dougherty Nathaniel Cheney Pamela Figlar Heritage Home Design Corp. Honorable and Mrs. Harold W. Susan and Norman Ladov Fullilove Bette Fundt Norma Messing Gleek and Howard Opticians Paula Ochs and John Willard Anita Goodwyn George Schulz Bob and Loretta Hodgson Dave Waggett Donna Karanja Paul Kaufman Ulrike Kloppers SUPPORTER $250 - $499 Laura and Rodney Leinberger Grace and Mark Baumgarten Tracey Melhuish The Braley Family Judith Musicant and Hugh Clark Bette Chamberlin and Christopher Cynthia and John Rogers Jurkiewicz Patricia Sarro Maureen Fonseca and Paul Thornton Claudette Scutari Walter Sive Nancy and Donald Foster Sybille and Michael Wallace Scott and Carol Miller
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DONOR $50 - $99 Melanie and Joseph Apicella Bellevue Ave. Dental Associates Susan Green and Donald Spector Joan Loiacono Barbara and Patrick McCarthy Robert Simmons Sharon Snapp Stuart Turnbull Ladylease White FRIEND $25 - $49 Eve Friedlander James Galliano III Naomi Gelfand Catherine and David Hughes Jean Siegel and Peter Janulis Alfred Sive
Helen and Arthur Paxton Dr. Melvin Rubinstein Ruth and Arnold Shurkin
We apologize for any unintentional omissions or errors. Tax-deductible donations to the Oratorio Society of New Jersey are critical to maintain the artistic quality of programs and our service to the community. Please send contributions to OSNJ, P.O. Box 1872, Montclair, NJ 07042, or respond to our upcoming campaign on #GivingTuesday.
Thank you for your support of OSNJ on #GivingTuesday!
OSNJ BOARD OF TRUSTEES Peter Braley, president John Willard, vice president Cia Siebert, treasurer Jean Siegel, secretary Grace Baumgarten, hospitality Scott Miller, membership Helen Paxton, programs Cynthia Rogers, publicity Robert Simmons, fund raising Dave Waggett, production Patricia Fullilove, at large Susan Ladov, at large
SPECIAL THANKS TO Jon Thomsen, Union Congregational Church Scott Miller, technical and website support Joe Guzzi, graphic design Essex County Division of Cultural and Historic Affairs This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts and administered by the Essex County Division of Cultural and Historic Affairs.
www.oratoriosocietynj.org Our venues are fully ADA compliant, wheelchair accessible and elevator-equipped.