College of Marin Music Department Presents MARIN ORATORIO Boyd Jarrell, Director

Celebrate 50

50th Anniversary Concert

Four Centuries of Choral Masterworks

Giovanni Gabrieli - Jubilate Deo - Magnificat in D - BWV243 - Mass in C - K317 Randall Thompson - Alleluia

guest vocal soloists Lindsey McLennan, soprano Katherine McKee, alto Franz Brian Thorsett, tenor SchubertRobert Stafford, bass

Saturday, Dec. 10th at 8 pm & Sunday, Dec. 11th at 3 pm Diamond Physical Education Center, Kentfield Campus Marin Oratorio Boyd Jarrell, Director Jeff Paul, Accompanist soprano Leslie Kwartin Robert Dauphin orchestra Kathleen Auld Linda McCann John Griffin Dianna Baetz Kathryn McGeorge Matt Hogan violin i Lori Bailey Marie Narlock Claron Jorgensen Roy Oakley - concertmaster Lisa Conlon Ruth Nash Thilo Koehler Patrice May Leslie Connarn Robin Nosti Neil Kraus Pamela Carey Sarah Cook Mary Osterloh Charles Little Alice Kennelly Carol Donohoe Myrna Pepper David Long Mary Douglas Joan Raab Daniel Ochs violin ii Kathy Engle Lonna Richmond Rishi Schweig Lynn Oakley, principal Carol Farley Jill Ross-Kuntz Judd Simmons Julie Smolin Nancy Fickbohm Cynthia Sawtell Robert Teichman Daryl Schilling Rosemary Greenberg Julie Schnapf Alice Hakim Johanna Sherlin viola Pascale Hery Judy Simmons Stephen Moore, principal Pris Imlay Mare Skipper In Memoriam Meg Eldrige Charlotte Kissling Hillary Sloss Gordon Thrupp Helen Konowitz Audrey Stolz The Marin Oratorio family Deborah Learner Katrina Urbach mourns the loss of colleague cello Arlene Love Elaine Weston John Kelley. David Wishnia, principal Abigail Millikan-States Kathy Wilcox Joanna Neuschatz Mary Mills Shelley Winn Hannah Panger Spirit Wiseman bass White Pearl Mark Culbertson Gail Rolka Hermina Rosskopf tenor flute Nancy Schrock Ben Bonnlander Carol Adee Gerrie Young John Crandall Jane Lenoir Linda Davis David Hanchette oboe alto John Hart Brenda Schuman-Post Lise Adams Jim Kohler Suzanne Eraldi Judy Alstrom Dewey Livingston Annette Arena William Lutes bassoon Carolyn Ashby Michael Maeder Karen Wright Mary LeeBronzo Will McBride Leslie Brown Moshe Oron trumpet Ruth Brown Stephen Orsary Jason Park Posie Carroll Michael Petersen Jon Pankin Elizabeth Chesnut Bob Platt Adrian Quince Fredericka Cobey Michael Reighley Polly Coote Fred Ross-Perry horn Joyce Davie Joe Stewart Jenny Crane Christine de Chutkowski Babs von Dallwitz John Chapman Rhoda Draws Barbara Wakida Donna Dutton Kory Zipperstein trombone Emily Dvorin Mac Kenley Nancy Flathman Donald Kennelly Dottie Hamilton bass Floyd Reinhart Dorli Hanchette Gary Appell Mary Hauke Bill Best timpani Alice Hofer Pete Bowser Kris Lou Leslie Hutchinson Michael Burch Roberta Jeffrey Michael Carroll organ Gretchen Kucserka Charles Colety Jeff Paul

2 The Program

Jubilate Deo ...... Giovanni Gabrieli (1557-1612)

Alleluia ...... Randall Thompson (1899-1984)

Magnificat in D ...... Johann Sebastian Bach (1685-1750)

Magnificat - Chorus Et exultavit spiritus meus - Alto Quia respexit humilitatem - Soprano Omnes generationes - Chorus Quia fecit mihi magna - Bass Et misericordia - Alto and Tenor Fecit potentiam - Chorus Deposuit potentes - Tenor Esurientes implevit bonis - Alto Suscepit Israel - Chorus Sicut locutus est - Chorus Gloria Patri - Chorus

...... intermission......

Mass in C ‘Coronation’ ...... Wolfgang Amadeus Mozart (1756 -1791)

Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

soloists Lindsey McLennan, Soprano Katherine McKee, Alto Brian Thorsett, Tenor Robert Stafford, Bass

3 Text and Translations

JUBILATE DEO 11. Chorus: According to the promise He made Kyrie: Chorus & Solos Giovanni Gabrieli, 1597 to our fathers, to Abraham and his descendents Lord have mercy, Christ have mercy, Lord have Jubilate Deo, omnis terra. Qui a sic benedicetur homo, forever mercy qui timet Dominum. Deus Israel, conjungat vos, et ipse 12. Chorus: Glory to the Father, the Son, and sit vobiscum; Mittat vobis. Auxilium de sancto et de the Holy Spirit; as it was in the beginning, and Gloria: Chorus & Solos Sion, tueatur vos. Benedicat vobis Dominus, ex Sion, is now, forever and ever. Glory to God in the highest. And on earth, Qui fecit coelum et terram. Servite Domino in laetitia! peace to men of goodwill. We praise You, we bless You, we worship You, we glorify You. We Be joyful in the Lord, all ye lands. For the man CORONATION MASS give thanks for the greatness of Your glory. who fears the Lord, he shall be blessed. God of Wolfgang Amadeus Mozart, 1779 Lord God, King of heaven, Father almighty, Israel, may He come to you, and be with you; Lord, only-begotten son, Jesus Christ. Lord Kyrie: Chor & Solos May He send help to you from His holy place, God, Lamb of God, Son of the Father, Who Kyrie eleison, Christe eleison, Kyrie eleison and from Zion. May the Lord bless you, out of takes away the sins of the world: Have mercy on Zion, who made heaven and earth. Serve the Gloria: Chor & Solos us. For You alone are holy, You alone are the Lord with gladness! Gloria in excelsis Deo. Et in terra pax hominibus Lord, You alone are most High, Jesus Christ. bonae voluntatis. Laudamus te, benedicimus te, ado- With the Holy Spirit in the glory of God, the ramus te, glorificamus te. Gratias agimus tibi propter Father: Amen. ALLELUIA Randall Thompson, 1940 magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Credo: Chorus & Solos Alleluia, Amen Christe. Domine Deus, Agnus Dei, Filius Patris, I believe in one God, the Almighty Father, miserere nobis. Qui tollis peccata mundi: miserere Maker of heaven and earth, of all that is, seen nobis. Quoniam tu solus sanctus, tu solus Dominus, tu and unseen, and in one Lord, Jesus Christ, the MAGNIFICAT IN D solus altissimus, Jesu Christe. Cum Sancto Spiritu in Johann Sebastian Bach, 1723 gloria Dei Patris: Amen. only-begotten Son of the Father. God from 1. Chor: Magnificat anima mea Dominum God, light from light, true God from true God, 2. Arie: Et exultavit spiritus meus in Deo salutari meo Credo: Chor & Solos begotten, not made; of one with the Father, 3. Arie: Quia respexit humilitatem ancillae suae; ecce Credo in unum Deum, Patrem omnipotentem. Fac- through Him all things were created, Who enim ex hoc beatam me dicent torem coeli et terrae, visibilium omnium, et invisibil- descended from heaven for us and our salva- 4. Chor: Omnes generationes ium. Et in unum Dominum, Jesum Christum, Filium tion. He was made incarnate of the Virgin Mary, 5. Arie: Quia fecit mihi magna, qui potens est, et Dei unigenitum, Et ex patre natum ante omnia sae- by the power of the Holy Spirit, to become sanctum nomen eius cula. Deum de Deo, lumen de lumine; Deum verum de man. For our sake, he was crucified under Pon- 6. Arie/Duet: Et misericordia a progenie in progenies, Deo vero. Genitum non factum consubstantialem tius Pilate, suffered death, and was buried. He timentibus eum Patri, per quem omnia facta sunt. Qui propter nos rose up on the third day, in accordance with 7. Chor: Fecit potentiam in bracchio suo, dispersit homines et propter nostram salutem, descendit de coelis. superbos mente cordis sui Et in carnatus est de Spiritu Sancto, ex Maria virgine, Scripture, and ascended to heaven to sit at the 8. Arie: Deposuit potentes de sede et exaltavit humiles et homo factus est. Crucifixus etiam pro nobis sub right hand of the Father. He will come again in 9. Arie: Esurientes implevit bonis, et divites dimisit Pontio Pilato, passus et sepultus est. Et resurrexit tertia glory to judge the living and the dead: His king- inanes die secundum Scripturas. Et ascendit in coelum, sedet dom will have no end. I believe in the Holy 10. Chor: Suscepit Israel puerum suum recordatus ad dexteram Patris. Et iterum venturus est cum gloria Spirit, Lord, giver of life, who proceeds from misericordie suae judicare vivos et mortuos: Cujus regni non erit finis. the Father and the Son. He is worshipped and 11. Chor: Sicut locutus est ad patres nostros, Abraham Et in Spiritum Sanctum, Dominum, et vivificantem, glorified, who has spoken through the Proph- et semini eius in saecula Qui cum Patre et Filio simul adoratur, et conglorifica- ets. I believe in one holy catholic and apostolic 12. Chor: Gloria Patri et Filio et Spiritui Sancto; Sicut tur, qui locutus est per Prophetas. Et unam sanctam Church and acknowledge one baptism to for- erat in principio, et nunc et in saecula saeculorum. catholicam et apostolicam ecclesiam. Confiteor unum give my sins. I look for the resurrection of the baptisma in remissionem peccatorum, Et expecto res- dead, and the life of the world to come: Amen. 1. Chorus: My soul proclaims the greatness of urrectionem mortuorum, Et vitam venturi saeculi: the Lord Amen. Sanctus: Chorus 2. Aria: And my spirit exults in God, my Savior Holy, holy, holy, Lord God of Hosts. Heaven 3. Aria: He has seen the humility of His hand- Sanctus: Chor Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. and earth are full of Your glory: Hosanna in the maiden; behold, now I am called blessed Pleni sunt coeli et terra, gloria tua; Osanna in excelsis. highest. 4. Chorus: All the generations 5. Aria: For He who is mighty has done great Benedictus: Chor & Solos Benedictus: Chorus & Solos things for me, and holy is His name Benedictus, qui venit in nomime Domini; Osana in Blessed is he who comes in the name of the 6. Aria/Duet: And He is merciful to those who excelsis. Lord: Hosanna in the highest. fear Him, from generation to generation 7. Chorus: He shows the power of His arm, Agnus Dei: Chor & Solos Agnus Dei: Chorus & Solos scattering those with arrogance in their heart Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the 8. Aria: He brings down the powerful from their Agnus Dei, qui tollis peccata mundi, dona nobis world, have mercy on us. Lamb of God, who thrones and lifts up the lowly pacem. takes away the sins of the world, give us peace. 9. Aria: He fills the hungry with good things and sends the rich away empty 10. Chorus: He protects His servant, Israel, in remembrance of His mercy 4 Program Notes

To celebrate Marin Oratorio’s golden anniversary we offer a repetitions of “omnes generations (all generations)” re- program that showcases the chorus in festive pieces span- peated from voice to voice on ascending notes of the scale, ning four centuries from the 16th century to the 20th. in #8, the tenor aria “Deposuit,” the mighty are audibly slid- ing off their seats; in the chorus #7, the strength of God’s The music of Giovanni Gabrieli c. 1554/7-1612 exemplifies arm and the scattering of the proud are vividly conveyed by the opulent style that flourished in Venice in the late Ren- the motifs associated with the words “fecit potentiam (he aissance. The design of the church of San Marco, where showed power)” and “dispersit (scattered).” Gabrieli was organist and principal composer of ceremonial music from 1584 until his death, was perhaps the inspiration The last work on tonight’s program comes from Mozart’s for his characteristic use of groups of singers and instru- late Salzburg period between his 1777-8 trip to Paris and his ments responding to one another from different points in departure in 1781 to go free lance in Vienna. The Mass in C the building. The Jubilate Deo for 8 voices comes from major K 317 was composed for Easter Sunday 1779. The Gabrieli’s second book of Sacred Symphonies for 6 to 16 nickname “Coronation” was attached to it later, possibly in voices, published posthumously in 1615. It sets the first connection with the coronation of Emperor Leopold in 1791 verse of Psalm 100 “Rejoice in the Lord, all ye lands,” as a or Emperor Franz in 1792. It is a Missa brevis, a short mass, refrain for several petitions drawn from other psalms, con- with no arias for soloists except the Agnus Dei and no ex- cluding with a joyful “serve the Lord with gladness” in triple tended closing fugues. Mozart was working within the rules rhythm. The 8 voices, SSAATTBB, are not divided into promulgated by the his patron in Salzburg, the Archbishop separate choirs but do imitate and respond to one another Colloredo, as well as by the Austrian Emperor Joseph II, as though dispersed throughout a grand space. whose aim was that liturgical music should direct worship- pers’ attention to the glory of God rather than the glory of When music director Serge Koussevitsky commissioned a the composer and performers. Commenting on these stric- piece from Randall Thompson for the opening of the Berk- tures, Mozart wrote, “Our church music is very different shire Music Center in July 1940, he may have envisioned a from that of Italy, all the more so because a complete mass. . vocal fanfare on the Gabrieli scale. What the composer . even the most solemn ones, . . . may not last more than finally delivered to the music festival chorus just 45 minutes three quarters of an hour. One needs particular training for before the ceremony began, however, turned out more con- this kind of composition, and furthermore it must be a mass templative than festive, in keeping with the anxious mood with all instruments – trumpets, timpani, etc.” The com- of that first summer of the war in Europe. The anthem set- poser was equal to the challenge: he succeeded in packing a ting the single word “Alleluia” for unaccompanied SATB full ceremonial setting of the text with orchestra, soloists, chorus, Thompson said, “is a very sad piece . . . “ that “can- and choir into only half an hour. not be made to sound joyous.” Nevertheless it has become a staple of solemn ceremonial occasions. By Polly Coote

The Magnificat (My soul magnifies the Lord) is a canticle, that is, a song taken from Scripture other than the Psalms, that appears in the liturgy for the evening service of Vespers. The text, from Luke’s gospel, is Mary’s exultant response to the recognition from her relative Elizabeth and the unborn John the Baptist in Elizabeth’s womb that she, a humble handmaid of the Lord, is to be exalted as the mother of the savior. Bach composed an elaborate setting of the Latin text for choir and soloists with orchestral accompaniment for Christmas 1723, his first year as Kapellmeister (director of music) for St. Thomas Church in Leipzig . Ten years later he revised it, chiefly by transposing it to a musical key more suitable for the festive trumpets it features, as you will hear today. The Magnificat demonstrates at every turn Bach’s genius for embodying central ideas of the text in the music, so that the sung piece becomes an integral part of the proc- lamation of the Word in the service. For example, the set- ting of “As it was in the beginning” in #11, the Gloria, reca- pitulates setting of “Magnificat“ in the beginning of the work; in #4 you hear the succession of generations in the 41

5 Biographies

Katherine McKee Lindsey McLennan Robert Stafford Brian Thorsett

Katherine McKee, mezzo so- Soprano Lindsey McLennan, Robert Stafford (bass-baritone) is Since taking to the operatic prano, is a familiar soloist in con- praised for her “pure, pretty tone” a native who sang stage, tenor Brian Thorsett has cert work and on the opera stage has been an active performer in his first operatic lead role at age 12 been in over 80 diverse operatic throughout the Bay Area. She has the Bay Area since graduating in Gian Carlo Menotti’s Amahl roles. Highlights from the 2011-13 performed as a soloist with the from the University of Southern and the Night Visitors. After study- seasons include the Sailor in Dido American Bach Soloists under the California in 2008 with Bachelor’s ing music synthesis, music pro- and Aeneas with Philharmonia baton of Jeffrey Thomas, Phil- degrees in Vocal Arts and Neuro- duction, and jazz piano at the Baroque and Mark Morris Dance harmonia Baroque Chorale under science. At USC she performed Berklee College of Music, he Company, Britten's Captain Vere the direction of Nicolas McGe- regularly with the USC Chamber received his Bachelor of Music in scenes from Billy Budd, the gan, the San Francisco Symphony Choir under the direction of Paul degree from the Oberlin Conser- title character in Rameau's Pyg- under the direction of Michael Salamunovich and William Deh- vatory of Music in Vocal Perform- malion, and Mozart's Magic Flute. Tilson Thomas, Emil de Cou, and ning. She has sung with many Bay ance. Returning to California, he Brian’s diverse repertoire has Vance George, as well as in per- Area ensembles, including Volti, sang leading bass-baritone roles at taken him to concert halls across formances with the Modesto the Philharmonia Baroque Cho- Opera San José, West Bay Opera, the US and Europe. Future en- Symphony, San Francisco Choral rale, Schola SF, the Marin Sym- Pocket Opera, Pacific Repertory gagements include Evangelist and Society, Oakland Symphony Cho- phony Chorus, Vajra Voices (a new Opera and the San Francisco soloist in Bach’s St. Matthew Pas- rus, Camerata Singers of Mon- ensemble specializing in the mu- Conservatory of Music, where he sion, Magnificat, Mass in B Minor terey, Marin Oratorio, San Fran- sic of Hildegard von Bingen), and completed his Master of Music and Cantatas BWV 10, 21, 82a & cisco Lyric Chorale, the U. C. the Monteverdi Consort. Lindsey degree. A love of 18th Century 106, Handel’s Look Down Harmo- Davis Chorus & Orchestra, and made her professional operatic music has since led him to sing nious Saint, Ode for St Ceclia's Day, Sacred & Profane. Opera credits debut in Urban Opera’s produc- concert solos with some of the Chandos Anthems and , include performances with Ber- tion of The Witch of Endor by country’s leading Baroque orches- Orff's Carmina Burana, Beetho- keley Opera, San Francisco Lyric . This past summer tras, including the American Bach ven’s 9th Symphony, Mendelssohn’s Opera, Spellbound Productions she was a singer at BASOTI (Bay Soloists, Apollo’s Fire, Musica Elijah, Mozart's Requiem, Corona- and the Bay Area Summer Opera Area Summer Opera Theatre Angelica, and the Magnificat tion Mass, and Litaniae de venerabili Theater Institute in such roles as Institute) 2011 and Accademia Baroque Ensemble. In December altaris Sacramento, Barber's Knox- Azucena in Il Trovatore, the title d’Amore in Seattle, where she 2009, Robert directed and sang in ville: Summer of 1915, Finzi’s Dies role in Carmen, Principessa in Suor sang the role of second woman in a rare performance of Guillaume Natalis, Dvorak’s Stabat Mater, Angelica, and Madame Flora in Purcell’s Dido and Aeneas and de Machaut's Messe de Notre Dame Britten’s Les Illuminations and The Medium. A devoted recitalist, scenes from Mozart’s Don at Notre Dame des Victoires in Serenade for Tenor, Horn & Strings, she has presented recitals at The Giovanni and Monteverdi’s L’Inco - San Francisco with his Medieval the Requiems of Verdi and as Ish- Church of St. Mary the Virgin, ronatione di Poppea. Lindsey also vocal ensemble, Hocket. Other mael in Bernard Hermann’s Moby Music at St. Matthew's, Pacifica loves to teach, with her own pri- recent engagements have in- Dick. Brian will be featured on the Performances, Capp Street vate voice studio based in San cluded the title role in Don Jess Shenson series at Stanford Community Music Center, Holy Mateo. Pasquale with Sonoma City Opera, University as well as Schubert's Innocents', St. Luke's, St. David Jupiter in Rameau’s Castor et Pol- Winterreise and Berlioz's Les Nuits of Wales and First Presbyterian lux with L’Opéra Français de New d'Ete for woodwind quintet, Die Church in Alameda. Ms. McKee Yo r k , a n d F i g a r o i n Le nozze di Schöne Müllerin with guitar, a con- sings regularly with the San Fran- Figaro with Livermore Valley Op- cert for voice, piano and string cisco Opera Chorus, American era. In April 2010, he returned to quartet and Alec Roth's haunting Bach Soloists' American Bach the SF Conservatory to sing Nick songs in Time of War. He is a Choir, Philharmonia Baroque Shadow in their production of graduate of SF Opera’s Merola Orchestra's Chorale, and San The Rake's Progress, and to Magni- Program, Glimmerglass Opera’s Francisco Renaissance Voices, ficat Baroque for their perform- Young American Artist program, serving the latter organization as ances of Monteverdi's 1610 Ve s p e r s . the Britten-Pears Young Artist assistant conductor as well. She is Programme and Music Academy choir director at First Lutheran of the West. Church, Palo Alto. 6 Jeff Paul Boyd Jarrell

Jeffrey Paul studied at the San With this concert, Boyd Jarrell Francisco Conservatory of Mu- begins his ninth season as Direc- sic where he earned a Bachelor’s tor of Choral Activities at the Degree in Music with emphasis College of Marin. A conductor as on piano performance. Major well as a bass-baritone soloist, he Marin Oratorio influences include Adolph Baller, is familiar to California audi- Milton Salkind, Laurette Gold- ences through his appearances Marin Oratorio, the 100+ voice community chorus at the College of berg, William Corbett-Jones, and with the Berkeley Symphony Marin, has been learning and performing choral masterpieces for five Dr. Conway. Jeff is the staff Orchestra, the Oakland Sym- decades. In the first decade after its founding in 1961, the chorus was accompanist at the College of phony, and the Santa Cruz Sym- led by the noted organist and composer S. Drummond Wolff, who came Marin where he frequently per- phony. As a Baroque specialist, to COM from London via Canada and Bermuda. Dr. Scott Merrick, forms with faculty and students. Boyd has performed with the who taught at the college from 1956 to 1982, served as director in the He is proud to be a part of the California Bach Society, the 2nd decade. Dr. Stan Kraczek, also a 30 year faculty member, held the Marin Oratorio, College of Ma- Baroque Choral Guild, the post for over two decades until his retirememt in 2004. The chorus rin Chamber Singers, College American Bach Soloists, and the looks forward to entering its 6th decade under the direction of Boyd Chorus, College of Marin San Francisco Bach Choir. He Jarrell. Over the years the singers have enjoyed the support of dedicated Emeritus Chorus, College of toured with the Philharmonia accompanists like Phyllis Meyers, Paul Smith of COM faculty, and cur- Marin Voice Class, and Singers Baroque Orchestra in Handel’s rent accompanist Jeff Paul. The chorus has collaborated in performance Marin. Jeff is the musical direc- Acis and Galatea and performs with the COM orchestra and other college groups, and the Marin Sym- tor for the First Congregational frequently with the Magnificat phony, the Russian Chamber Orchestra, the Winifred Baker Chorale, Church of San Rafael, where in Baroque Ensemble. Boyd toured and other local organizations. Rooted in community spirit, under its addition to his duties as choir- and recorded with the acclaimed new name Marin Oratorio continues to seek higher standards in per- master and organist, he assists in conductor Paul Hillier and the formance and expansion of its repertoire to include not only the classics the presentation of a concert Theatre of Voices. He conducted such as Bach’s B-minor Mass and Christmas Oratorio, Haydn’s Seasons, series featuring world-class art- his chamber choir, the California Mendelssohn’s Elijah and the Brahms Requiem, but also a capella music ists. He has performed abroad in Vocal Academy, in repeat en - from the Renaissance and the contemporary composer Arvo Part, con- Scotland, England, and Samoa. gagements in the prestigious cert performances of Purcell’s opera Dido and Aeneas and Handel’s Acis Jeff has done shows at the El New Music Series at Mills Col- and Galatea, and most recently an all Schubert evening of part songs, Dorado Casino, Marin Theater lege. Boyd appeared onstage lieder and a mass. Company, Julia Morgan Theater, with the San Francisco Ballet Marin Civic Center, Union singing the music of Brahms in acknowledgments Square, Jack London Square, the the George Balanchine produc- Oakland Museum, Marin Art tion of Liebeslieder Walzer. He Chris Imlay - program cover and Garden Center, Marin served at San Francisco’s Grace Joanna Pinckney - administrative support Community Playhouse, and the Cathedral as Cantor and Associ- Adrian Quince - stage manager Point Reyes Dance Palace. He ate Choirmaster for over twenty- David Smith, house manager also wears another hat as a Bro- five years. He has recorded on David White - technical ker Associate for Bradley Real the Angel/EMI Harmonia Annie Ricciuti - reprographics Estate in his hometown of Mill Mundi, Gothic, and Koch inter- Jesse Harbison - printing Valley. national labels. Shook Chung - poster design Schoenstein Organ Co. Photographs on this page by Christian Goepel Photography

7 Donors The music department welcomes gifts to the music program to support and improve educational opportunities in our department. These funds provide scholarships for deserving music students to obtain private lessons or to continue their music education at a four-year college, and to improve educational opportunities in our de- partment. There are several funds which support specific ensembles, including orchestra, opera, choral, band, and strings, as well as those providing student scholar- ships. We wish to thank the following donors for their generous support:

Anonymous Robert Greenwood Mary Osterloh music department Dale & Judy Alstrom John M. Griffin Hannah Panger faculty & staff Annette Arena & Jack Belgium Mr. & Mrs. Raymond P. Haas Helen Paul Shirley G. Armor Angela Halajian Mr. & Mrs. Derek J. Pepper tara flandreau Elizabeth Arnold & John P. Kelley Mr. & Mrs. Robert Hamilton Mr. & Mrs. Richard H. Perlstein Performing Arts Department Co- Carolyn & Peter Ashby Helen Hamm Marian M. Pinckney Chair, orchestra, , Mr. & Mrs. Norman L. Baetz Dorli & David Hanchette Mr. & Mrs. Robert Platt theory, strings Lori Bailey Virginia J. Hanna Linda Price Drs. Marlene & Edward Becking Mr. & Mrs. Michael P. Hansen Mr. & Mrs. Tim Rathje jessica ivry Mr. & Mrs. John Beshears Mr. & Mrs. Harold Hassin Lonna Richmond strings, orchestra, chamber music, ear training Mr. & Mrs. Ralph Bien Mr. & Mrs. Stanley Hertz Acacia M. Rodriguez Jeanne C. Blamey Mr. & Mrs. David Hillis Mr. & Mrs. James E. Rolka boyd jarrell Sarah K. Booth Louis A. Hinze Jill Ross-Kuntz & Irwin D. Kuntz chorus, vocal ensembles Mr. & Mrs. Pete Bowser Susan L. Hodgson Cynthia Sawtell Christina Bradley Alice Hofer Mr. & Mrs. David Schnapf norman masonson Molly Bricca Priscilla Imlay Nancy L. Schrock band, music history Mary Lee Bronzo Roberta Jeffrey Rishi Schweig Leslie Brown Claron W. Jorgensen Richard Scott & Hermina Rosskopf linda noble brown Dr. & Mrs. John W. Seringhaus Mr. & Mrs. Mark J. Brown, Jr. Elly N. Kelly voice, fundamentals Ruth Brown Thilo Koehler Marianne Shaw Mr. & Mrs. Michael Burch Helen & Gary Konowitz Mr. & Mrs. Judd Simmons douglas delaney Elza & Robert Burton Neil Kraus & Elizabeth Baker Francesca Simon-Windy symphonic and jazz band, Mr. & Mrs. Stanley Caires Gretchen Kucserka Mr. & Mrs. William E. Smith music history, theory Elizabeth Campbell Leslie Kwartin Gary R. Spratling Mr. & Mrs. William Campbell Mr. & Mrs. Donald C. Leach Mr. & Mrs. Joe Steward, Jr. bob schleeter Rosamond Carroll Warren G. Lefort Audrey Stolz electronic music, jazz/pop history Elizabeth Chesnut Dr. & Mrs. W.D. Linnenbach Sun Microsystems Matching Gifts Carolyn Ciampi Gwyneth J. Lister Peter Tedeschi alex kelly Fredericka B. Cobey Charles S. Little Mr. & Mrs. Robert Teichman electronic music College of Marin Alumni Assn. Mr. & Mrs. David C. Long Mr. & Mrs. James Terstegge Lisa Conlon Siri Louie Kathryn Tom-Engle paul smith Leslie Connarn Charlotte D. Maeck David Treganowan piano, opera, chamber music Sarah Love Cook Snowden J. Manson Mr. & Mrs. James M. Turner Germaine Cooper Marin Music Study Club Katrina Urbach & Timothy Crowley joanna pinckney Mary P. Coote Pamela Martin & John Strawn Lillly M. Urbach Performing Arts administrative The Dance Palace Dr. Pamela Smith Martin Martha Van Cleet assistant Mr. & Mrs. Robert A. Dauphin Ilana Jae Matfis Villa Sinfonia Foundation Elizabeth Davis Rosemary McFadden Mr. & Mrs. H.G. vonDallwitz mike irvine lab technician, music librarian Linda Davis & Michael Carroll Kathryn McGeorge Elaine Weston Joan P. Dedo Mr. & Mrs. Bernard H. Meyers Pamela K. White jeff paul Leila Delger Mr. & Mrs. Spencer Michels White Pearl Associates accompanist Mr. & Mrs. William Devlin Abigail Millikan-States Alice Whitelaw Carol Donohoe Mary Dalsin Mills Potter Wickware Karen Dunning Phoebe Moyer Spirit Wiseman Donna & Dale Dutton Mr. & Mrs. Peter Muhs Mr. & Mrs. Richard J. Young Mr. & Mrs. Stuart R. Dvorin Muir Brach Quilters Mr & Mrs. Kory J. Zipperstein Kari E. Elliott Dr. & Mrs. Richard J. Musalo Ella A.E. Evers-Meinardi Richard & Marie Narlock Nancy & David FIckbohm Steven & Ruth Nash Tara Flandreau Ann Nichols Nancy W. Flathman Daniel Roger Ochs Julia S. Frank Merle & Clyde Ongaro Ann & Gordon Getty Foundation Tal & Moshe Oron Robert Greeley Stephen & Mary Ann Orsary Rosemary Greenberg Osterloh Family Trust

8 Dec 2011