CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021

The Carolyn Royall Just Fund in the Library of Congress MET ORCHESTRA MUSICIANS PROGRAM II

Friday, June 4, 2021 ~ 8:00 pm The Library of Congress Virtual Event The CAROLYN ROYALL JUST FUND in the Library of Congress, established in 1993 through a bequest of the distinguished attorney and symphony player Carolyn Royall Just, supports the presentation and broadcasting of classical chamber music concerts.

Conversation with the Artists Join us online at https://loc.gov/concerts/met-orchestra-june4.html for a conversation with the artists, available starting at 10am on Friday, June 4, 2021.

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How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Friday, June 4, 2021 — 8:00 pm

The Carolyn Royall Just Fund in the Library of Congress MET ORCHESTRA MUSICIANS

Program II

1 Program

Wolfgang Amadeus Mozart (1756-1791) / Josef Triebensee (1772-1846) Selections from Don Giovanni, K. 527, arranged for 2 oboes, 2 clarinets, 2 bassoons, 2 horns and double bass Notte e giorno faticar Ah chi mi dice mai Madamina (Catalogue aria) Meta di voi qui vadano

Elaine Douvas and Pedro Díaz, oboe Anton Rist and Dean LeBlanc, clarinet Evan Epifanio and Mark Romatz, bassoon Erik Ralske and Javier Gándara, horn Brendan Kane, bass

Samuel Barber (1910-1981) Summer Music, op. 31 (1955)

Seth Morris, flute Elaine Douvas, oboe Anton Rist, clarinet Evan Epifanio, bassoon Erik Ralske, horn

Wolfgang Amadeus Mozart Serenade in B-flat major, K. 361 ("Gran Partita") (c.1783-4) Largo—Molto allegro Menuetto—Trio I—Trio II Adagio Menuetto: Allegretto—Trio I—Trio II Romance: Adagio—Allegretto—Adagio Tema con variazioni: (Andante)—Adagio—Allegretto Finale: Molto allegro

Nathan Hughes and Pedro Díaz, oboe Anton Rist and Jessica Phillips, clarinet Dean LeBlanc and David Gould, basset horn Evan Epifanio and Mark Romatz, bassoon Brad Gemeinhardt, Hugo Valverde, Javier Gándara & Anne Scharer, horn Brendan Kane, bass

2 About the Program

Notes provided on behalf of the artists by J. David Jackson

Welcome to our mini-festival of wind music, with two delightful offerings by Mozart framing Barber's lone chamber work for woodwinds. • W. A. Mozart / Triebensee, Selections from Don Giovanni

Since its creation in Prague in late October 1787, Lorenzo da Ponte and Wolfgang Amadeus Mozart's Don Giovanni has been recognized as one of the greatest works of music drama in the western canon. It has held the stage continuously in its original Italian, and was popular for centuries in German. The opera is full of the most original characterizations and instrumental color; its ingenious dramaturgy, misunderstood in the 19th century, lays bare the human heart and the shocking workings of the human psyche. For Charles Gounod, it was the "incomparable, immortal apogee of lyric drama." Gustave Flaubert listed Don Giovanni, the sea and Shakespeare's Hamlet as "the three greatest things God ever made."

Playing second oboe in the orchestra for another Mozart world premiere, the 1791 production in Vienna of The Magic Flute, was an 18-year old named Josef Triebensee. Son of the first oboist of the imperial wind band (the Harmonie), Josef went on to establish a major career as a performer, conductor and composer. He succeeded his father as principal oboist for the Hapsburgs, and headed the Harmoniemusik for several noble households. At age 25, he played a performance of Beethoven's op. 16 Quintet for Piano and Winds in which the composer took the piano part. By age 40, Triebensee was conducting at the opera house in Brno, eventually succeeding Carl Maria von Weber in Prague as Chief Conductor at the Estates Theater, which became his professional home for 22 years.

Composer of twelve forgotten operas in both Czech and German, Triebensee added numerous chamber works for winds to the repertory. Today the listener is more likely to encounter one of his arrangements for wind ensemble of music from Don Giovanni, Così fan Tutte or La Clemenza di Tito, Schubert's Rosamunde, and Cherubini's Medea. Following Mozart's own lead in the banquet scene of Don Giovanni, where a wind band serenades with popular tunes from Viennese operas of the 1780's, we offer four excerpts from Triebensee's eponymous suite: Leporello's two comic arias from Act One (Notte e giorno faticar, with some of Donna Anna and

3 Don Giovanni's ensuing tussle, and the racy "catalogue" aria, in which Leporello famously recounts the Don's conquests along with his methods of seduction), Donna Elvira's vituperous entrance Ah, chi mi dice mai, and the hilariously furtive Metà di voi quà vadano from Act 2, where Giovanni, disguised as Leporello, disperses a posse of thugs out to thrash him.

The Estates Theater - Stavovské divadlo

The Prague theater that saw the world premieres of two Mozart operas is the only remaining original structure in which Mozart performed. Erected in just two years for Count Nostitz, the Neoclassical venue was dedicated to the performance of German drama and Italian opera. Four years after it opened, the Estates Theater witnessed the jubilant creation of Don Giovanni on 29 October 1787. In another four years, it hosted the world premiere of La Clemenza di Tito as well.

Known successively as the Royal Theatre of the Estates, the Deutsches Landestheater, the Tyl Theatre and the National Theatre, the building has been remodelled only slightly since the 18th century. It stands as a testament to the genius of Mozart, one of the crown jewels in his life story.

•

Samuel Barber, Summer Music

The Hapsburg imperial Harmoniemusik, the wind octet employed by the Viennese court which featured so prominently in the careers of Triebensee and Mozart, may seem remote from the modern woodwind quintet, but their connection is

4 much closer than we might suspect. Thanks mainly to the largesse of Joseph II, and to his superb players, the sound of the wind ensemble began to be popular across continental Europe. The early 19th century saw a spate of new works for winds and the rise of the woodwind quintet as a premiere mode of expression, with composers Franz Danzi and Anton Reicha in the vanguard. Danzi, born in Germany to Italian musicians, wrote nine woodwind quintets; Reicha, a Czech who settled in Paris, contributed a staggering 24 quintets to the idiom. In the 20th century, almost all major composers were drawn to this heterogenous group of five distinct voices, which has settled to a standard grouping of flute, oboe, clarinet, French horn and bassoon.

Samuel Barber's Summer Music was written in 1955, the first commission by subscription from the Detroit Chamber Music Society. The work owes much, however, to the New York Woodwind Quintet and its working methods. Barber attended many of their rehearsals, studying their playing individually and as an ensemble. The result of his inspiration is one of the freshest and most original quintets in the wind repertoire.

The work's bucolic mood was described by the composer as "supposed to be evocative of summer ... meaning languid, not killing mosquitoes." Indeed, there is a hushed, unhurried quality throughout, both locally and on a broader scale. Barber ingeniously breaks down expectation and association, like the fading light and rhythm of a warm evening outside, when the disconnected, muted hummings of the darkness take over, and memory cedes to Morpheus.

Summer Music grows from a number of small motives strung out as melody or accompaniment or stacked as harmony. A lazy, non-committal rhythm, a pallid strangeness of tonality (including quartal harmony, based on vertical fourths), heavy mixed meters, the strained woodiness of the high bassoon - all combine in wary hesitancy, marked "slow and indolent." Fluttering responses by the flute and clarinet prompt the oboe to plangent song, turning back on itself in five phrases with oddly disquieted cadences. Throughout, melancholy is evoked in a close, repeated two-note sigh that is perhaps most poignant in the horn.

Barber parries with a syncopated chatter - brief, off-beat articulations of a modal tint. (There is a sly alternation of Dorian, Phrygian, Aeolian and Lydian modes with variable pitch centers running throughout, responsible for all the refreshing changes of direction and color within a similar texture.) A sprightly moto perpetuo with articulated pedal notes, sporting lighter mixed meters, brightens up the tonal palette before a palindromic retrograde takes us back through the modal chattering and the oboe's lyric narration.

Now the opening music returns, but interspersed with new, widely-spaced falls (a 5th, followed by a highly expressive 7th, more quartal harmony in disguise), the signal that form may be dissolving. Indeed, although framed by unpredictably

5 recurring iterations of a pecky little theme darting through the instruments, the entire second half slowly blurs definition, much as reason melts away when night gently eases out the dusk. There are ecstatic outbursts of dazzling color around fragmented melody, illicit, sensuous new harmonic turns, and magical, diaphanous textures. Summer Music shares both the sparse, quiet rhapsody of Leoš Janáček's wind sextet Mládí (Youth), the odd, amoral landscape of Arnold Schoenberg's Pierrot Lunaire, and the dangerously seductive nocturnal longings of Benjamin Britten's Turn of the Screw and A Midsummer Night's Dream. In all these works, indolence teeters toward licentiousness and lunacy. Summer Music is one of the rare instances when Samuel Barber, too, comes closest to madness. •

W.A. Mozart, "Gran Partita"

By the end of 1781, Mozart had completed his move to Vienna, home for the remaining decade of his life. Among his momentous new discoveries in the Hapsburg capital was the basset horn, an unearthly instrument whose tone transfixed the young composer from Salzburg. This tenor clarinet had appeared in the late 1760's, reputedly invented by two brothers in Passau, becoming wildly popular in the next decades. Of all the clarinets, it is the most beguiling. Mysterious, cantakerous and sublime, its heavenly sound can threaten to fly off the handle at any moment. The relatively narrow bore is responsible for a light, sweet sound, but makes the instrument difficult to play. Its tone can be uneven, veiled upper notes contrasting with a robust bass. A softer reed is required, as well as a distinct embouchure. With a wide color palette ranging over four octaves, the basset horn quickly conquered the German-speaking lands in late 18th century. And within a very short time, virtuoso players from all over central Europe flocked to Vienna.

Basset horn in F, by Guy Cowley. Reproduction of a basset horn by Theodor Lotz (1747/8 - 1792) of Pressburg (Bratislava) and Vienna, one of the makers contemporary with Mozart.

6 The circumstances of Mozart's composition of the great B-flat wind serenade K. 361 (370a) are murky. In his seminal 1945 work on Mozart (Mozart: His Character, His Work), Alfred Einstein dated it to 1780/81, supposing a commission for players from the orchestra in Munich. Late 20th century analysis of Mozart's paper types has cleared up many issues surrounding Mozart chronology, but the date of this serenade is still elusive. Best guesses ascribe it to Mozart's own wedding on 4 August 1782 (Gutman, in Mozart: A Cultural Biography, pub. 1999), or the coincidence of its composition with the presence in Vienna in 1783/4 of the Bohemian basset horn virtuosi Anton David and Vincent Springer (Leeson and Whitwell, Mozart Jahrbuch of 1976/7). Whatever occasioned the serenade, a small advertisement in the Wienerblättchen in mid-March 1784, the first record of its existence, announced that four of the movements would be played on 23 March at a benefit concert for Anton Stadler, the same virtuoso for whom Mozart would later write his Clarinet Quintet and Clarinet Concerto.

Of the several musical forms clocking various parts of the day (the dreamy aubade of first light, theserenade for evening entertainment, or the calm of the nocturne), the serenade proved the most popular in the Baroque and Classical eras. The early 18th century preferred the large-scale production of the serenata, a semi-staged affair, usually on mythological or allegorical themes, involving soloists, chorus, costumes, and basic lighting and sets, almost always performed outdoors for a summer gathering. By the late 1760's the term came to mean an instrumental composition of many movements, still of an occasional nature, and still intended for al fresco entertainment. This was the tradition Mozart grew up with in Salzburg, famous for its August festivities marking the end of the summer university term.

Mozart wrote a bewildering variety of occasional music - cassations, divertimenti, serenades and other smaller genres, but he always distinguished them by instrumentation. Depending on how they are reckoned, there are seven or eight serenades dating from his Salzburg years. All are in D major, a suitably loud key for use outdoors, and are scored, with one exception, for winds and strings. Clarinets are absent (the instrument was as yet unknown in Salzburg), the oboes were expected to switch to flutes in certain movements, and sometimes there is no separate bassoon part, the player simply doubling the cello line. Horns and trumpets are almost always present; timpani are used only once. The serenades' six to nine divisions include marches, symphonic and concertante movements, at least two minuets with one or two trios each, and sometimes other dances, these last usually of a popular vein.

Once in Vienna, Mozart produced fewer serenades as his workload increased. And, curiously, he completely abandoned strings in favor of the wind consort in all three of his Vienna serenades. (I do not include the wondrous Eine Kleine Nachtmusik, K. 525 for strings in this tally, as Mozart did not entitle it Abendmusik / evening music.) His final contribution to the genre, K. 361, is in B-flat major but continues his typical serenade procedure, including seven movements of widely

7 differing character. It is scored for pairs of oboes, clarinets, basset horns and bassoons, two pairs of French horns, with a lone contrabass providing support of a light, contrasting nature. (Sometimes a contrabassoon replaces the contrabass, an inadvisable substitution that hopelessly mucks up Mozart's delicate and witty scoring; fortunately, good taste and historical accuracy prevail in today's performance.)

At some point an unknown hand added the sobriquet "Gran Partita" to the cover page of Mozart's manuscript for the B-flat serenade. It may be extraneous, but the moniker is apt. The multi-movement work's instrumental combinations are ingenious, highlighting the sextet of oboes, basset horns and bassoons, the unprecedented combination of two clarinets and two basset horns, and unison writing for solo oboe, basset horn and bassoon. Mozart's rhetoric spans a huge range of expression, with solo voices constantly breaking out of the texture, perhaps with a bit of virtuoso flare, then retreating whentutti sections move excitingly to the fore. There is sublime cantabile writing in the slower movements. A particular feature of this serenade is its psychologically telling accompanimental patterns. Mozart is always individual in the subtlety and diversity of his accompaniments; here he sparkles with masterful invention.

The initial largo (B-flat, 4/4) intersperses flights of fancy from the solo clarinet and flute with a dotted tutti martial rhythm, but quickly moves to an allegro molto (B-flat, 4/4), a full sonata movement complete with contrasting thematic and harmonic groups, a short development, and above all a luscious tonal interplay. The first of two minuets follows (B-flat, 3/4), both featuring rounded binary forms and two trios. The first trio here, in E-flat, is most uniquely scored for two clarinets and two basset horns, with sovereign voicing and an exquisite sense of color. The pathos of G minor is underlined in the second trio, where the clarinets are silent and the solo oboe and bassoon take center stage.

Mozart reserves special care for the lyrical third and fifth movements, both marked adagio and set in the relaxed world of the subdominant key, a frequent choice for the soft calm of a slow movement. Here the tonality is E-flat major, sonorously rich in wind instruments. Both adagio movements restrict the horns to only one pair in E-flat, in contrast to the fuller sound of two pairs, in F and low B-flat, in the other movements. The third movement, cast as asonatina (a sonata without a development), is nothing less than an aria, a love song of solos and duets over discreetly throbbing syncopations and a gently rocking bass. It is one of the rarest moments Mozart ever penned, an endless cantilena of utmost sweetness and peace.

The second minuet ensues (B-flat, 3/4), its first trio more unstable than before, with calls and answers across a wider harmonic gamut. The second trio is a rustic Ländler (an Austrian peasant dance) with a humorous imitation of the cornemuse in the striking unisono basset horn, bassoon and bass line. Poker-faced in its

8 unyielding regularity of phrases, it is the perfect foil to the Romanze which follows.

The second of the slow movements in E-flat and 3/4 meter, a romance with an imagined text and plot, takes a dramatic turn in a contrasting allegretto (C minor, 2/4) where pairs of horns and bassoons veer off into a bizarre music of almost Hungarian abandon. Perhaps to regain a sense of proportion, the movement then repeats the opening adagio, finishing with a peculiar little coda.

Two final movements break the passage of time into smaller units, echoing the bustle of summer evenings with crowds on the move in the public squares of Salzburg, where the serenade was infinitely more beloved than in Vienna. The sixth movement (andante) proffers a winsome little theme (B-flat, 2/4) that is then subjected to six variations of increasing charm and originality. Variation IV is in B-flat minor, the next returns to major but slows to a beautifuladagio in eighth- note pulses. Each variation features ever lovelier scoring, none wittier than that of the last (allegretto, 3/4), with its pizzicato (plucked) bass line and Scottish snap rhythms.

In the seventh movement (allegro molto, B-flat, 2/4), an enchanting rondo hurls through a kaleidoscope of keys and figurations, with deftly changing instrumentation and gathering momentum. The "gran partita" ends in a flourish of color and bravura, a fitting close to Mozart's final outing in the genre. The form resurfaces, however, in the most exposed junctures of his operas. From its beginnings as outdoor evening entertainment, the serenade would become, in Mozart's hands, a mirror of drama, character and life itself.

~ Program notes by J. David Jackson •

About the Artists

The MET Orchestra Musicians

Thrilling audiences with more than 200 performances each season, the MET Orchestra is one of the world’s great performing ensembles, both on stage and in the opera pit. Since its founding in 1883, the MET Orchestra’s performances have encompassed not only the entire opera repertoire, but also symphonic and chamber programs at Carnegie Hall, international tours, and countless musician activities outside of the Metropolitan Opera House. The MET Orchestra has grown in the past four decades into an ensemble noted by singers, critics, conductors, and audiences as one of today’s most stylistically versatile and musically satisfying orchestras.

9 Members of the MET Orchestra are much sought-after teachers, comprising large portions of the music faculties of all the major universities and conservatories in the New York metropolitan area. Former students of MET Orchestra Musicians can be found in virtually every performing arts organization in the country. In addition, a number of MET Orchestra Musicians dedicate time to working with younger students, both privately and by assuming leading roles in youth orchestras and pre-college programs.

Individual members of the orchestra have traveled to all corners of the Earth, in equal parts performing and engaging underserved audiences. MET Orchestra Musicians have recently performed fundraisers for local public schools, taught in Haiti and elsewhere in Central America, and brought South African students to New York for intensive study. In addition, MET Orchestra Musicians are coaches and teachers at some of the world’s leading summer music festivals.

The MET Orchestra Musicians are dedicated to providing their fans with a more beautiful and immersive experience of opera, in equal parts engaging audiences in behind-the-scenes activities and opening an unprecedented channel of communication between performer and listener. During the long closure of the Metropolitan Opera due to the pandemic, the MET Orchestra Musicians have developed their own virtual concert series, the MET Orchestra Spotlight Series to spotlight individual members of the orchestra and stay in touch with audiences around the world. For more information, please visit MetOrchestraMusicians.org. • Upcoming Events in June Visit loc.gov/concerts for more information Thursday, June 10, 2021 at 8:00 pm [Concert] FLUX Quartet with Oliver Lake & Cory Smythe, Program I Music by Roscoe Mitchell, Ornette Coleman, Leroy Jenkins & Oliver Lake Virtual Event (https://loc.gov/concerts/flux-quartet-june10.html) Additional video content available starting at 10am on 6/10/21

Friday, June 11, 2021 at 8:00 pm [Concert] FLUX Quartet with Cory Smythe, Program II Music by Abrams, Nancarrow, Ogonek, Oliveros and Scelsi Virtual Event (https://loc.gov/concerts/flux-quartet-june11.html) Additional video content available starting at 10am on 6/11/21

10 Concerts from the Library of Congress

The Coolidge Auditorium, constructed in 1925 through a generous gift from Elizabeth Sprague Coolidge, has been the venue for countless world-class performers and performances. Gertrude Clarke Whittall presented to the Library a gift of five Stradivari instruments which were first heard here during a concert on January 10, 1936. These parallel but separate donations serve as the pillars that now support a full season of concerts made possible by gift trusts and foundations that followed those established by Mrs. Coolidge and Mrs. Whittall. • Concert Staff

CHIEF, MUSIC DIVISION Susan H. Vita

ASSISTANT CHIEF Jan Lauridsen

SENIOR PRODUCERS Michele L. Glymph FOR CONCERTS AND Anne McLean SPECIAL PROJECTS

SENIOR MUSIC SPECIALIST David H. Plylar

MUSIC SPECIALISTS Kazem Abdullah Claudia Morales

ADMINISTRATIVE OFFICER Donna P. Williams

SENIOR RECORDING ENGINEER Michael E. Turpin

ASSISTANT ENGINEER Sandie (Jay) Kinloch

PRODUCTION MANAGER Solomon E. HaileSelassie

CURATOR OF Carol Lynn Ward-Bamford MUSICAL INSTRUMENTS

PROGRAM DESIGN David H. Plylar

PROGRAM PRODUCTION Michael Munshaw

11 Support Concerts from the Library of Congress

Support for Concerts from the Library of Congress comes from private gift and trust funds and from individual donations which make it possible to offer free concerts as a gift to the community. For information about making a tax-deductible contribution please call (202-707-5503), e-mail ([email protected]), or write to Jan Lauridsen, Assistant Chief, Music Division, Library of Congress, Washington, DC 20540-4710. Contributions of $250 or more will be acknowledged in the programs. All gifts will be acknowledged online. Donors can also make an e-gift online to Friends of Music at www. loc.gov/philanthropy. We acknowledge the following contributors to the 2020-2021 season. Without their support these free concerts would not be possible. • GIFT AND TRUST FUNDS DONOR CONTRIBUTIONS

Julian E. and Freda Hauptman Berla Fund Producer ($10,000 and above) Elizabeth Sprague Coolidge Foundation The Aaron Copland Fund for Music, Inc. William and Adeline Croft Memorial Fund DutchCultureUSA Da Capo Fund Frederic J. and Lucia Hill Ira and Leonore Gershwin Fund The Netherland-America Foundation Isenbergh Clarinet Fund Allan J. Reiter Irving and Verna Fine Fund Revada Foundation of the Logan Family Mae and Irving Jurow Fund Adele M. Thomas Charitable Foundation, Carolyn Royall Just Fund Inc. Kindler Foundation Trust Fund Mallory and Diana Walker Dina Koston and Robert Shapiro Fund for New Music Underwriter ($2,500 and above) Boris and Sonya Kroyt Memorial Fund Geraldine Ostrove Wanda Landowska/Denise Restout Joyce E. Palmer Memorial Fund William R. and Judy B. Sloan Katie and Walter Louchheim Fund George Sonneborn and Rosina C. Iping Robert Mann Fund The George and Ruth Tretter Charitable Gift The Sally Hart and Bennett Tarlton Fund, Carl Tretter, Trustee McCallum Fund McKim Fund Benefactor ($1000 and above) Norman P. Scala Memorial Fund Anonymous Karl B. Schmid Memorial Fund William D. Alexander Judith Lieber Tokel & George Sonneborn Bill Bandas and Leslie G. Ford Fund Leonard and Gabriela Bebchick Anne Adlum Hull and William Remsen Peter and Ann Belenky Strickland Fund Richard W. Burris and Shirley Downs Rose and Monroe Vincent Fund Ronald M. Costell and Marsha E. Swiss Gertrude Clarke Whittall Foundation In memory of Dr. Giulio Cantoni and Various Donors Fund Mrs. Paula Saffiotti Cathey Eisner Falvo and Jessica Aimee BEQUESTS Falvo in honor of Carole Falvo Milton J. Grossman, Elmer Cerin In memory of Dana Krueger Grossman Barbara Gantt Wilda M. Heiss Sorab K. Modi Judith Henderson

12 Benefactor (continued) Patron (continued) Virginia Lee, In memory of Dr. and Mrs. Chai Lorna C. Totman, Chang Choi In memory of Daniel Gallik Egon and Irene Marx James C. and Carol R. Tsang Winton E. Matthews, Jr. Harvey Van Buren Dr. Judith C. and Dr. Eldor O. Pederson Amy Weinstein and Phil Esocoff, Richard Price and Yung Chang In memory of Freda Hauptman Berla Arthur F. Purcell Sidney Wolfe and Suzanne Goldberg Harriet Rogers Gail Yano and Edward A. Celarier Mace J. Rosenstein and Louise de la Fuente Christopher Sipes Sponsor ($250 and above) Anonymous (2) Patron ($500 and above) Edward A. Celarier Barry Abel Carol Ann Dyer Naomi M. Adaniya Elizabeth Eby and Bengal Richter Daniel J. Alpert and Ann H. Franke Damien Gaul Devora and Samuel Arbel Michal E. Gross Sandra J. Blake, James S. and Zona F. Hostetler In memory of Ronald Diehl In memory of Randy Hostetler Marc H. and Vivian S. Brodsky Kim and Elizabeth Kowalewski Doris N. Celarier Helen and David Mao Margaret Choa George P. Mueller William A. Cohen Robert H. Reynolds Herbert L. and Joan M. Cooper Juliet Sablosky, Diane E. Dixson In memory of Irving L. Sablosky Elizabeth Eby and Bengal Richter Alan and Ann Vollman Willem van Eeghen and Mercedes de Shari Werb Arteaga Patricia A. Winston Lawrence Feinberg Becky Jo Fredriksson and Rosa D. Wiener Fred S. Fry, Jr. and Elaine Suriano Geraldine H. and Melvin C. Garbow Howard Gofreed, In memory of Ruth Tretter

The Richard & Nancy Gould Family Fund Margaret Hines Marc and Kay Levinson George and Kristen Lund Mary Lynne Martin Rick Maurer and Kathy Barton Donogh McDonald Jan and Frank Moses Undine A. and Carl E. Nash Judith Neibrief John P. O'Donnell Jan Pomerantz and Everett Wilcox Richard Price and Yung Chang Amy and Paul Rispin Bruce and Lori Laitman Rosenblum Mike and Mical Schneider In memory of Victor H. Cohn David Seidman and Ruth Greenstein Rebecca and Sidney Shaw, In memory of Dr. Leonard G. Shaw Beverly J. and Phillip B. Sklover Anna Slomovic Maria Soto, In memory of Sara Arminana Dana and Linda Sundberg

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