2010-11 Season Annual Report music of remembrance ensuring that the voices of musical witness be heard

The Green Violinist (1918) by Marc Chagall, courtesy The Jewish Museum, New York music of remembrance ensuring that the voices of musical witness be heard

Mission

Music of Remembrance fills a unique spiritual and cultural role in Seattle and throughout the world by remembering Holocaust musicians and their art through musical performances, educational programs, musical recordings, and commissions of new works. It is well known that the Nazi regime banned performances of music by living and historical Jewish composers, and by many others they deemed degenerate. Amid the horrors, there were courageous musicians who dared to create even in the ghettos and camps. It is a priceless gift that much of this music has survived as moral and artistic defiance in the face of catastrophe. We must ensure that these voices of musical witness be heard. The Music of Remembrance (MOR) mission is not religious, nor is its scope limited to Jewish music. Although was primarily an assault on Jewish people and culture, others suffered as well in what was history’s most potent instance of totalitarian suppression of intellectual and creative work. Musicians’ resistance took many forms, and crossed many national and religious boundaries. This resistance cannot have been in vain. We remember these musicians by preserving and performing their music. From the depths of human suffering comes the healing beauty of hope and renewal.

Mina Miller President & Artistic Director 2010 -11 Board of Directors Advisory Board Katherine Hanson Chair Leon Botstein Gregory Wallace Vice Chair Samuel Brylawski Pamela Center Secretary John Corigliano Margaret Griffiths Treasurer Bob Goldfarb Henry Butler Richard Goode Carole Ellison Speight Jenkins David Epstein Gary Karr Thea Fefer Kurt Masur Toni Freeman Thomas Pasatieri Saul Gamoran Murray Perahia Alice Greenwood Erika Michael Toby Saks Gloria Moses Paul Schoenfield Joyce Rivkin Gerard Schwarz Jon H. Rosen David Shifrin Tina Ryker David Stock Sandra Spear Bret Werb Frederick Yudin Pinchas Zukerman Stanley Zeitz David Sabritt Executive Advisor

2 MOR 2010 -11 Season Annual Report Music with a Mission: The VEDEM Project A letter from the President and Artistic Director

Music of Remembrance’s 2010-11 season was a year of significant milestones, and you’ll read about many of those accomplishments in this Annual Report. I’d like to reflect on one of the moments that, for me, made the year especially memorable. If you’ve been following Music of Remembrance, you know about our VEDEM project, launched in 2009 when we commissioned acclaimed composer Lori Laitman to write an oratorio. This exciting new work was to be based upon the story and inspiring words of a group of about 100 teenage boys who dared to create a secret magazine under the noses of their Nazi captors in the Terezín concentration camp. The music was a major triumph in itself, but we also knew from the start that it should be the cornerstone of an extended project – MOR’s VEDEM Project – to bring the legacy of those boys in Terezín to people everywhere. While Lori and her librettist David Mason were crafting the oratorio, we also set admired filmmaker John Sharify to work on a documentary film,The Boys of Terezín. On May 7, 2011 – an evening I’ll never forget – we unveiled the film in a private screening for the friends and supporters at our annual gala event. Two of the six “boys” still Mina Miller alive – now men in their 80s – traveled to Seattle to honor us with their presence. One of them, Sidney Taussig, had the courage and foresight as a 14-year old in Terezín, to bury the VEDEM magazine’s 800 manuscript pages and retrieve them after the camp’s liberation. The other, George Brady, worked tirelessly for decades to ensure the publication of selected poems, stories and illustrations in an extraordinary book. On that evening, we realized that we were sharing something remarkable: uniting generations to make history real and immediate. The music, the film, and witness of survivors who lived that experience; the profound words written nearly seventy years earlier by a group of idealistic teenagers, now sung and read by the young members of Seattle’s Northwest Boychoir. These young choristers were the same age as the “boys of Terezin” then. It was a reminder of something rare that MOR had accomplished: not only to make beautiful music, but to make beautiful music that matters for the world. This is what Music of Remembrance is about, and why I know that our journey has been worth all of the effort. None of this would have been possible without the dedication of our board, our staff, our supporters, our musical colleagues and our other artistic partners. Thank you.

Mina Miller Artistic Director

Looking Ahead Our 2011-12 season includes What a Life!, the poignant cabaret-like musical revue that Jewish refugee composer Hans Gál wrote and produced for his fellow prisoners in the British internment camp on the Isle of Man where he was interned as an “enemy alien.” We’ll also premiere MOR’s newest commission: ’s Another Sunrise, based on the amazing story of the Polish survivor, resistance fighter, poet and hidden Jew, Krystyna Zywulska.

MOR 2010 -11 Season Annual Report 3 A Letter from the Chair of the Board

MOR’s thirteenth season – with its theme centered around Jewish folklore — offered thrilling artistic achievements. In the fall, we showcased the avant garde art music of early 20th century Russian composer Joel Engel, which was itself rooted in the rich traditions of Jewish folklore. Just as Music of Remembrance looks to the past to inspire contemporary commissions, Engel’s Dybbuk Suite had been influenced by folk legends and melodies orally transmitted across generations by Hassidic Jews from the Pale of Settlement. MOR’s chamber players performed while Spectrum dancers presented a riveting new MOR commissioned work, by acclaimed choreographer and provocateur Donald Byrd. This extraordinary collaboration of talent resulted in a unique blending of genres that resonated through centuries and stretched across divergent cultures. We were treated to a multidimensional bold new arts experience Forging artistic partnerships of this nature, and breaking new ground by doing so, is perhaps one of MOR’s greatest strengths. This was MOR’s second dance commission with Donald Byrd and Spectrum Dance Theater. Another frequent artistic partner, The Northwest Boychoir, joined MOR in May 2011 to sing at the private premiere screening of The Boys of Terezin, John Sharify’s outstanding documentary film, which is discussed in depth elsewhere in this report. As I see it, the members of our Sostenuto Society and Crescendo Circle – loyal supporters and patrons who make major financial commitments to MOR over three year periods – also serve as partners with MOR. It is through their generous spirit and deep- seated loyalty that we will continue to make exceptional music and art for decades to come. These collaborations, and our commissions and recordings (our fifth CD under the prestigious Naxos label was released in May 2011) testify to the organization’s growth and expansion as Mina Miller’s innovative programming reaches out to new audiences, locally and around the world. MOR’s mission of ensuring that voices of musical witness from the Holocaust era be heard is being embraced by more and more people from all backgrounds. Serving as Chair for Music of Remembrance’s Board of Directors is truly a privilege. I feel tremendous gratitude to all who breathe life into this unique organization: enthusiastic audiences and supporters, dedicated Board members and volunteers, a first-rate staff, extraordinary musicians and artists, and, not least, our visionary Artistic Director! Katherine Hanson 2010-11 Board Chair MOR Commissions David Stock A Vanished World 1999 Aharon Harlap Pictures from the Private Collection Paul SchoenfieldCamp Songs 2002 of God 2009 Thomas Pasatieri Letter to Warsaw 2003 Donald Byrd choreography to Franz Lori Laitman The Seed of Dream 2004 Schreker’s The Wind 2009 Gerard Schwarz In Memoriam 2005 Lori Laitman Vedem 2010 Jake Heggie For a Look or a Touch 2007 Donald Byrd choreography to Joel Engel’s Gerard Schwarz Rudolf & Jeanette 2007 The Dybbuk Suite 2010 David Stock Mayn Shvester Chaya 2008 Betty Olivero Kolo’t 2011 Paul SchoenfieldGhetto Songs 2008 MOR’s supporters have funded the creation of twelve new musical works by eight composers, and two dance choreographies.

4 MOR 2010 -11 Season Annual Report A REPORT ON MOR’S 2010 -11 SEASON Mainstage Programming: Fall and Spring Concerts

Since its 1998-99 inaugural year, MOR has presented two major concerts annually at Seattle’s Benaroya Hall: a fall concert marking the anniversary of (The Night of Broken Glass), and a spring concert marking Holocaust Remembrance Day. We present music from the time of the Holocaust and contemporary compositions inspired by the Holocaust. Photography

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Each season MOR’s programming has highlighted a central theme. In 2010-11, our Spectrum Dance thirteenth season, we illuminated Jewish folklore and its influence on composers of yesterday Theater artists Joel and today. At our November 2010 concert, we explored the complexity of Russian-Jewish Myers and Kylie Lewallen, November identity in the first half of the 20th century. Our audience experienced the original music 8, 2010. (Left for S. Ansky’s iconic Yiddish play The Dybbuk, with the added dimension of a new dance score to right) Mikhail that we commissioned from acclaimed choreographer Donald Byrd. We also performed Shmidt, Leonid Dmitri Shostakovich’s stirring From Jewish Folk Poetry. In May 2011, we revisited Israeli composer Keylin, Matthew Betty Olivero’s thrilling suite of dance music from her score to the classic silent filmThe Kocmieroski and Jonathan Green. Golem. In addition to the Dybbuk dance premiere (our second partnership with Spectrum Dance Theater), it was a year of other firsts as well. Our spring concert featured the world premiere of another MOR commission: Israeli composer Betty Olivero’s Kolo’t (“Voices”). Sung in Ladino, this haunting work is a poignant evocation of the once- vibrant Sephardic Jewish community in Thessalonika and its tragic fate during the Nazi occupation of Greece. We also unveiled Lori Laitman’s Vedem song cycle, an intimate version of the poems that she set to unforgettable music in her Vedem oratorio.

John Sharify (right) interviews Donald Byrd. Pre-concert talk, November 8, 2010

MOR 2010 -11 Season Annual Report 5 A REPORT ON MOR’S 2010 -11 SEASON

(Left to right) Mikhail Shmidt, Susan Gulkis Assadi, Walter Gray, Angela Niederloh, Matthew Kocmieroski, Valerie Muzzolini Gordon and Laura DeLuca.

As always, we honored the legacy of composers who perished at Nazi hands. Our spring program included the second string quartet by the Czech composer Pavel Haas, deported to Terezín in 1941 and murdered three years later in Auschwitz. And we continued to explore “MOR continues to fill a cultural and artistic heritages that are too little remembered. The fall program included cultural role unlike any works by Alexander Krein and Mikhail Gnessin, two influential composers of the early 20th- other, with extraordinary century St. Petersburg School who sought to integrate traditional Jewish elements with the performances of important period’s mainstream musical styles. composers.” Audiences and critics admire our concerts for their varied and innovative programming, –Audience member and for their consistent musical excellence. They also have discovered that we perform music that matters profoundly. How does our recent season’s focus on folklore – with works like The Dybbuk and The Golem – contribute to the Holocaust’s musical legacy that MOR commemorates? To be sure, they are poignant reminders of a culture and its idioms that the Nazi regime sought to destroy. But these legends are far more than objects of ethnic nostalgia. They are richly layered morality tales with universal resonance: the struggle between the mystical and the material; the ambiguous boundaries between the traditional and the modern; the dilemmas of invoking divine intervention for worldly ends. (Left to right) Mikhail The song and dance of our recent Shmidt, Elisa Barston, season’s music recall a world made Walter Gray, Matthew vivid by complex dreams and Kocmieroski and Susan Gulkis Assadi. struggles with deep meaning for today.

6 MOR 2010 -11 Season Annual Report Testimonies For Tomorrow Commissions and Recordings The commission of new music forms a cornerstone of MOR’s mission. Through significant new Holocaust-inspired works by major living composers, these new compositions cast fresh light on a timeless legacy, and they renew memory by sharing stories that are still being discovered more than 65 years after the Holocaust. Our CD releases ensure that this music will be permanently available to listeners around the word. Music of Remembrance is the only organization in the world with a commitment to commissioning new Holocaust-inspired works by today’s leading composers. In just over a decade, our 12 musical commissions have included works by such noted composers as Jake Heggie, Thomas Pasatieri, Paul Schoenfield, Lori Laitman, Betty Olivero, David Stock and Gerard Schwarz. Our recent season brought the world premieres of two new MOR commissions. The first, at our November 2010 concert, was a dance that we commissioned from choreographer Donald Byrd for our performance of composer Joel Engel’s 1922 suite of incidental music for the seminal Yiddish play The Dybbuk. At our May 2011 concert, we premiered Israeli composer Betty Olivero’s vocal chamber work Kolo’t (Voices). Kolo’t was an intensely personal creation for Olivero. She wrote: “As a granddaughter of Sephardic Jews from Thessalonika, who were exterminated in Auschwitz, I decided to quote from a poem written as a letter in Ladino (a Spanish-Jewish dialect), by an anonymous Sephardic Jew from Thessalonika, a survivor of Auschwitz. The poem is a hopeful prayer for salvation.” With our May 2011 release of Vedem, MOR now has five CDs on Naxos, the world’s leading classical music label. American Record Guide praised Vedem as an “important release,” saying “Laitman’s music is smooth as a glove and suits the material to a T. It is warmly and simply romantic in idiom and lets the text do the talking.” Fanfare’s review noted: “A most touching experience, and one that further confirms Laitman's status as one of the most talented and intriguing of living composers.”

The VEDEM Project Every Friday night for nearly two years between 1942 and 1944, boy prisoners in the Terezín concentration camp published their secret poetry, essays and illustrations in a clandestine journal that they called VEDEM (Czech for “In the Lead”). Fourteen-year-old Petr Ginz, an exceptionally gifted writer, was the editor- Guests Joseph Crnko in-chief; at sixteen he perished at Auschwitz. About 800 pages of the journal have been and the Northwest preserved, and these pages reveal inspirational courage, passionate idealism, and wisdom Boychoir perform Lori Laitman’s Vedem, beyond the years of their young authors. May 7, 2011. Telling these boys’ story, through their own words, has been a continuing project for MOR, beginning with the commissioning of Lori Laitman’s masterful Vedem oratorio. We premiered the oratorio in May 2010 in an unforgettable performance at Benaroya Hall. Four of the six living survivors from the group of teenage boys – now men in their 80s – traveled to Seattle from around the world to be part of the premiere, and while there they met with the young choristers of the Northwest Boychoir who were learning and rehearsing the music. The VEDEM Project has continued over the recent year. Shortly after the oratorio’s premiere we recorded it, and in May 2011 the CD recording was released. At that month’s concert we also unveiled Laitman’s Vedem song cycle. It is a work of poetic beauty, and its intimate scoring –

MOR 2010 -11 Season Annual Report 7 for two singers, clarinet and piano – allows us to bring it to school and recital settings. With the completion of filmmaker John Sharify’s 52-minute documentaryThe Boys of Terezín, we have yet another way of sharing VEDEM’s remarkable story with the world. Following a May 2011 private screening for MOR friends and supporters, and the public world premiere at the Seattle Art Museum in late October, The Boys of Terezín has already been selected for important film festivals: Sydney and Melbourne, Australia; Palm Beach and Miami, Florida; the Seattle Jewish Film Festival, where it will be featured as the closing night centerpiece. “It moved me to the core of We expect many other screenings across North America and in Europe. my being.” While VEDEM’s story is important for all generations, its moral and historical lessons are – Film audience member especially important for young people today. John Sharify has created a shorter fifteen- minute documentary, The Boys of Home One, for educational use, and we have begun working with educators to bring it to classrooms. With support from Humanities Washington, we have produced an online educators’ resource guide that will help teachers introduce VEDEM to “It is such a gift that MOR their students. performs these concerts on an afternoon and that Education & Outreach Report: Serving our Communities they are free for those who In everything we do, we hope audiences will explore both personal and universal meanings of the Holocaust, and examine otherwise would not be their understanding of the Holocaust in light of the evocative music they hear. able to enjoy these inspiring concerts.” Sparks of Glory: Free to the Public Concerts-with-Commentary – SOG audience member The Sparks of Glory series and educational outreach program has become a core element of MOR’s service to the community. In 2010-11, our sixth year of free public concerts-with- commentary offered two events at the downtown Seattle Art Museum (SAM) and one at the Good Shepherd Center in Seattle’s Wallingford neighborhood. These events attract a diverse audience, many of whom would be unlikely to attend ticketed chamber music concerts — particularly students and fixed-income senior citizens. This season’sSparks of Glory programs were made possible, in part, by support from the National Endowment for the Arts, and by “Thank you the generosity of individual donors. for increasing At each event, MOR Artistic Director Mina Miller introduces the works and their composers, my knowledge and offers valuable perspectives. For MOR’s October Art & Defianceprogram, her commentary about and appreciation included examples from SAM’s Picasso exhibition to examine the power of both art and of Picasso music to speak against oppression. In Voices of Witness she illustrated the genre-spanning and his art, and for a fine musical legacy of Terezín with examples from SAM’s galleries of visual artists who musical program.” engage with forces shaping the world. In the Schools “Mina Miller’s explanation The Sparks of Glory program also provides the framework and elocution were events by for our in-school educational outreach. In 2010-11, we themselves.” brought performances to educational partners at the high – SOG audience member school and college levels, reaching over 800 students. These visits always include a multimedia presentation examining the history of the Holocaust era and its music, and a discussion that includes students and musicians. Most students have not been exposed to Emil Kopel, Sidney this material before, and teachers often tell us how our presentations offer young minds a Taussig and George Brady broader perspective on questions of human dignity. Students frequently become motivated meet with members of the to attend our free Sparks of Glory concerts in Seattle, and even our ticketed concerts. When Northwest Boychoir. possible, we try to subsidize travel for students from outside the immediate Seattle area.

8 MOR 2010 -11 Season Annual Report Financial Summary $600,000 Figure 1: Total Expenses by Year

Over the past thirteen years, Music of $500,000

Remembrance has evolved from a startup $400,000 concert producer to a firmly established arts organization, whose unique mission and $300,000 musical excellence are admired not only in Seattle but, increasingly, across the nation and $200,000 throughout the world. This continuing growth $100,000 has been maintained within a framework of careful management. Even in face of the $0 country’s continuing economic uncertainty, FY 1998-99 FY 2000-01FY 2001-02FY 2002-03FY 2003-04FY 2004-05FY 2005-06FY 2006-07FY 2007-08FY 2008-09FY 2009-10FY 2010-11 MOR’s FY 2010-11 total income was about FY 1999-2000 equal to its expenses. MOR’s 1998-99 inaugural season consisted of two major concerts at Seattle’s Benaroya Figure 2: Total Revenue by Year Hall, with total expenses of about $16,000. $700,000

By the end of the 2010-11 season, MOR’s $600,000 accomplishments have grown to include the $500,000 commissioning and premiere of 14 important new Holocaust-inspired works, 18 world $400,000 premieres, six CDs (five released on the world- $300,000 leading Naxos label), an annual series of $200,000 free-to-the-public concerts-with-commentary $100,000 in partnership with the Seattle Art Museum and the Good Shepherd Center, an extensive $0 educational outreach program in local schools FY 1998-99 FY 2000-01FY 2001-02FY 2002-03FY 2003-04FY 2004-05FY 2005-06FY 2006-07FY 2007-08FY 2008-09FY 2009-10FY 2010-11 and colleges, and two documentary films. With FY 1999-2000 n n its expanded scope, the organization’s total Income In-kind contributions expenses (including in-kind equivalents) for the 2010-11 season were $494,609 (Figure 1).

MOR’s supporters have continued to embrace Figure 3 : Cash Reserves and Total Net Assets by Year the organization’s mission, and its musical and $500,000 educational programming. From its inception, $450,000 the organization’s revenues (including in-kind $400,000 Total net assets Cash reserves contributed services) have grown from about $350,000 $20,000 for MOR’s first season to $493,739 $300,000 in 2010-11 (Figure 2). Throughout these $250,000 years of rapid growth, and response to new $200,000 opportunities, MOR has remained a careful $150,000 steward of its resources. At the end of FY $100,000 2010-11, it held cash reserves of $318,246 and total assets of $405,098 (Figure 3). $50,000 $0 Ticket sales can never account for a major portion of MOR’s budget (Figure 4), and the FY 1998-99 FY 2000-01FY 2001-02FY 2002-03FY 2003-04FY 2004-05FY 2005-06FY 2006-07FY 2007-08FY 2008-09FY 2009-10FY 2010-11 FY 1999-2000 organization depends on the support of donors

MOR 2010 -11 Season Annual Report 9 Financial Summary

who believe in its mission. In FY 2010-11, individual Figure 4: FY 2010-11 Revenue donations and foundations together generated (excluding in-kind and net receivables) $172,294, or about 65% of MOR’s revenue excluding Total $263,936 in-kind contributed services and receivables. Of the Interest <1% $111,759 contributed by individual donors, about 58% ($64,800) was generated by MOR’s Sostenuto Society, whose members pledge a minimum annual gift of

Fundraising Individual donations $1,000 for three years, and the Crescendo Circle, whose CD sales events 21% 42% members pledge at least $5,000 annually for three years. <1% These sustained donors have had a lasting impact for Ticket sales 10% MOR, adding to the organization’s ability to anticipate Foundations resources that will be available for long-term projects. 23% This ability is especially important as MOR plans future commissions, recordings, and other projects that require proactive funding. Government 3% Corporate donations <1% MOR takes very seriously its responsibility to control its costs, and to focus its resources on its musical programming. In FY 2010-11, about 37% of cash expenditures were directly for artist fees and other artistic production expenses (Figure 5). MOR’s Figure 5: FY 2010-11 Cash personnel includes the Artistic Director (compensated Expenses (Total $264,806) at 30% of a normal professional salary) whose artistic work and vision form the core of MOR, a full-time General Development Director whose role is essential for Other operating administrative Artist fees expenses 5% 3% addressing the organization’s immediate and long-term Facilities & 11% equipment needs, and a highly-valued Administrative Assistant. The 4% Development Director position was vacant for much of Fundraising 2010-11, but now has been filled by a strongly motivated expenses 5% and exceptionally capable professional. Artistic production The approved FY 2011-12 budget of $354,820 Contracted professional 31% services 13% (excluding in-kind contributed services) allows us to continue offering the innovative programming, superior Personnel 33% performances and meaningful community involvement that have distinguished Music of Remembrance. In building for the future, we are focused on MOR’s long-term sustainability, and to extending our reach to all sectors of the community and to all generations everywhere. MOR and its growing family of supporters continue to create and preserve memories for the future. Music of Remembrance enters its fourteenth season in excellent financial health, and with exciting plans.

10 MOR 2010 -11 Season Annual Report The Crescendo Circle and Sostenuto Society

The Music of Remembrance Crescendo* Circle honors those who have become partners in our mission to remember by making a three-year commitment of at least $5,000 each *Crescendo year; Sostenuto** Society members make a three-year commitment of at least $1,000 a musical term meaning each year. We express our sincere gratitude to our members who help MOR: “to intensify” Preserve a precious cultural legacy Create new music through commissions **Sostenuto Educate our children and grandchildren a musical term meaning “to sustain” We express our sincere gratitude to our Crescendo members: Carole Ellison Lori Laitman & Bruce Rosenblum Abbe Rubin Mina Miller & David Sabritt Beth Ann & Saul Segal Anonymous

We express our sincere gratitude to our Sostenuto members: Bob Alexander Howard & Alice Greenwood Herb & Lucy Pruzan Howard & Lynn Behar Margaret Griffiths Dr. Saul & Joyce Rivkin Kenneth & Jan Block Dr. M. Elizabeth Halloran Dr. Murray & Lin Robinovitch Henry & Olga Butler Drs. Michael Schick & Katherine Jon & Pat Rosen Dr. Robert & Pamela Center Hanson Tina Ryker Krijn & Judy DeJonge Robert Gold & Dr. Cynthia Holdren Andrea Selig Arlene Ehrlich Peter Goldman & Martha Kongsgaard Sonia Spear David Epstein Benjamin & Lois Mayers Craig Sheppard & Gregory Wallace The Honorable John Erlick The Purple Lady/Barbara J. Meislin Mark Wesley & Eileen Glasser Wesley Thea Fefer Fund Frederick Yudin Toni Freeman Drs. Ernest & Erika Michael Dr. Stanley & Nancy Zeitz Natalie Gendler Rabbi James & Julie Mirel Eileen Gilman David & Gloria Moses

DONORS 2010 -11 SEASON

Pillar ($10,000 and above) Benefactor ($2,500 to $4,999) Dr. Robert & Pamela Center Carole Ellison Kenneth & Jan Block Clovis Foundation Humanities Washington Judy & Krijn DeJonge Arlene B. Ehrlich David Sabritt & Mina Miller Toni Freeman David Epstein Abbe Rubin Saul Gamoran The Honorable John Erlick Saul & Beth Ann Segal Drs. Michael Schick & Katherine Hanson Thea Fefer Anonymous (2) The Purple Lady/Barbara J. Meislin Marilyn Brockman & David Friedt Drs. Ernest & Erika Michael Natalie Gendler Jon & Pat Rosen Eileen Gilman Founder ($5,000 to $9,999) Seattle Office of Arts & Cultural Affairs Howard & Alice Greenwood 4Culture Gregory Wallace & Craig Sheppard Margaret Griffiths Rebecca Crown Anonymous Dr. M. Elizabeth Halloran National Endowment for the Arts Steve & Diane Heiman Herb & Lucy Pruzan Sponsor ($1,000 to $2,499) Peter Goldman & Martha Kongsgaard Lori Laitman & Bruce Rosenblum Bob Alexander Benjamin & Lois Mayers Anonymous Howard & Lynn Behar Frederick McDonald Henry & Olga Butler Rabbi James & Julie Mirel

MOR 2010 -11 Season Annual Report 11

Nickolas Newcombe Lauri McNeal David & Camille Jassny James & Sherry Raisbeck Dr. Stafford & C. Louise Miller Jon & Eva LaFollette Dr. Saul & Joyce Rivkin James Montgomery Dr. Richard & Marilyn Layton Dr. Murray & Lin Robinovitch Ursula Rychter Dr. Leslie Mackoff Tina Ryker Dr. Richard & Pauline Saxon David Mason Andrea Selig Dr. Richard & Barbara Shikiar Carol Pruzan Arthur & Alice Siegal Florence Silverton Dr. Martin Greene & Toby Saks Sonia Spear Thomas & Helen Spiro Dr. Web & Leslie Sandbulte Dr. Leo Sreebny Doris Stiefel Glenn Amster & Shelly Shapiro Mark Wesley & Eileen Glasser Wesley Herb & Isabel Stusser Robert & Delila Soury Simon Frederick Yudin Sidney & Marion Taussig Rosalind Singer Dr. Stanley & Nancy Zeitz Moya Vazquez Mary Helen Smith David & Marci Stone Patron ($500 to $999) Donor ($250 to $499) Ellen Taussig Rosalie Alhadeff Ruth Hachenburg Adelman Temple Beth Am Amgen Foundation Matching Gifts Program Miroslav & Helena Benda Donna Benaroya Sharon Boguch In-kind Supporters George Brady Soo Borson Pamela Center Edward & Pam Bridge Dr. John & Anne Cahn Crowne Plaza Hotel Consulate General of Israel Dr. Richard Feinbloom and Lois Charles Scott Garrepy Ted & Barbara Daniels Wayne Parker & Helene Ellenbogen Location Recording Lorraine del Prado & Thomas Donahue Eddie Fisher Mina Miller Carl Applebaum & Mara Finkelstein Martin Floe Perkins Coie, LLP Marcia Wagoner & David Hewitt Margaret Fogde Sabritt Solutions, LLC Robert Gold & Dr. Cynthia Holdren Henry & Sandra Friedman Leo V. Santiago Photography, LLC Drs. Ronald Louie & Irene Japha Brenda Majercin & Joanna Glickler Seattle Art Museum Glen Gould & Bernice Laden Dr. Deborah Hammond Sorrento Hotel Dr. James & Marianne Logerfo Bernard & Laura Jacobson Spear Studios Drs. Patricia Shuster & Eugene May Anthony & Joan Japha

Support Music of Remembrance By supporting Music of Remembrance, you become a partner in our mission to remember. With our concerts, educational and outreach programs, and through our recordings – which reach listeners worldwide — MOR spans generations to touch the hearts and minds of thousands. Each donation makes our unique and compelling programs possible. MOR is a 501(c)3 non-profit organization. MOR’s success is founded upon the support of donors to the Sostenuto Society (sostenuto: a musical term meaning sustained) and the Crescendo Circle. These visionary, generous individuals make three-year commitments, pledging at the $1,000 (Sostenuto) or $5,000 (Crescendo) level each year. Their dedication to MOR’s mission provides sustained support for programming, and enables us to plan and undertake long-range efforts—notably, MOR’s commissioning and recording projects. If you’d like more information about our Sostenuto Society or Crescendo Circle, or additional ways to help advance MOR’s ground-breaking work, please contact Celia Y. Weisman, MOR’s Development Director at [email protected] or call her at (206) 365-7770. Contributions can be mailed to us at: Music of Remembrance PO Box 27500 Seattle, WA 98165-2500 You may also contribute online through our website: www.musicofremembrance.org

Learn more about Music of Remembrance Visit our website www.musicofremembrance.org, which has extensive information about our concert programs, artists, educational activities, community outreach, recordings and commissions. Please add your name to our mailing list. Contact us by e-mail at [email protected], or by phone at (206) 365-7770.