The Anniversary Concert celebrating the Létourneau Organ, Op. 80
featuring guest artist
JAN KRAYBILL
January 28, 2022 7:30 p.m.
This concert is sponsored in part through the generosity of Carol and Mike Bell and Leta and Mark Helsel.
DrJan Kraybill, DMA, FAGO GRAMMY-nominated artist Jan Kraybill is a musical leader and dynamic speaker; a concert organist, pianist, and harpsichordist; an educator, church musician, and consultant; and an enthusiastic advocate for the power of music to change lives for the better. In addition to maintaining a very active concert schedule, Dr. Kraybill is Organ Conservator at the Kauffman Center for the Performing Arts in Kansas City, Missouri, USA, Organist-in-Residence at the international headquarters of Community of Christ in Independence, Missouri; and Organist at Village on Antioch Presbyterian Church (PCUSA) in Overland Park, Kansas. She plays and oversees the care of the Kansas City metro area's three largest pipe organs: at Community of Christ, the Auditorium’s 113-rank Aeolian-Skinner (installed in 1959) and the Temple’s 102-rank Casavant (1993), and at the Kauffman Center's Helzberg Hall, the 102-rank Julia Irene Kauffman Casavant (2012). Throughout her career Jan has performed as both a solo and collaborative musician, designed and led international hymn festivals, taught workshops on a variety of topics, and inspired audiences and congregations. While in high school in Colby, Kansas, Jan was invited to play her first European piano recital in Andover, England. Since then, she has performed in many venues in North America and in Australia, Europe, Russia, South Korea, and Tahiti. She has undertaken multiple tours of the United Kingdom, including organ concerts at the grand cathedrals of Chester, Exeter, and St. Paul’s in London. In 2015, she designed and led a hymn festival at the International Gathering of Hymn Societies at Cambridge University. Jan has been a featured artist and teacher at regional and national conventions of the American Guild of Organists (AGO), the American Choral Directors Association, the Hymn Society in the United States and Canada, and other musicians’ organizations, and has been heard on many broadcasts of American Public Media’s national program Pipedreams. She has collaborated with many ensembles, including the Bach Aria Soloists, the Phoenix Chorale, Kantorei Denver, the GRAMMY-winning Kansas City Chorale, the GRAMMY-nominated Kansas City Symphony and Symphony Chorus, and others. Several solo CDs and collaborative recordings are available. Jan's first solo CD, Two by 2: Two Organ Symphonies on Two Magnificent Organs, features both of Community of Christ’s pipe organs. Rejoice and Remember contains hymn arrangements for piano. The Auditorium Organ: Fifty Years of Excellence celebrated that organ’s 50th anniversary in 2009. Solo CDs of the Julia Irene Kauffman Casavant were released by Reference Recordings in 2014 and 2019: Organ Polychrome features music by French composers, and The Orchestral Organ is a disc of transcriptions. Jan has recorded for Reference with the Kansas City Symphony on several occasions. Their disc containing SaintSaëns' “Organ” Symphony was nominated for a GRAMMY in 2015, and her solo disc The Orchestral Organ was nominated as Best Classical Instrumental Solo album in 2020. Her most recent album was prepared and recorded at Grace Cathedral in Topeka, Kansas, during the pandemic, and is titled Marked for Grace. Dr. Kraybill's degrees in music education and piano and organ performance were earned at Kansas State University and the Conservatory of Music and Dance at the University of Missouri-Kansas City. In 2010 she achieved the distinction of Fellow of the AGO, organists' highest certification level. She has served in many local, regional, and national roles in the AGO, The Hymn Society, and the Master Teacher Institute, most recently as Executive Director of The Hymn Society in the U.S. and Canada. She is a member of Mensa. Her extra-musical interests include antiquing, lace making, and riding her Harley-Davidson with her husband, Allan.
THE PROGRAM “MEMORIES AND MUTATIONS” Sinfonia from Cantata No. 29: Wir danken dir, Gott (We Thank Thee, God)
Johann Sebastian Bach 1685 – 1750
Passacaglia, BWV 582 Prelude and Fugue on the Name ALAIN
J.S. Bach Maurice Duruflé 1902 – 1986
From Suite for Eric Aria Intermezzo Hommage à Langlais: Song of Peace in a Time of War
Paul Ayres b. 1970
Mary Beth Bennett b. 1954
Introduction, Passacaglia, and Fugue
Healey Willan 1880 – 1968
Following the concert, all are invited to Sims Atrium for a reception and an opportunity to greet the performer. We are grateful to Penny Scarpucci for sponsoring this reception.
PROGRAM NOTES Sinfonia from Cantata 29: Wir danken dir Gott (We Thank Thee, God)
Johann Sebastian Bach
b. March 21, 1685, Eisenach, Germany; d. July 28, 1750, Leipzig The genius of Johann Sebastian Bach represents such a pinnacle of artistic and scholarly achievement that scholars mark the year of his death, 1750, as the end of one of the major periods of music, the Baroque. This Sinfonia, the opening movement of Bach’s Cantata 29, “We Thank Thee, God,” is one of his best-known works. He wrote the cantata for a worship service which included the ceremonial installation of members of the City Council of Leipzig, Germany, in 1731. This piece has been heard at times of celebration ever since. The transcription for solo organ was created by the French virtuoso organist and instructor Alexandre Guilmant a century after Bach’s lifetime in Germany.
Passacaglia, BWV 582
J. S. Bach
Bach’s monumental Passacaglia in C minor is his largest-scale work for organ. It was composed between about 1706 and 1713, relatively early in Bach’s career, when he was serving as court organist for Duke Wilhelm Ernst in Weimar, Germany, and enjoying much fame as an organ virtuoso and improviser. The work’s eight-measure theme, stated first in the pedals, forms the framework for twenty variations, the complexity and character of which display Bach’s amazing creativity and skill. As was his typical practice, he hid religious and numerical symbols and puzzles throughout, allowing performers and scholars over the ages the pleasure of making discoveries within its rich potential and possibilities of interpretation. Just when it seems that all imaginable ideas for varying the theme have been explored, Bach provides the crowning glory, the final variation, in the form of a double fugue. The first and second halves of the passacaglia theme form the fugue’s two subjects, and, unusually, both are heard simultaneously from the beginning of the fugue. This work is a marvelous achievement by a master composer. Prelude and Fugue on the Name ALAIN
Maurice Duruflé
b. January 11, 1902, Louviers, Eure, France; d. June 16, 1986, Louveciennes, near Paris After earning top honors as a graduate of the Paris Conservatory, Maurice-Gustave Duruflé later became its professor of harmony. He often performed as a duo artist with his wife, Marie-Madeleine Duruflé, whom he met when she became his assistant as organist at St-Étienne-du-Mont in Paris. Known to be a self-critical perfectionist in every endeavor, Duruflé consented to have only a few of his works published, and he often continued to revise them even after publication. He destroyed many other pieces; it is estimated that perhaps 90% of his works were lost. Only about fifteen organ compositions survive, but nearly all of them are considered standards of the organ repertoire. Duruflé wrote his Prelude and Fugue on the Name ALAIN in 1942 to honor the memory of organist and composer Jehan Alain (1911-1940), who was killed in action early in World War II. Duruflé used the technique that Bach and many other composers have used to musically memorialize a name: each letter of the alphabet is assigned a corresponding pitch. To form ALAIN, A is of course the pitch A, but L isn’t in the musical alphabet, so one simply repeats the pitches in order, and L becomes D. In this manner, I becomes A and the final N becomes F. The name ALAIN, therefore, forms the motif A-D-A-A-F. The entire Prelude and Fugue is based on this simple theme from its very beginning to its very end. Additionally, near the conclusion of the Prelude, Duruflé quotes Alain’s most famous work, Litanies. Like Bach’s fugue just heard, Duruflé’s is a double fugue. Traditional fugal techniques such as inversion and stretto are utilized in unique ways to help to build drama until the piece’s exciting conclusion.
Aria and Intermezzo from Suite for Eric
Paul Ayres b. July 15, 1970, London, England
Paul Ayres was born in London, studied music at Oxford University, and now works as a freelance composer, arranger, choral conductor, musical director, organist, and accompanist. He has received over one hundred commissions, and his works have been awarded composition prizes in multiple countries. He says that he particularly enjoys ‘re-composing’ classical works and ‘classicizing’ pop music. Visit www.paulayres.co.uk to learn more. Ayre’s Suite for Eric was a birthday tribute commissioned in 2011 as a birthday gift to Eric Tyson by his wife, Jane. It utilizes the same system as Duruflé did to form the musical motifs for ERIC (EBAC) and TYSON (DACGF), and both motifs are found in these two selections from the Suite’s seven movements. The optional parts for one or two musical partners make Aria a poignant illustration of our time. The Intermezzo honors Tyson’s love of theatre organ music. Hommage à Langlais: Song of Peace in a Time of War
Mary Beth Bennett b. November 24, 1954, Appleton, Wisconsin, U.S.A.
The American composer, performer, and instructor Mary Beth Bennett serves at the University of Richmond and at Second Baptist Church in Richmond, Virginia, having previously held positions at the Basilica of the National Shrine of the Immaculate Conception and as Ceremonial Organist for the United States Department of Defense in Washington, D.C. She was honored with the 2018 AGO/ECS Publishing Award in Choral Composition, which resulted in a commission for premiere at the American Guild of Organists national convention, held in Kansas City that year. Hommage á Langlais: Song of Peace in a Time of War was the result of another commission, from the Northern Virginia chapter of the AGO to celebrate its fiftieth anniversary in 2015. The opening is reminiscent of the Chant de paix (Song of Peace) by the French composer Jean Langlais, and near the piece’s conclusion is a quiet quote from the hymn tune Victory (“The Strife is O’er”).
Introduction, Passacaglia, and Fugue
Healey Willan
b. October 12, 1880, Balham, near London, England; d. February 16, 1968, Toronto, Canada The British-born Healy Willan started musical training at age eight, and at fifteen he began his long career as a church musician. He emigrated from England to Canada in 1913, and from 1921 he was Precentor of the Church of St. Mary Magdalene in Toronto. He was also head of the Theory Department and later Vice-Principal of the Toronto Conservatory of Music. He is known as the “Dean of Canadian composers,” writing over 800 works including operas, chamber music, and pieces for band, orchestra, organ, and piano. According to a contemporary, “his music represents a unique and beautiful combination of styles: both an homage to the sacred music of five centuries ago and a reflection of the innovations of the Romantic/post-Romantic period in which he lived.” Willan frequently described himself somewhat less seriously: “English by birth, Canadian by adoption, Irish by extraction, and Scotch by absorption”! The Introduction, Passacaglia, and Fugue is Willan’s best-known work for organ. Like Bach’s Passacaglia, the majority of this piece is a set of variations. Willan was challenged by a musical friend who said that only a “German philosophical mind” could write a truly great passacaglia. (Willan later sent the friend his Passacaglia’s theme, with the transcription “To the cause, from the effect”!) The Introduction begins and ends with a spooky series of chords, surrounding an exploration of a wide range of the organ’s sounds. The pedals then quietly introduce the Passacaglia theme, and eighteen variations follow – serious, light-hearted, lyrical, dramatic, and even one labeled as a funeral march. A soft, chorale-like interlude precedes the Fugue, which is based on the beginning of the Passacaglia theme. It builds in complexity, volume, and excitement until the piece closes with a final, dramatic, closing statement of the theme on full organ.
This evening we celebrate the anniversary of the Létourneau Organ, Op. 80. The organ was dedicated in worship services on Sunday, December 15, 2002, and inaugurated on Friday, January 17, 2003, with a solo concert performed by Redeemer Organist Sarah Hawbecker. The congregation of The Evangelical Lutheran Church of the Redeemer eagerly shares this instrument with the community through concerts, worship services and other musical events. The organ was made possible through gifts from hundreds of generous and committed individuals. The Redeemer congregation has a long history of excellence in music and worship, and this organ has proved to meet the church’s musical and liturgical needs exceedingly well. It is appropriate at this occasion to recognize Fernand Létourneau and the entire staff of Orgues Létourneau Ltée, as well as the Pipe Organ Committee, who worked so diligently on the organ project, from conception to installation: Timothy Albrecht † L. Travis Brannon Jr. Richard H. Cordell † H. Bruce Dull, Worship Board Chair Sarah J. Hawbecker, Redeemer Organist † Raymond J. Martin, Redeemer Organist Emeritus † Charles H. Schisler, Chair Paul C. Walter † deceased
Past Anniversary Concert performers: 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021
Sarah Hawbecker with the Atlanta Brassworks Catherine Rodland Todd Wilson Fred Swann Hymn Festival with John Ferguson and the Redeemer Choir Aaron David Miller Hymn Festival with Sarah Hawbecker and the Redeemer Choir Gail Archer Joby Bell David Higgs Martin Jean Christopher Jacobsen “Melodies and Milestones” celebration of Sarah Hawbecker’s 20th year, with Sarah Hawbecker, the Atlanta Brassworks, and the Redeemer Choir Eric Plutz Stephen Tharp Isabelle Demers Alceé Chris Dexter Kennedy
ORGUES LÉTOURNEAU LTÉE, OPUS 80 Prinzipal Hohlflöte Prinzipal Salizional Rohrflöte Oktav Spitzflöte Quinte Super Oktav Mixtur IV-VI Kornett V Trompete Klarine Trompeta Real
HAUPTWERK (Chancel) 16' 61 pipes 16' 61 pipes 8' 61 pipes 8' 61 pipes 8' 61 pipes 4' 61 pipes 4' 61 pipes 2-2/3' 61 pipes 2' 61 pipes 1-1/3' 328 pipes 8' 245 pipes 8' 66 pipes 4' 78 pipes 8' 66 pipes
RÉCIT (Chancel, expressive) Bourdon 16' 61 pipes Montre 8' 61 pipes Flûte harmonique 8' 61 pipes Viole de gambe 8' 61 pipes Voix céleste 8' 54 pipes Prestant 4' 61 pipes Flûte octaviante 4' 61 pipes Octavin 2' 61 pipes Plein-jeu IV 2' 244 pipes Bombarde 16' 61 pipes Trompette 8' 66 pipes Hautbois 8' 61 pipes Voix humaine 8' 61 pipes Clarion 4' 78 pipes Trompeta Real 8' —
Bordun Prinzipal Oktav Super Oktav Mixtur IV Trompeta réal
HAUPTWERK WEST (Balcony) 16' 61 pipes 8' 61 pipes 4' 61 pipes 2' 61 pipes 1-1/3' 244 pipes 8' —
PEDAL (Chancel) Untersatz (electronic)32' 32 notes Prinzipal 16' 32 pipes Subbass 16' 32 pipes Bordun 16' HW west Oktav 8' 32 pipes Pommer 8' 32 pipes Choralbass 4' 32 pipes Rauschquint III 2-2/3' 96 pipes Kontraposaune 32' 12 pipes Posaune 16' 32 pipes Trompete 8' 32 pipes Trompeta Real 8' —
ACCESSORIES Zimbelstern (variable speed) Nachtigall Chimes (rebuilt) Tremulants
Division
Prinzipal Gedackt Oktav Koppelflöte Nazat Super Oktav Flachflöte Terz Quintflöte Mixtur IV Fagott Krummhorn Trompeta Real
POSITIV (Chancel, expressive) 8' 61 pipes 8' 61 pipes 4' 61 pipes 4' 61 pipes 2-2/3' 61 pipes 2' 61 pipes 2' 61 pipes 1-3/5' 61 pipes 1-1/3' 61 pipes 1' 244 pipes 16' 61 pipes 8' 61 pipes 8' —
Manual
Stops
Ranks
Pipes
II
14
23
1332
Hauptwerk West
Floating
5
8
488
Récit (expressive)
III
14
17
1052
Positiv (expressive)
I
14
15
915
Pedal
P
12
10
332
III+P
59
73
4119
Hauptwerk
TOTAL
UPCOMING CONCERT SERIES EVENTS Sunday, March 6 • 2:00 PM ~ Ensemble Chaconne Measure for Measure: The Music of Shakespeare's Plays A rare and compelling view of the music Shakespeare's audiences would have heard, including music by the leading composers of his day (Thomas Morley, Robert Johnson, John Dowland, others) and anonymous tunes of the period. Music from As You Like It, Twelfth Night, Henry V, The Winter's Tale, The Tempest, Hamlet, Othello, Macbeth, and other plays. Performed on renaissance flutes, viola da gamba and renaissance lute, with vocalist Burcu Gulec.
Friday, March 18 · 7:30 PM—Bach Birthday Bash This favorite annual concert celebrates the life and music of one of the world’s greatest composers, Johann Sebastian Bach. A variety of choral and instrumental music is presented, and the audience always gets to sing a chorale or two.
The Redeemer Concert Series enriches lives through memorable musical events.
Join us for worship in person or online Sunday mornings. 9:00 am with the Redeemer Jazz Trio 11:00 am with choir and organ
731 Peachtree St. NE, Atlanta, GA 30308 · 404-874-8664 · www.redeemer.org
The Redeemer Concert Series enriches lives through memorable musical experiences. The Redeemer Concert Series is supported by the following donors who comprise the “Friends of Music.” We appreciate their generosity and invite others to join us. Donations are accepted at any time of the year. Simply make your check payable to “Lutheran Church of the Redeemer” and designate your gift for “Friends of Music.” Donations received between January 1, 2019 and January 28, 2022
Anonymous In memory of loved ones In memory of Jerry Christman In honor of Peggy Thompson In memory of Mom and Dad In memory of Wanda Britt Beverly Alden Pam Amy-Cupp In memory of Bob Cupp Eli Arnold In memory of Jack Strauss Liz Bair In honor of Redeemer Choirs, David Hansen and Sarah Hawbecker In memory of Jean and Betty Mori, Ben Rish, Lib Rudisill Carol and Mike Bell Organ Anniversary Concert Sponsors In honor of the Worship Ministry Team David Besherse In memory of Joe Troutman Michael Boeckl and Gail Sutton Tom Bohannon In memory of Helene Bohannon Edwin Brigham In memory of Elizabeth Brigham Sheila Brock In memory of Charles Klotz Mary Brown In memory of Sam and June Brown Wayne Burdette In honor of Lance Lanier Volunteer – Friends of Music
Cliff Burt In honor of Sarah Hawbecker In memory of Garland and Juanita Burt William H. (Bill) Callaway In memory of Dr. Raymond Martin Betty Carlson In memory of Dr. Robert L. Carlson Amy and Walt Carpenter In memory of Anna Margaret Baxter Patricia Chardavoyne In memory of William Chardavoyne Joseph Cirou Don and Linda Coatsworth In memory of Marian and Cindy Coatsworth James and Bonnie Cooper In memory of J.S. Bach In memory of Dr. Neal Buffaloe and Paul Grant Cooper Edwin Corey Pat Cornwell Heidi Couch In memory of Lorela Wilkins Ryan and Karen Cramer Ruth Daley Oscar and Lourdes Dela Cruz In memory of The Faithful Departed, Juan, Rosa, Adolfo, Ana Kathy and Tom Delaney In memory of Dave Nickerson Kathy Delang Linda and Kevin Dougherty In honor of Maria Tim Eastling In memory or Theresa H. Breuer Susan and Lewis Engle In memory of our parents
Connie and Terry Eshenour In memory of Austin Hinely In honor of Jonne and Paul Walter Ensemble Chaconne Concert Sponsors Jonathan Fesperman In honor of Fran Thrailkill Brigitte Fessele In honor of Maria and Frank Kolack Marihope Flatt In memory of Lorela Wilkins Annette and Mike Forster Heidi and Peter Franetovich In honor of my mom, Trudy Tribbett Hans W. Friedrichsen In memory of Carol Friedrichsen Sarah Hawbecker and William Fuller In memory of Ned Hawbecker John Garrigan In honor of Mom In memory of Aunt Marie Volunteer – Friends of Music Bob Gibeling Volunteer – Friends of Music Dr. James Gibson In memory of Jessye Norman Becky Gilbert In honor of Fran Thrailkill Martha and John Glisson Barbara Gray In memory of Robert Gray and Joe Troutman Ensemble Chaconne Concert Sponsor Lily, Miriam, Jeff and Kristen Guthrie In honor of Sarah Hawbecker Stephanie Hart Susan Hawbecker In honor of Jonathan Fuller and Sarah Hawbecker
Leta and Mark Helsel Organ Anniversary Concert Sponsors Kathy Sheppard Hill In honor of the “Little Conductor” Ensemble Chaconne Concert Sponsor Mary and Austin Hinely In honor of past/present Piano Ensembles Choir Director Emerita John Hinkle Robyn Hollar Clinton and Susanne Hollister In honor of our dear friends, the Puckhabers Barbara Howard Harvest Home Concert Reception Sponsor In honor of David Hansen Keith Huffstetter In memory of Louise Cassell Dewey and Brenda Ingham Richard and Jana Sue James Jared Joella In memory of Angie Bastian Don Juberg Kerry Keisler In honor of Rev.& Mrs. F.L. Keisler Volunteer – Friends of Music John Keller and Terry Longstreth Volunteers – Friends of Music Sharen Kilpatrick Jack and Barbara Kimmich In memory of Janice Drobnak and Ellis and Richard Kimmich KSU Horn Ensemble Reception Sponsors Edgar Kleckley Nancy Klotz Gabriele Koecher In honor of Sarah Hawbecker Rose Mary Kolpatzki In memory of Lothar Kolpatzki Ed Kuehn In memory of Ada Kane Volunteer – Friends of Music Linda Lael In memory of Dr. Raymond Martin The Reverend Mark Larson and Mrs. Cindy Holler Madelyn Lee In memory of Norman Lee Catherine and Albert Liabastre In memory of The Reverend Dr. Robert Sims and in honor of Mrs. Suzanne Sims In memory of Joe Troutman Dr. Jay Lutz Mary Mahoney In memory of Victor Mahoney John Malahy Volunteer – Friends of Music Daniel Marks In honor of my parents, Henry and Shirley Marks Volunteer – Friends of Music Henry and Shirley Marks
Frances Marshall Beryl Martinson In honor of the Music Makers Donna Matern In memory of Connie Curry, best friend Volunteer – Friends of Music Eda and Art Mathews In memory of Georgiana Mathews Beach Carol and Jim Maxwell Volunteers – Friends of Music Sue McCart and Vendo Toming In memory of our mothers David McGahan Harvest Home Concert Reception Sponsor In honor of David Hansen Danny McKeithen and Kristen Ulven In honor of Barbara Ulven The Merrihews In honor of Peggy Tompkins Jeanne P. Merritt In memory of Renate Seybold and Jerry Christman Diane and Bob Michelucci Leslie Misch In memory of my parents Colin Moore In memory of Dr. Robert Sims and Harry Baxter Ms. Leigh Lyjak and The Reverend Dr. Ben Moravitz In memory of Mary S. Moravitz Dolly and John Morgan In honor of Jane Frackenpohl Gayle Morgan In honor of “the grands” Bob, Lillie, Bo Ingrid and Douglas Neale In honor of Redeemer Music Program Don and Cindy Noland In memory of Belle Noland and Treva Poinsert Northside Circle In memory of Jan Bosworth Barry and Marilyn Oakes Ann Otterness In memory of James and Adeline Otterness Judy Owen In honor of Redeemer Music Ministry Lilli Papaik Amy Parker In memory of Lorela Wilkins The Reverend Darrel and Mrs. Mary Peterson In memory of Jean and Betty Mori Marie Petway Bill and Marcia Philips In honor of the Redeemer Music Programs Vic Reinhold In memory of Edna and Alfred Reinhold
Redeemer Choirs In honor of Sarah Hawbecker’s 25th Redeemer Anniversary In memory of beloved Theresa Breuer Barbara and Jeff Richards In memory of Erwin and Lorraine Natzke Mobins Peter and Tracy Roberts Walter Roberts In memory of Charles H. Schisler Sally and Paul Rosser In honor of David Hansen and Sarah Hawbecker Robby Saner and Bishop Kevin Strickland Penny Scarpucci In memory of Dr. Raymond Martin Organ Anniversary Reception Sponsor Kay Sins In honor of All Redeemer Volunteer Musicians In memory of my husband, Walter Sins Dr. Niall Slater In memory of Thelma Slater Johnsie Smith In memory of Lorela Wilkins Kelly Springfield Richmond Stubbs Helen Tiegreen Colcord In honor of musicians here and everywhere In memory of Harvey and Stella Hurt Wendy, Carl, Madison and Reilly Tiegreen In honor of Barbara Gray In memory of Mel Eargle and Robert “Santa Bob” Gray Stephen Urbrock Jackie A. Very In memory of Lorela Wilkins Cathy and Steve Vogel In memory of Elisabeth and Russell Bryant The Reverend Haco and Mrs. Michele von Hacke Jonne and Paul Walter Amy Weaver In memory of Maxine Colm Terrell Weitman Jan Welsh Joe Wilkins In honor of Sarah Hawbecker and Billy Fuller In memory of Peyton Morgan Shonda and Earl Williams In memory of Tanze Banks Brenda Wise In honor of Frances Thrailkill Diana Worthington-White Peg Wyse In honor of Jonathan Fuller In memory of Theresa Breuer