chattanooga symphony & opera

Principal Principal PERCUSSION Principal Crummel, Chad David Pedigo Keith Lloyd Nathan Shew Andy Harnsberger HARP Hudson, Brown Caroline KEYBOARD Alan Nichols, Principal Duroy Jason Combest Chris Nathan Tingler

MIRACULOUS MANDARIN , Principal

BARNETT MASTERWORKS SERIES & COMPANY Principal Piccolo/Utility Principal John L. & Norma B. Anderson Chair MUSICIANS Jeff Koonce James Gordon Kelsey Bentley Williams Richard Joseph Demko Kathleen Ray Chastain Clayton Norlund Aaron Preston Bailey Principal Warner, Douglas Prentiss Hobbs Carey Shinbaum VandeVen Rebecca Howard Erica CLARINET Robert West, Principal Tonkinson Steven Bowland Emily Principal Anderson, Eric Jones Shelby G. Eddie McCrary, Jr. DOUBLE BASS McWilliams Jonathan Bell Shifflett Daniel Adam Bernstein Maurice Belle Given Arnold FLUTE Principal Holritz, Kristen Meyerhofer Lisa Amelia Dicks,

Associate Concertmaster Lindsey Smith-Trostle Kaitlyn Vest Annie CampAnnie Daniel Holloway Spencer Brewer Sharon Reed CELLO Eric Reed, Principal Sims Suzanne Susan Kemp Rene Reder Nichole Pitts Tamara HobbsTamara Runkle Casie Metiney Moore Schlaffer Gabriel Mary Benno VIOLA Principal Acting Chisom, Megan Heidi Barker Watson Bryony Stroud Lee Smith Jessica Peck Rachael McFarlane Jennifer Whittle Rebecca James Hain Kim Josue Loyola Roncal II VIOLIN Principal Peck, Sheri Nathan Banks Pappone Nicholas Neel Mary Margaret Brien-SlackJ.P. Calvin Lewis Calvin Johnson Jeanne Kyra Davies Scibelli Serena Joshua Holritz, Mark Reneau VIOLIN I chattanooga symphony & opera recordings are available onSummit,Organic, Kokopelli, ArchiMusic andCentaur Records. City, Manchester, Fresno, Madeline Island,Waterloo, Killington andTexas MusicFestivals. His at Barge Music,Park City, Santa Barbara, Mammoth Lakes,Eureka, Utah, RedRock,Park Orchestra inEcuador andtheOrchestra oftheUnited States ArmyBandandhasappeared Philharmonic, FlemishSymphonyOrchestra, Symphony, KaohsiungCity Loja Symphony Southwest, ShiehChienSymphonyOrchestra, Scottsdale Tempe Symphony, PrimalaMusica,theSymphonyof Orchestra ofBelgium, theFrankfurt ChamberOrchestra, in Bucharest, Romania.Hehasperformed withtheNational International Cello Competition ‘JeunesseMusicales’in1995 His solocareer after started takingatop prize at the has appeared onnational radio andtelevision worldwide. toured America,Europe, North SouthAmerica andAsia andrecordingas aconcert andpedagogue. artist Hehas Belgian cellist Tom Landschoot enjoys aninternational career Praised for hisexpressive, andpoetic musicmaking, virtuoso He performs onacello by Tomaso Balestrieri (1776)anda Dominique Pecatte bow. Society. Festival (www.sonoranchambermusic.com), aswell asthePresident ofthe ArizonaCello Tom Landschoot isthefounder Director andtheArtistic oftheSonoran ChamberMusic onthefaculty inTaipei oftheShiehChienUniversity served since2008. prestigious Herberger CollegeofFine Distinguished Teaching Arts Award. Landschoot has University, Landschoot taughtat ofMichigan. theUniversity Heistherecipient ofASU’s schools ofmusicintheUnited States. Priorto joining themusicfaculty at Arizona State Tom Landschoot iscurrently Professor ofCello at ArizonaState University, oneofthetop abroad. occupy principal positionsinmajor orchestras andteach at Universities around theUSand His students canbefound amongtheranks ofnational andinternational competition winners, and universities throughout Asia,theU.S. andEurope andSouthAmerica. Montecito andTexas MusicFestival. Landschoot master hasgiven classesat conservatories of Music,Foulger International MusicFestival, HighPeaks, Madeline Island,Manchester, Castleman Quartet Program inNewYork, Killington MusicFestival, Meadowmount School asafaculty memberatHe hasserved theMusicAcademyof West inSanta Barbara, journalism andoriginalmusiccompositions. filmofacellist performingacrossin adocumentary India,integrating photography, culinary, hospital inTamil ofthishumanitarian project, Nadu,India.Aspart Landschoot was featured music, suchasraising funds andawareness for theneedofbuildinganorphanageand Tom projects Landschoot hasbeeninvolvedthrough ininterdisciplinary his publicservice ofBelgianconcerto composerFrank Nuyts. engagements includedseveral withtheSymphonyOrchestra concerts ofFlanders withanew and premiered 20newworksfor over cello, by includingaconcerto DirkBrosse. Recent Anavid BeaverKatz. promoterMartin and ofmusicourtime, hehascommissioned Quartet. Past collaborations includeLynn Harrell, Peter Wiley, Kalich,Cho-LiangLin, Gilbert Cleveland, Vermeer, Tokyo, Orion, andhastoured for 5years asamemberofthe Rossetti He hasperformedwiththeTakacs, Dover, IndianapolisandAriannaQuartets, members of GUEST ARTIST -THOMASLANDSCHOOT ARTIST GUEST

THOMAS LANDSCHOOT THOMAS chattanooga symphony & opera Tivoli Theatre , op.19

n November 10 at 4:00 pm. n November 10 at Thursday, October 24, 2019 24, October Thursday,

7:30PM The Miraculous Mandarin I. Allegro moderato vivace Allegro Andante Allegretto I. II. III. cello Thomas Landschoot, Intermission Intermission Three Latin American Dances Hob.VIIb:1 Violoncello, for Concerto in C major Suite from from Suite Flowers by Gil & Curt. by Flowers provided by the Tennessee Arts Commission. the Tennessee by provided CSO is an ArtsBuild community is arts partner. Additional funding Concert sponsored Philharmonic by Women’s Advocacy Director Kayoko Dan, guest artist, musicians. guest and select Dan, Kayoko Director MIRACULOUSMANDARIN BARNETT MASTERWORKS SERIES COMPANY & Thomas Landschoot, cello Thomas Landschoot, Guest artist sponsored by Peace Communications Kayoko Dan, conductor Dan, Kayoko

HAYDN GABRIELA LENA FRANK

BARTÓK This performance will be re-broadcast on Classical 90.5 WSMC o on Classical will be re-broadcast This performance

Photography and video/audio recording are prohibited. Please remember to turn cell phones off. turn cell to remember Please prohibited. are and video/audio recording Photography Join us immediately after the concert for Postlude, our post-concert Meet and Greet with Music and Greet our post-concert Meet Postlude, the concert for after Join us immediately

IN MEMORY OF ROBERT BURKS

Robert Burks, known to many as “Oboe Bob,” served as principal oboist with the Chattanooga Symphony & Opera for 38 seasons. He died unexpectedly on June 1, 2019.

Born in Oklahoma, Bob was an exceptional baseball player in his youth. He traded in the life of an athlete to follow his passion for music, eventually switching his focus from the to the oboe, and he would go on to study at the St. Louis Conservatory and the Cleveland Institute of Music before taking up teaching himself.

Over the years, Bob would inspire area students as both a private instructor and a staff member at local institutions such as Lee University and Southern Adventist University. The Bob Burks Scholarship was established following his passing to cover the full tuition costs for a young oboe player in the Chattanooga Symphony & Opera Youth Orchestras. The 2019/20 recipient is Elise Hayen, one of Bob’s own students.

Bob also played and recorded with the Atlanta Symphony Orchestra and was an active member of Tri-State Musician’s Union, AFM Local 80, where he served as both Vice President and President.

The CSO will pay tribute to Robert Burks this evening with a performance of Ravel’s Tombeau de Couperin: Menuet. chattanooga symphony & opera symphony chattanooga To donate to the Bob Burks Scholarship Fund, contact Rebekah Cheney at [email protected] or by calling 423.267.8583 ext. 2103. PROGRAM NOTES

Gabriela Lena Frank The music of the Hungarian composer, Béla

(b. September 26, 1972 in Berkeley, ) Bartók, is alluded to. chattanooga symphony & opera Three Latin American Dances III. The Mestizo Waltz: As if in relief to the gravity Born of a father descended from Lithuanian Jews of the previous movement, this final movement is and a mother part Chinese and part Peruvian, a lighthearted tribute to the “mestizo”, or mixed- Gabriela Lena Frank had a rightful claim from race, music of the South American Pacific coast. the beginning to delve deeply into cultural and In particular, it evokes the “romancero” tradition ethnic diversity and has drawn on her own roots of popular songs and dances that mix influences in creating multicultural music that fits into a from indigenous Indian cultures, African slave classical framework all her own. She cites Alberto cultures, and western brass bands. It exists in its Ginastera and Béla Bartók as influential in her original version as the final movement of my string work. No doubt Bartók’s extensive study of folk quartet, Leyendas: An Andean Walkabout (2001). music around his home country encouraged her travels in South America where she gathered music, mythology, and poetry that found their way Franz Joseph Haydn into her music. (b. March 31, 1732 in Rohrau, Austria; d. May 31, 1809 in Vienna) New Music USA and the ASCAP Foundation Cello Concerto in C Major, Hob. VIIb:1 supported Frank in creating Three Latin American With his tercentenary now on the horizon, Haydn Dances. Keith Lockhart and the Utah Symphony may be receiving new attention that he richly de- premiered the work April 23, 2004. Says Frank, serves. His long life conferred advantages. When “There’s usually a story line behind my music; a he was born, Bach, Handel, Vivaldi, and many scenario or character” and we meet the first char- other Baroque composers were still active. Mozart acter, Keith Lockhart’s first son, at the top of the lived and died within Haydn’s span and he lived to score. Frank’s own notes in the score are detailed. see Beethoven whom he had taught, reach exalted The italic paragraphs below are hers. status in Vienna.

Three Latin American Dances is dedicated to Haydn in his career path was the last of the old Aaron Lin Lockhart (b. August 24, 2003) in keen and the first of the new. His first secure positions anticipation of this hombrecito’s dance… As such, were as court music director (Kapellmeister), the work has the following scheme: prestigious, yes, but wearing a servant’s uniform. By 1790 Haydn had some freedom to travel and I. Introduction: Jungle Jaunt: This introductory made the most of it. He went to London twice and scherzo opens in an unabashed tribute to the profited handsomely, becoming financially com- Symphonic Dances from West Side Story by fortable and independent for the first time in his Leonard Bernstein before turning to harmonies life. His was a pioneering achievement and defined and rhythms derived from various pan-Amazonian a path for future composers to follow. dance forms. These jungle references are sped through (so as to be largely hidden) while echoing When Haydn wrote his first cello concerto in the the energy of the Argentinian composer Alberto early 1760s, the idea of a cello concerto was Ginastera, who was long fascinated with indig- hardly new. Vivaldi wrote dozens and Haydn’s enous Latin American cultures. contemporary Luigi Boccherini wrote at least ten. Haydn’s broke new ground, however, being II. Highland Harawi: This movement is the heart an early classical example where the soloist is at of Three Latin American Dances, and evokes the least an equal with the orchestra and is a clear Andean harawi, a melancholy adagio traditionally leader, playing boldly and getting two open-ended sung by a single bamboo quena flute to accom- solo opportunities with cadenzas in the first and pany a single dancer. As mountain music, the second movements. ambiance of mystery, vastness, and echo is evoked. The fast middle section simulates what I For nearly 200 years the Cello Concerto No. 1 imagine to be the “zumballyu” of Illapa — a great was believed to have been lost, only rediscovered spinning top belonging to Illapa, the Peruvian-Inca in 1961 in Prague. Since then its popularity has weather deity of thunder, lightning, and rain. Illapa outstripped that of his Cello Concerto No. 2 in D spins his great top in the highland valleys of the Major and with reason. Although twenty years Andes before allowing a return to the more staid separate their composition, the first sounds harawi. PROGRAM NOTES (con’t) distinctly fresher and more modern. Even with come. It debuted in Cologne, Germany, in 1926. some Baroque trappings, like a continuo part, the Although it is usually called a ballet, Bartók piece shows how Haydn was already moving on. preferred to call in a pantomime because little dancing is involved. Whatever to call it, the pre- The opening Moderato is energetic and makes miere was a debacle. The audience walked out; great demands on the soloist. Joseph Franz Cologne Mayor Konrad Adenauer (later West Weigl, the cellist Haydn wrote it for, must have German Chancellor) reprimanded the conductor been top-notch. Our soloist Thomas Landschoot and the work was banned. Bartók was familiar promises the cadenza near the end, “will be slightly with Stravinsky’s The Rite of Spring and the riot improvised, mostly based on an original cadenza it produced and perhaps imagined that notoriety from Haydn’s time, and definitely with a might lead to fame but, no, just one more produc- Chattanooga flair.” tion in Prague in 1927 and never again in Bartók’s lifetime. In the Adagio strings alone accompany the soloist who enters with a long sustained note and Perhaps Stravinsky’s venture into sex and violence continues with the theme just introduced. Another fared better because it was rooted in mythic his- cadenza comes close to the end. tory, while Bartók’s was raw and real. Here is the story written into the score: The very fast finale bursts with excitement. It can be thought of as a perpetuum mobile, a steady In a shabby room in the slums, three tramps, bent torrent of notes almost uninterrupted from on robbery, force a girl to lure prospective victims beginning to end. from the street. A down-at-heel cavalier and a timid youth, who succumb to her attractions, are Béla Bartók found to have thin wallets and are thrown out. The (b. March 25, 1881 Nagyszentmiklós, Hungary; third “guest” is the eerie Mandarin. His impassivity d. September 26, 1945 in New York City) frightens the girl, who tries to thaw him by dancing The Miraculous Mandarin Suite, Sz. 73a — but when he feverishly embraces her, she runs from him in terror. After a wild chase he catches Had Bartók never composed anything of value he her, at which point the three tramps leap from would still be an important musical figure for the their hiding place, rob him of everything he has, way he and his friend and colleague Zoltán Kodály and try to smother him under a pile of cushions. pioneered ethnomusicology together. In 1905 But he gets to his feet, his eyes fixed passionately Kodály took phonograph cylinders out to Hungar- on the girl. They run him through with a sword; ian villages and recorded as many folksongs as he he is shaken, but his desire is stronger than his could carry. This corpus led to his PhD thesis The wounds, and he hurls himself on her. They hang Strophic Structure of Hungarian Folk-Songs and him up, but it is impossible for him to die. Only to a collaboration that lasted as long as Bartók when they cut him down, and the girl takes him lived. Together they took more field trips and into her arms, do his wounds begin to bleed and began publishing collections of folksongs. The final he dies. critical edition published by Kodály in 1951 was a lasting monument to their work. Bartók wrote nothing more for the stage after Mandarin. He took two-thirds of its music, ending Bartók’s interests in composing went first toward the story where the Mandarin catches the girl, and music that would tell a story on stage. Bartók called it a suite. wrote his only opera Bluebeard’s Castle, finish- ing it in 1911 in time to try unsuccessfully for two The piece begins with noisy urban chaos, then composition prizes. three times, from a full stop, the solo clarinet begins each seduction. In the climaxes the With Bluebeard still on the shelf, Bartók wrote a crash each time the victim is murdered. ballet , performed first in 1917. Its modest success did lead to staging Bluebeard Bartók presciently wrote in 1927, “In my view, this in 1918; however, the librettist Béla Belázs was chattanooga symphony & opera symphony chattanooga is the best work I have so far written for orches- exiled the next year and Bluebeard, too, was no tra.” Sadly he did not live to see future generations longer welcome in Hungary. agree it was true.

Work on The Miraculous Mandarin began in 1918, (c) 2019 by Steven Hollingsworth, Creative Commons Public Attribution 3.0 finished a year later, with many revisions still to United States License. Contact [email protected] CORPORATE & FOUNDATION SUPPORT

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John West Robert West Mary Westbrook Phil Westhoff Wiertel Steve Mr. Kirk Wilcox Williams Elliot Williams Robert and Nora Thomas and Joy Williams Ms. Lillie M. Wills Linda Wilson Woody Shawn Brian Wright Robin Wright Wyatt Sharon Kim Young Randy & Denise Young Mr. Uwe Zitzow David Ulmer David and Mrs. Dr. Urban Richard Robin Vasa MaryAnn Villegas Virgo Laura Vollberg Carlton Wilson von Kessler Mr. & Mrs. Walker Anthony Wang Yiwen Ward Therald Mr. and Mrs. Ware Ms. Jennifer Jr. William Waters Robert Weber Weikert Alex

Colleen M. Tobin Mr. Robert Todd John Tolson Mr. John and Mrs. Connie Trieber Harry Stone Ms. Vicki Stone Robert Streetman Strom Virginia Deanna Swiney Mr. John Szeglin Tallant Sandra Philip Tatum Chloe Thacker Dr. Bruce Thompson James Thompson Thompson Melodie Tierney Andrea Tilley Janet Edwin Smith Eric Smith Smith Lee Smith Trent Spell Kelly Speraw Daniel Alan Spring & James Springer Danielle Kidambi Sreenivas Ronald Stephenson Steves Ms. Michele Steward Sandra Chris Stitzlein Robert and Mary Stoetzner Stone & Jennifer Patrick Ray Sexton Shadrick Montana Kristin Sharp Shearer Dr. C. Wayne Mr. Jack Shepard Short Travis Tim Shuster Mr. Mark Siedlecki and Erik Broeren The Rev. Ms. June Silver Rebecca Sinclair Autumn Skiles Smith Dana Smith Deborah Bob & Marlene Sauer & Marlene Bob Schide Alan Mr. Larry Schlabach Schmidlin Cynthia Schow Tom Mrs. Mr. and Jacob Schwartz Seaberg David Alison Sexter

Aileen San Luis Sanders Lara Mr. Thomas Rowan Rushton Virginia Mr. and Mrs. Derrick Rushworth Russo Andrea Rutledge Ashley Salazar Patricia Joel Riddle Joel Galen Riley Robinson Vanessa Mary Rochelle Ronald Rogers Rose Jeffrey Robert Roth Mr. ClaytonRhodes Rhodes Leah Rhyne Laurel Amber Richards Mr. & Mrs. Jr. Richardson, W. Joel Mr. Alan Richelson Susan Colville Prudowsky PD Queen-Huston Gail Rader Jerry Ragon & Katherine Rains Janet Cherie Ransby Ray Kendall Mr. George Piper Mr. George Pitkow Ms. Andrea Randal Platts Plumlee & LeAnn Steve Mr. Brian Poteet Norman & Gloria Poynter John & Janie Prescott Jennifer Patterson Jennifer Payne Stephanie Pecovsky Rachelle Pedigo Austin & Haley Chip Perlewitz Pettit Jennifer Mr. William Phillips Angela Nye Angela Odom Mr. John O’Keefe Joy Odom Offutt Paula Park and Richard Pam James Passmore Patric & Debby Ken Dr. and Mrs. David Neall David and Mrs. Dr. Newman Susan Nicely Jennifer Niemeyer Ms. Samantha Colt Nolan James and HillaryMyers Steve Moses Steve Ricky Murphy Lynn Moore Lynn Moses Ms. Nell Ms. Claire Mooney Ms. Claire Mr. and Mrs. Marshal Mize Marshal Mr. and Mrs. Mondido Raquel Tammi Miller Tammi Miskelly Catherine Janet Middlebrooks Janet Molly Miles Mrs. Scarlett Meadows Scarlett Nancy McLoda Susan I. McRae Jon McKenzie McLean Betsy Stella McHugh Stella McKee Lynn Olivia McGowen and Geoff Mr. and Mrs. Stephen McGann Stephen Mr. and Mrs. E. McGee George Mr. and Mrs. Mr. Eddie McCrary McCurey Ashley Peter McCall Peter Mary McCleery Dr. Michael MazzoliniDr. Michael Coreena Mayton Coreena Maynor Matt Mr. and Mrs. Thomas May Mr. and Mrs. Mayberry Eston Mr. and Mrs. Samuel Massengale Samuel Thomas Maurer Laura Marshall Laura Diane Marble Dendy Marshall Joseph & Anne Lubinski Pia MacDonald Chassie Long William Lowery Mr. William Little Lockett William and Sara Bob & Pat Lindstrom Bob & Pat Charles Leonard Erin Lindley Lara Laymance Lara B. Lefton Andrew Willie Lassetter Susan Laughrey Tiffany Langley Tiffany David Lanaman David Landau Natalie Steven Krug Steven Kuberg Donna Dr. & Mrs. Alan Kohrt Alan & Mrs. Dr. Kolderup Stephen Mr. chattanooga symphony & opera

President 80 Local Brown, Taylor Mr. In memory of Robert Burks, past Local 80 President Anonymous In honor of Kathy Allison Jack Barker In memory of Mary Barker This list reflects tribute Marchgifts made 2019-present. from

In memory of Robert Burks Tri-State Musicians’ Union Local 80, AFM Musicians’ Union Local Tri-State In memory of Michael Carver Trust Family Mirlene E. Conard-Burks In memory of Robert Burks Ball Scott Dr. and Mrs. In memory of Robert Burks Noblett Phillip & Peggy In memory of Robert Burks Linda D. Morris In memory of Robert Burks & Michael Carver and Linda Pennebaker David In memory of Robert Burks Shinbaum Mr. Carey In memory of Robert Burks In Tribute Campbell Nelson In memory of Caroline Humphreys Brown Robert Vagt and Ruth Anne In memory of Fletcher Bright Campbell Emily & Paul In honor of Bob Bernhardt Rosa L. Ailey Guests are welcome to leave their seats and move about the venue their seats during leave to welcome Guests are Even the smallest sounds are amplified in a performance hall. Before the performance hall. Before amplified in a performance Even the smallest sounds are CONCERT ETIQUETTE

Thank you for your consideration. Enjoy the show!

CSO musicians love to hear people applauding, but there are times when you normally don’t when times you normally don’t hear people applauding,CSO musicians love are to but there write. office or an usher to seat you close to the stage or towards the back of the hall so you can have some light to some light to of the hall so you can have the back the stage or towards you close to seat office or an usher to not permitted. Avoiding these and other distractions helps create an environment in which the music can be an environment create helps distractions and other these Avoiding permitted. not please ask the box your paper, for take notes and would like to a student all. If you are by and enjoyed heard alarms. While we hope you are excited to discuss the performance post-concert, we ask that you please post-concert, the performance discuss we ask that to excited alarms. While we hope you are are and sound recordings while Photography a piece is being performed. holding conversations from refrain THINGS TO AVOID: THINGS TO and watch phones, beepers, cell hearing aids and turn off all pagers, turn down candy, begins, please unwrap intermission, but we ask that you wait until the lights have been turned on before attempting to exit. Please exit. to attempting been turned on before the lights have until you wait but we ask that intermission, movements. in between until or wait the hall during a piece, or exiting entering from refrain HALL/INTERMISSION: If you’re still unsure, wait until others begin clapping and follow their lead! That being said, don’t feel feel don’t being said, their lead! That begin clapping and follow others until wait still unsure, If you’re it! appreciate if you do clap. We embarrassed If in doubt, watch for the conductor to completely lower their arms and begin to acknowledge the orchestra. the orchestra. acknowledge to their arms and begin lower completely to the conductor for If in doubt, watch until after the entire piece is performed and the conductor has dropped the baton. the baton. has dropped and the conductor piece is performed the entire after until applaud at a classical concert. For our Barnett & Company Masterworks concerts, people generally clap after Masterworks clap after & Company concerts, our Barnett people generally a classical concert. For applaud at wait best to but it’s “parts” in each piece, or movements or four may be three piece is done. There the entire CLAPPING: visit our website at chattanoogasymphony.org/experience/faq. visit at our website We want everyone to have a great concert experience! Please take a minute to review these symphony review to concert Please take a minute experience! everyone a great want have to We learn more, to If you want and others. yourself for and enjoyable comfortable make the show tips to etiquette Harriett & Berton Whitaker Harriett Pat Starke Pat Foundation The Tivoli Theatre The Rev. Erik Broeren The Rev. SilzleBill & Carolyn Mr. Mark Siedlecki and Ms. Rebecca Miller Sanders Brent Bryan and Mindy Kelly Larimar MedSpa Jamie Gilbreath JewelryJessica Klaaren Hart Gallery Elder’s Ace Hardware Ace Elder’s Embellish Mr. and Mrs. George S. Clinton George Mr. and Mrs. Dish T’Pass Chattanooga Theatre Centre Theatre Chattanooga Temple and Andrew Dan Kayoko Chattanooga Football Club Football Chattanooga Warren Barnett Warren Clothier Bruce Baird In-Kind DonorsIn-Kind + Biddy Bantam