GLASS REFLECTIONS BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer and BROOKLYN PHILHARMONIC·ORCHESTRA 39th Season, 1992/93 Dennis Russell Davies, Principal Conductor Lukas Foss, Conductor Laureate

presents in the BAM House November 13, 14, 1992; 8pm GLASS REFLECTIONS WORKS BY

BROOKLYN PHILHARMONIC ORCHESTRA DENNIS RUSSELL DAVIES, Conductor PHILIP GLASS, DENNIS RUSSELL DAVIES, KENNETH BOWEN, KAREN KAMENSEK, MICHAEL RIESMAN, Keyboards NEW YORK CHORAL SOCIETY; John Daly Goodwin, Music Director

Music in Similar Motion (1969) PHILIP GLASS, DENNIS RUSSELL DAVIES, KENNETH BOWEN, KAREN KAMENSEK, MICHAEL RIESMAN, Keyboards

Itaipu: A Symphonic Portrait for Chorus and Orchestra (1989) I. Mata Grosso II. The Lake III. The Dam IV. To the Sea NEW YORK CHORAL SOCIETY; John Daly Goodwin, Music Director

Intermission

"Low" Symphony (1992) u.s. Premiere I. "Subterraneans" II. "Some Are" III. "Warszawa" from music by and

This presentation has been made possible, in part, by a grant from The Mary Flagler Cary Charitable Trust. Major support for the Brooklyn Philharmonic Orchestra's 1992/93 season has been provided by a generous grant from the LILA WALLACE-READER'S DIGEST FUND.

THE STANLEY H. KAPLAN EDUCATIONAL CENTER ACOUSTIC SHELL The Brooklyn Philharmonic and the Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustic Shell.

Brooklyn Philharmonic Orchestra is the Resident Orchestra of the Brooklyn Academy of Music. BROOKLYN PHILHARMONIC ORCHESTRA

VIOLIN I Ron Wasserman Dale Stuckenbruck Janet Hill Dean Crandall Wilmer Wise Diane Bruce Sarah Adams Philip Ruecktenwald Claudia Hafer Ron Carbone Lowell Hershey Sander Strenger Mary Helen Ewing Diva Goodfriend-Koven Carl Sakofsky Robin Bushman Monica Gerard Elizabeth Brown Elizabeth Field Rozanna Weinberger Dan Gerhard Marilyn Reynolds Christine Ims Jonathan Taylor Gayle Dixon Lois Martin Hugh Eddy Katherine Hannauer Ronald Lawrence Henry Schuman Lawrence Benz Cecelia Hobbs Gardner Katherine Rite Melanie Feld Rena Isbin Leonard 'Gibbs Robert Walters Carolyn Wenk-Goodman Ah Ling Neu Andrew Seligson Gabriel Schatt Luellen Abdoo Steven Hartman PERCUSSION Dennis Linkevitch Chris Finckel Larry Guy Richard Fitz Victor Heifetz David Calhoun Gerhardt Koch James Preiss Lanny Paykin Brian Hysong Norm Freeman II Michael Rudiakov William Trigg Ann Labin Peter Rosenfeld Eugenie Seid Kroop Sally Cline Lauren Goldstein HARP Fritz Krakowski Frank Mruphy Jeff Marchand Karen Lindquist Carol Havelka Joshua Gordon Michael Finn Ming-Feng Hsin Lutz Rath KEYBOARD Nancy Ditto Michael Finckel HORN Kenneth Bowen Lisa Brooke Francisco Donaruma Roxanne Bergman Katie Dennis Diana Smith Barker Joseph Bongiorno ' Scott Temple Elmira Belkin Dennis James Alex Cook Karen Anne Milne Jaime Austria Jeff Scott Laura Goldberg Louis. Bruno Milton Phibbs Marya Columbia Janet Conway Barbour Natalie Kriegler Jules Hirsh

MUSIC CREDITS

All rights reserved. International copyright secured. "Low" Symphony Used by permission. BY PHILIP GLASS "Warszawa" by David Bowie and Brian Eno. © 1977 Tintoretto Music, Fleur Music. and E.G. Music. From the music of David Bowie and Brian Eno. Rights for Tintoretto Music and Fleur Music assigned © 1992 Dunvagen Music Publishers, Inc. Symphony to EMI Music Publishing Ltd. All rights for EMI administered throughout the world exclusively by Music'Publishing Ltd. in the USA and Canada con­ Dunvagen Music Publishers, Inc. trolled and administered by Screen-Gems - EMI "Some Are" by David Bowie and Brian Eno. © 1991 Music Inc. All rights reserved. International copy­ Tintoretto Music, Fleur Music and Opal Ltd. Rights right secured. Used by permission. for Tintoretto Music and Fleur Music assigned by ~ I EMI Music Publishing Ltd. All rights for EMI Music Publishing Ltd. in the USA and Canada controlled and administered by Screen-Gems - EMI Music Inc. ftaipu All rights for Opal Ltd. in the USA and Canada con­ trolled and administered by Upala music Inc. (BMI). Music composed by Philip Glass All rights reserved. International copyright secured. © 1991 Dunvagen MusiC Publishers, Inc. Used by permission. "Subterraneans" by David Bowie. © 1977 Tintoretto Music and Fleur Music. Rights assigned to EMI Music Publishing Ltd. All rights for EMI Music Music in Similar Motion Publishing Ltd. in the USA and Canada controlled Music composed by Philip Glass and administered by Screen-Gems - EMI Music Inc. © 1973 Dunvagen Music Publishers, Inc. Program Notes by JAMES M. KELLER

The music of Philip Glass and his artistic Born in 1937, Glass had studied music since relatives has grown so familiar during the childhood, and earned estimable "seals of last decade that listeners may forget how approval" credentials that included degrees astonishing its impact was when it began to from the Juilliard School (where he studied filter out of avant-garde hideaways, nearly composition with William Bergsma and twenty-five years ago. Much of the cutting­ Vincent Persichetti), study at the Aspen edge music of the post-war years had grown Music Festival (with ), and frustratingly turgid, and audiences who had an extended stint (through the graces of the yet to come to terms with such relatively Fulbright Foundation) in Paris, where he antiquated composers as Schoenberg or underwent the rigorous regime of harmony Webern found themselves utterly perplexed and counterpoint that Nadia Boulanger had by the increasingly complex and abstracted imposed with stunning success on decades of scores of such composers as Elliott Carter, developing American composers. It was in Milton Babbitt, or Pierre Boulez. By the late Paris, in 1965, that Glass met up with the 1960's, many have argued, serious composers Indian sitar player Ravi Shankar, who invit­ had by-and-Iarge lost contact with all but the ed him to collaborate in the composition of tiniest' minority of the concert audience. a score for the film Chappaqua. Besides pro­ viding much needed pocket money, the It was in this context that, in the late experience·brought him into contact with 1960's, a small band of composers emerged the musical rudiments of Indian music, with an alternative approach to composi­ which is based on the interlacing of defined tion. By stripping music back down to rhythmic and· melodic cells (as opposed to immediately perceptible elements, and then the harmonic tension and resolution of exploring those musical aspects obsessively, Western music). Finding himself on the verge these composers at once challenged the of discovering his authentic voice as compos­ reigning establishment of avant-garde music er, Glass shortly embarked for India, Central and argued that serious music·need not be Asia, and North Africa; and, settled in New inaccessible to listeners· unschooled in the York the following year, he put the sounds subtleties of advanced Serialism. heard in these travels to immediate use.

Though the several ~omposers associated By 1968, Glass had formed the Philip Glass with the new movement· (including Terry Ensemble, consisting of amplified wood­ Riley, LaMonte Young, and , in winds and keyboards, singers, and (begin­ addition to Philip Glass) proceeded accord­ ning in 1970) an indispensable sound engi­ ing to their individual curiosities, they neer. In 1969, the ensemble introduced three shared an interest in repetitive patterns and pieces that stood as style-defining monu­ in structures that grew by minute gradations ments of the composer's brand of minimal­ from rudimentary musical material. The ism: Music in Fifths (in which a melody is term "Minimalist" was quickly pressed into simultaneously performed at two levels of service to describe their efforts. Glass attrib­ pitch a fifth apart), Music in Contrary utes the label to Tom Johnson, a composer Motion, and Music in Similar Motion (this and (then) critic for for the Village Voice, last being the only of Glass's classic who later repudiated its usage when applied Minimalist works to have remained in his to the repertoire to which it was widely ensemble's repertoire). Music in Similar attached. Motion displays the Minimalist hallmarks of simple melodic lines perpetually repeating In fact, the concert world initially had little use within strict rhythmic patterns, with the for these composers, whose ground-breaking su:btlest of alterations injected over long works were often embraced and promoted stretches. Though the Ensemble performed more ardently by visual artists and gallery on two electric organs and three synthesizers owners than by traditional concert producers. when the work was premiered (at New This inevitably led to charges from musical tra­ York's Guggenheim Museum), it can be ditionalists that the Minimalists lacked proper (and has been) performed and recorded with training and technical competence. But such other instrumental combinations as well. accusations were largely unfair, and proved Although the musical material is clearly understandably exasperating to Glass. composed, the Ensemble's leader determines the overall structure of the piece in the what's happening at each moment be the course of the performance, cuing the. per- essential and important thing. There's a spa­ 'formers as the piece progresses. The work's cious, epic quality about the music." relentlessness suggests the machine age, and its exhilaration may strike some listeners as Epic grandeur lies at the heart of , a ultimately frightening, in the unstoppable 1988 composition inspired by Glass's visit style of the sorcerer's apprentice's broom­ to the humongous ,hydro-electric project on run-amuck. "I don't think I could write that the Parana River, on the border between music today," Glass insisted in a later inter­ and . The project's scale is view, "but I enjoy playing it today.... super-humanly large: the dam itself is five There's no way for me to rewrite Music in miles wide and as half as tall as the Empire Similar Motion. It doesn't need updating.... State Building. Overwhelmed by the.enor­ In a way, it crystallizes' a moment in my mousness of the engineering, Glass con­ musical career." ceived Itaipu as a generally admiring musi­ cal commentary. The work's four move­ Having thus articulated the principles of his ments trace the flow of the water from its musical aesthetic, Glass set about building a origins in Brazil's Mato Grosso highlands, more "developed" musical style without into the newly created lake, through the approaching the off-putting complexity of dam itself, and on to the sea. Though its his uncompromising "uptown" contempo­ musical material is inherently symphonic, raries. By 1975, Glass found himself each movement includes a choral text (in the involved in the world of the stage, achieving native Guarani language) relating portions a new plateau of acceptance (or notoriety) of the creation legend of the native people, through the European performances of his who regard the Parana River as "the place opera , which was per­ where music was born" and once home to formed the following year at the "Itaipu," a "singing stone" that vibrated in Metropolitan Opera House. (Einstein, by the rapids where the dam now stands. the way, will be revived next week at BAM.) Other musical-theatre works followed, The"Low" Symphony, here receiving its including' (1980, a great success world premiere, brings us up'to date on when it was performed at BAM), dealing Glass's development. Composed this past obliquely with the life of Gandhi; spring, it is a full-scale, three-movement (1984), on a chapter from ancient Egyptian symphony that employs relatively standard history); and , a Columbus-relat­ orchestral forces (with no electronic amplifi­ ed epic that premiered at' the Metropolitan cation). While its genesis in the principles of Opera only last month. Glass's relaxed, luxu­ classic Minimalism are clear-repeating riouslyevolving style also proved effective in melodic cells, clearly stratified counterpoint, film scores; some of his most evocative were development over a luxurious time-frame­ written for (1981), Mishima its musical language has travelled a long (1985), and The Thin Blue Line (1988). way from Glass's early' works. As is typical with the composer, the piece's impetus None of these works adheres slavishly to the comes from its rhythmic, rather than its har­ procedures of, say, Music in Similar Motion. monic, content. Practically shorn of disso­ In place of the sometimes brash, primary­ nance, the harm~nic vocabulary is soothing. color procedures of classic Minimalism, Glass has derived the melodic themes of the Glass was achieving a more lyric voice, "Lo'w'" Symphony from the works of two recalling in certain ways the expansiveness musicians he admires-David Bowie and and cumulative impact of many large-scale Brian Eno-whose record Low appeared in scores of the nineteenth century. Dennis 1977': The symphony's first movement uses Russell Davies says: "There's a way of lis­ material from the band of the record titled tening to Philip's music that, for me, is par­ "Subterraneans" (by Bowie); the second allel to listening to certain works of movement is derived from "Some Are" (by Wagner. If you're the type of liste'ner who Bowie and Eno); and the third from wants to arrive at where you're going to be, "Warszawa" (again, jointly co.mposed). if you're fascinated by the symphonic form Although primarily considered a "pop" (whereby the recapitulation is the be-all­ recording, Low employed many Minimalist and-end-all of music), then neither Wagner procedures, underscoring th'e extent to nor Glass is the composer for you, because which the styles of Glass and his colleagues the important thing for these composers is succeeded in straddling the specious border the trip along the way. It's taking time to let between "popular" and "serious" music. BIOGRAPHIES THE BROOKLYN PHILHARMONIC Buddhas, 's Seven Pastorales, ORCHESTRA, now in its second season and Peggy Glanville-Hicks Etruscan under the artistic leadership of Principal Concerto with as Conductor Dennis Russell Davies, has soloist-has just been released. Mr. Davies' gained a reputation as one of the most for­ latest recording with the- Brooklyn ward-looking orchestras in the United Philharmonic-Philip Glass' ULow" States. A twelve-time recipient of the Symphony, featured on tonight's program­ ASCAP/ASOL Award for adverturesome will be released this winter. Mr. Davies programming, the BPO was awarded a comes to us fresh from the world premiere $500,000 Challenge III Grant from the of 's opera McTeague, National Endowment for the Arts (NEA) for which he prepared and conducted for the new artistic initiatives-one of only three Chicago Civic Opera. orchestras nationwide and the only music organization in New York to be so honored. THE NEW .YORK CHORAL SOCIETY, The Resident Orchestra of BAM, the BPO now in its 34th season, is an avocational participates in BAM productions, and pre­ group of 150 singers formed to advance the sents its own subscription series, arts-in­ appreciation of choral music in the New education programming, and community York. area through performances of new outreach concerts. music, lesser known pieces from the stan­ dard repertoire, and popular masterworks. DENNIS RUSSELL DAVIES (Principal The Society's activities include a subscrip­ Conductor) is among the most active of con­ tion series for chorus and orchestra at ductors on the international scene, currently Carnegie Hall, guest appearances with local serving as Principal Conductor of BPO and orchestras, a popular program of Summer Music Director of BAM, Music Director of Sings in Manhattan, and the New York the American Composers Orchestra, and Choral ~ociety Chamber Singers. The General Music Director of the City of Bonn, Society's next production will be the Berlioz Germany. In Bonn·he serves as the chief Requiem on December 5. Most recently conductor of both the Orchester der called "professional in every way except Beethovenhalle Bonn and of the Bonn Opera vocation" by the New York Daily News, the House, and oversees the International organization strives ito attain the highest Beethoven Festival, held in Bonn every three standards of excellence in all its produc­ years. Maestro Davies has appeared as guest tions, from Bach to Charles Ives. conductor for such leading orchestras as the Boston Symphony, the Philadelphia An acti\re program of commissioning com­ Orchestra, the Berlin Philharmonic and the positions for chorus and orchestra has pro­ Radio Orchestras of Vienna, Cologne and duced a number of works: most recently, Rome. During the past season he appeared Robert DeCormier's Under a Greenwood as guest conductor with the Bayerisches Tree, premiered by the Choral Society in Staatsoper and with leading orchestras in November, 1990, and called a "major Rotterdam and . A native of work" by the Daily News; Paul Alan Levi's Toledo, Ohio, Maestro Davies received his Mark Twain Suite, recorded on Centaur musical training at the Juilliard School, Records; and Morton Gould's Quotations, where in 1968 he joined with recorded on the Koch International label. as co-founder of The Juilliard Ensemble. In For its 35th anniversary season, the Society addition to conducting, Maestro Davies has commissioned a work from J oelle appears regularly as a pianist; recent perfor­ Wallach to be premiered in Carnegie Hall mances include a series of duo-recitals with in March, 1993. Recent guest artist appear­ violinist Oscar Shumsky and chamber music ances include Beethoven's Ninth with the concerts with the Stuttgart Woodwind Queens Symphony and the New York pre­ Quintet.. Recent recordings include works by miere of Gorecki's Beatus Vir with John Beethoven, Mendelssohn and Copland and a Nelson conducting at the Cathedral of series of recordings (for Argo) of modern Saint John the Divine. Its most recent American works with the American appearance with the Brooklyn Composers Orchestra. Mr. Davies' first Philharmonic Was in the Verdi Requiem for recording with BPO (on the Music Masters the farewell appearances of Lukas Foss as label)-featuring 's June Principal Conductor. BROOKLYN PHILHARMONIC ORCHESTRA SPONSORS' 1992-93 SEASON BPO is proud to be the recipient of the National Endowment for the Arts Challenge III Grant. Major support for BPO's 1992/93'season is made possible by a generous grant from the , Lila Wallace-Reader's Digest Fund,. We extend special thanks to the Mary Flagler'Cary Charitable Trust; Starrett at Spring Creek; managed by Grenadier Realty Corp.; and the Booth Ferris Foundation for their leadership in the Orchestra's Challenge Campaign. The Brooklyn Philharmonic Orchestra gratefully acknowledges the support of those. individuals, government agencies, foundations and corporations whose gifts help to mak~ our many programs possible.

LEADERSHIP CHAMPIONS Feld Kaminetzky & Cohen, P.e. ($25,000 or more) ($1,500 or more) Charlotte Frank National Endowment for the Arts Bangser Klein Rocca & Blum DarkO V. & Liesl Frank Deparment of Mrs. F. Henry Berlin Evelyn Hinrichsen Cultural Affairs Dawn Cardi Dr. Theodore P. Katz New York State Council on the Arts Isaac Druker Mr. & Mrs. Arthur Lichtmann Edward John Noble Foundation Mr. & Mrs. Richard W. Hulbert Marjorie Martin Republic National Bank of New York Nicholas M. Infantino Dr. Tatsuji Namba and Williamsburgh Savings Bank Mr. & Mrs. Irwin Lainoff Donald S. Owings Robert e. Rosenberg Arnold L. Sabin Mr. & Mrs. Rubin Raskin Starrett at Spring Creek, managed by Thomas W. Streeter Grenadier Realty Corp. DONORS Malcolm Thomson ($1,000 or more) Vendrite Corporation PACESETTERS Abraham & Straus Drs. B. & E. Wainfeld (510,000 or more) Bank Leumi Dr. & Mrs. Walter Weitzner The Louis Calder Foundation Cowles Charitable Trust Richard Wood Con Edison European American Bank Zeitz Foundation The Fan Fox and Leslie R. Samuels Gary P. Gailes Foundation, Inc. Ann & Gordon Getty Foundation CONTRffiUTORS The J.M. Kaplan Fund Goldman Sachs ($150 or more) Rita & Stanley H. Kaplan Foundation Mr. & Mrs. Fred Haber Regina & Michael Ambrosio Stanley H. Kaplan Educational Center The Victor Herbert Foundation Sarah Jean Avery The Koussevitzky Music Foundation, Inc. IBM Corporation John T. Bachem Craig G. Matthews Mr. & Mrs. Joseph F. Kelly Mr. & Mrs. Richard Beckford Meet The Composer New York Times Company Axel Bayer Music Performance Trust Funds Foundation, Inc. Rita & Ernie Bogen National Westminster Bank USA In Memory of Bernard L. Rosenberg Janice Brown The Scherman Foundation, Inc. Laura Walker Castle Oil Corporation John Tamberlane Mr. & Mrs. WilliamWeinpahl Dr. & Mr. Clifford Cohen Michael Tuch Foundation Gail R. Clott & Norman Segal BENEFACTORS Mr. & Mrs. Cupas PATRONS ($500 or more) Angelo DeCaro ($5,000 or more) Amstar Corporation Mr. & Mrs. Richard Dolan Rose M. Badgeley Residuary Alice L. Berry Dr. & Mrs. Austin Fink Charitable Trust Greenpoint Savings Bank Jack Fuller Brooklyn Union Gas The Rev. Louis Hallgring Dr. Abraham & Anita Gilner Eleanor Naylor Dana Charitable Trust Independence Savings Bank Kitty Glantz Aaron Diamond Foundation John Barch Construction Mendel Gurfein Forest City Ratner Companies Mr. & Mrs. Harvey Kaylie John & Margaret Hewitt Amerada Hess Corporation I. Stanley Kriegel William Holbrook Philip Morris Companies Inc. Mr. & Mrs. Jack Litwack Kathleen & Kim Juhase Helena Rubinstein Foundation Mrs. August Ludtmann Jessie & Dennis Kelly S.H. & Helen R. Scheuer Joseph Machlis Eugenie & Irving Kroop Family Foundation Mrs. Melvin Moore Frank Maguire Starr Foundation Harry A. Olson, Jr. John S. Marsh Arden B. Shelton Clark Marlor GRANTORS Nicholas John Stathis ($2,500 or more) David & Sheila Newman Dr. Arthur J. Vidich Frank Orminski The Barker Welfare Foundation Ruth Warrick The Chase Manhattan Bank, NA Mr. & Mrs. James Pasquale Chemical Bank SUSTAINERS Mr. & Mrs. Peter pfau Mark Gaston ($250 or more) Ted & Helen Resnick David H. e. Amanda Rhael Goldie-Anna Charitable Trust AA Air Filters & Ronnie Ringel Lucille Grossman & Richard Perry e. Murray Adams Dr. Benjamin A. Rosenberg The Heckscher Foundation for Children Dennis Adams Mr. Benjamin Rottenstein Jerry Jacobs Robert Auriema Dr. & Mrs. Jack I. Safian Richard Kane Jean-Marie Blondeau Martin & Jane Salwen Merill Lynch Joan Botti Mrs. George P. Schmidt Pfizer, Inc. Apricot Bowen Harvey Seiderbaum Julie & Bruce Ratner Morganna Bowen Mary L. Shuford Billy Rose Foundation Gerard Conn Clifford Siegel Joseph R. Small Harrison Davis Sonia Sotomayor Denver Investment Advisors Barbara Whitman

BPO also wishes to thank donors making gifts of less than $150. Contributions received after the printing deadline may not be listed. If you would like information on becoming a contributor to BPO, please contact the Development Office at 718-622-1000. BROOKLYN PHILHARMONIC ORCHESTRA BOARD. OF DIRECTORS :-' asrofJune 1992 STANLEY H. KAPLAN Chairmanpfthe !3oard ROBERT C. ROSENBERG President CRAIG G. MATTHEWS Executive Vice President JOHNTAMBERLf\NE Executive Vice President GAIL R. Ct0TT Vice President ISAAC E. DRUKER Vice President HENRY J. FONER Vice President NICHOLAS M. INFANTINO Vice President 'jERRY JACOBS Vice President JAGKLITWACK Vice President ARNOLD L. SABIN Vice President "RICHARD KANE Treasurer LUCILLE GROSSMAN PERRY Secretary

MICHAEL A. ARMSTRONG I. STANLEY KRIEGEL DAWNCARDI HARVEY LICHTENSTEIN MARK GASTON '. JULIE RATNER RONALD GREENE, JANET SCHERER HESPERJACKSON, JR: ARDEN SHELTON RITA KAPLAN JOSEPH R. SMALL 'LAURA WALKER

'HONORARY CHAIRPERSONS HON~ DAVID N. DINKINS HON. HOWARD GOLDEN HON. ELIZABETH HOLTZMAN I. STANLEY KRIEGEL RABBI EUqENE J. SACK HONORARY DIRECTORS DANIEL EISENBERG SALOMON C. LOWENSTEIN JOSEPH SCORCIA ADVISORY BOARD LILLIAN BESUNDER JAMES COSTLEY SCHUYLER CHAPIN HON. CHARLES SCHUMER

BROOKLYN PHILHARMONIC ORCHESTRA STAFF DENNIS RUSSELL DAVIES Principal Conductor LUKAS FOSS Conductor Laureate HARVEY LICHTENSTEIN Executive Producer

MAURICE EDWARDS Artistic Director JANA STRAUSS Director ofDevelopment SCOTT TEMPLE Orchestra Personnel Manager SUSAN AXLEROAD Development Associate/ Institutional Giving DAVID E. KLEISER Director ofFinance MALINDA McGLONE Development Associate/ PATRICK McCARTY Librarian Individual Giving MARK A. CALDEIRA Administrative Assistant

BROOKLYN PHILHARMONIC VOLUNTEER COUNCIL JULES HIRSH President LAURA KEITH Vice President WILLIAM PARSONS Vice President HARRIET SAFIAN Coordinator, Senior Citizen Program SYDELLE HERMALIN Bookkeeping Assistant RUTH COHEN Associate, Senior Citizen Program