Ensemble Dal Niente Program

CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021

The McKim Fund in the Library of Congress ENSEMBLE DAL NIENTE

Friday, November 13, 2020 ~ 8:00 pm The Library of Congress Virtual Event The MCKIM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano.

Conversations with the Artists Join us online at loc.gov/concerts/ensemble-dal-niente for a conversation with musicians from Ensemble Dal Niente, brief interviews with all composers on the program, and a conversation with composer Igor Santos about his new Library commission, available starting at 10am on Friday, November 13.

Facebook Post-concert Chat Want more? Join other concert goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to

facebook.com/pg/libraryofcongressperformingarts/videos

Ensemble Dal Niente wishes to acknowledge the support of the Paul M. Angell Family Foundation Elizabeth F. Cheney Foundation Illinois Arts Council Association With special thanks to Ben Bolter; Dan Nichols, Mark Alletag and Qi Yun of Aphorism Studios; Mike Sportiello, Heidi Hewitt and the DePaul School of Music; Zach Good; Amanda Franck; Chris Anderson and Fulton Street Collective; Gretchen and Skip McCann

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, November 13, 2020 — 8:00 pm

The McKim Fund in the Library of Congress ENSEMBLE DAL NIENTE

Carrie Henneman Shaw, Soprano Ben Melsky, Harp Winston Choi, Piano MingHuan Xu, Violin

Michael Lewanski, Conductor

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1 Musicians

Carrie Henneman Shaw, soprano Andrew Nogal, oboe Emma Hospelhorn, flute Zachary Good, clarinet Katie Schoepflin Jimoh, clarinet Ben Roidl-Ward, bassoon Matthew Oliphant, horn Jesse Langen, guitar Ben Melsky, harp Kyle Flens, percussion Colin McCall, percussion Winston Choi, piano MingHuan Xu, violin Tara Lynn Ramsey, violin Caitlin Edwards, violin Ammie Brod, viola Juan JosÉ Horie Phoebus, cello Edward Kass, double bass Michael Lewanski, conductor

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Video Production

Dan Nichols And Mark Alletag, Aphorism Studios Igor Santos

2 Program

Igor Santos confined. speak. (2020) Commissioned by the McKim Fund in the Library of Congress MingHuan Xu, violin and Winston Choi, piano World Premiere

Tania LeÓn De Memorias (2000)

Nur Slim Humming Between Branches (2017) I. Lonicera II. Caprifolium Matthew Oliphant, horn III. Trick or Truck Ben Roidl Ward, bassoon IV. Phlehemos Deen V. Lumpi - Colum VI. Stoplight Ammie Brod, viola VII. Perennifolia VIII. Letter for B. IX. Hummm Nine Andrew Nogal, oboe Carrie Henneman Shaw, soprano Luis Amaya Tinta Roja, Tinta Negra (2017)

TomÁs Gueglio Lamarque Songs (2020) World Premiere

Hilda Paredes Demente Cuerda (2004) Ben Melsky, harp

3 About the Program

Although Ensemble Dal Niente performs the type of music that is most commonly called “contemporary classical music” or “new music,” there are many different opinions regarding what this field should be called, and this is partially because there is no real consensus about what it actually is or ought to be. In the US, new music increasingly acknowledges and absorbs the plurality of music-making (and more broadly, art-making and culture-making/consuming) happening in shared, similar, or parallel artistic spaces. It also takes as foundational that the work being done in this vast and hard-to-pin-down field is happening all around the world.

This program presents music by an array of composers from the Americas who work in dizzyingly diverse practices, and with backgrounds that are elliptical and ever-changing: Mexicans working in London and Chicago in addition to Mexico City; an Argentinian living in the US; an Afro-Cuban conductor-composer-pianist based in New York for years; a Brazilian- Japanese composer who grew up partially in Queens and partially in Curitiba. We are delighted to present to you this program of Latin American music that, wide-ranging as it may appear, represents only a small slice of the web of creolized music (to invoke composer George Lewis, who has pioneered this concept) that constitutes the art of the world we live in today. • Igor Santos, confined. speak. confined. speak. explores the condition of confinement through various musical interpretations of the word.

Sound, for example, is confined through the use of heavy mutes on strings (on both the violin and inside the piano), through short loops (symbolizing confined time), cluster harmonies (confined pitch space), and by playing speech recordings from within a box. The notion of confined expression is equally important and is represented through stuttering gestures, abrupt cut-offs, and other rhetorical devices that disrupt the fluency of music and “speech.”

The work is dedicated to Ensemble Dal Niente members MingHuan Xu and Winston Choi, commissioned through the McKim Fund from the Library of Congress. ~ Igor Santos

4 • Tania LeÓn, De Memorias

Dedicated to my teacher, Cuban composer Alfredo Diez Nieto, De Memorias has the sensation of days gone by, of my own memories, so familiar that I know them “by memory.”

The internal movement of the piece contrasts sounds framed within a rhythmic atmosphere; and opposite them, an atmosphere that is completely free, giving the sensation of a dialogue between capricious imaginary resonances.

The work is marked by the use of insistent accents, over which are woven contrasting, lyrical fragments. The use of various methods of tone production contributes to the creation of a special, unified atmosphere. Contrasting elements in the work exist between parallel movements and other materials of an apparently opposing nature. Brief ostinati throughout the piece impart a definite structural cohesiveness as doglissandi , a discrete use of microtones and a few specific dialogues between pairs of instruments. ~ Tania León •

Nur Slim, Humming Between Branches

Nine miniatures, nine branches, nine songs that seek to unfold their branches aimlessly. Sometimes they group together, prompting the wind to respond; many others go alone wanting to show all their beauty. Its branching extends to form a swing with its swing, each branch begins its evergreen and does not stop blooming throughout the year. They have also shown themselves to be superb, thinking of the nights, where the darkness reveals nothing but a dry and empty wind; in the middle of nowhere with a red light; they fork until they become the petal under your pillow, amid the bustle in the city. Humming Between Branches1 are nine postcards, nine poems, nine silhouettes, which, trapped between shadows and sunsets, never stop singing. ~ Nur Slim

• 1 After poetry by Guadalupe Galván and Brian Allen. 5 Luis Amaya, Tinta Roja, Tinta Negra

Y bien canta, And sing well, bien habla, speak well, bien conversa, converse well, bien responde, respond well, bien ruega; beg (pray) well; la palabra no es word is not algo que se compre. something that can be bought.

Huehuetlahtolli (de “Palabras Huehuetlahtolli (from “Words of de exhortación con que una exhortation with which a mother madre así habla, thus speaks, así instruye a su hija”) thus instructs her daughter.”)

Ancient voices—silenced and lost to perpetuity, they attempt to speak to their mestizo offspring which is at once theirs and others’, being and not- being, center and margin, both and neither.

When I read the words Tinta Roja, Tinta Negra, I immediately relate them to the rhetorical figure that the ancient Aztecs are thought to have used to refer to their codexes, and therefore, to wisdom. Red Ink, Black Ink, the same words but in another language, resonate in my head as rhetorical figures for loss and profit within a capitalist economic context.

Even if these voices succeeded in formulating a word, we would never know exactly what they meant, what those words meant to them, from which dismissed epistemologies they come from, what their real message was. The only thing we can do is resonate with them, beautifully or horribly, and listen. ~ Luis Amaya •

TomÁs Gueglio, Lamarque Songs

Lamarque Songs is the third piece of a triptych based on Cita en la Frontera, a 1940 Argentine melodrama. It is an expansion of the second piece of said trilogy, Fantasía… for voice and guitar. The program notes for this duo version read: “In 1940, my grandmother on my mother’s side worked as an extra in a film featuring Libertad Lamarque. The name of that film isCita en la Frontera (translatable as ‘Meeting/Date/Encounter at the Border’). It is an early film by Lamarque who later became one of the biggest movie stars of the Spanish-speaking world. Until I recently watched Cita en 6 la Frontera, I wasn’t aware of the extent to which films of this time had shaped both of my grandmothers’ mannerisms, their body language, and their voices (specially their singing voices).” Devoid of the visual element, Lamarque Songs functions then as an oneiric radio soap opera, a nostalgic account of a kind of 40’s glamour, at once shy and loud, at the same time proper and unapologetically melodramatic. ~ Tomás Gueglio • Hilda Paredes, Demente Cuerda

Throughout the work the harp and the ensemble establish different kinds of relationships. Sometimes the ensemble magnifies the sonorities of the harp, and sometimes it introduces new ideas, which the harp takes and the other way around. It becomes a dialogue in which one idea leads to the discovery of another one.

The title, Demente Cuerda, has multiple meanings. Taken literally it means “demented string” but can also mean “of sound mind.” ~ Hilda Paredes •

7 About the Artists

Ensemble Dal Niente performs new and experimental chamber music with dedication, virtuosity, and an exploratory spirit. Dal Niente’s roster of 23 musicians presents an uncommonly broad range of contemporary music, guiding listeners towards music that transforms existing ideas and subverts convention. Audiences coming to Dal Niente shows can expect distinctive productions—from fully staged operas to multimedia spectacles to intimate solo performances—that are curated to pique curiosity and connect art, culture, and people.

Well into its second decade, Ensemble Dal Niente has performed concerts across Europe and the Americas, including appearances at The Metropolitan Museum of Art in NYC; Walt Disney Concert Hall; The Phillips Collection; Radialsystem, Berlin; The Foro Internacional de Música Nueva in Mexico City; MusicArte Festival in Panama City; The Library of Congress in Washington, D.C.; the Art Institute of Chicago; and the Darmstadt Summer Courses in Germany, where it was the first- ever ensemble to win the Kranichstein Music Prize for interpretation in 2012. Dal Niente is the 2019 recipient of the Music Prize from the Fromm Foundation of Harvard University.

The group has recordings available on the New World, New Amsterdam, New Focus, Navona, Parlour Tapes+, and Carrier labels; has held residencies at The University of Chicago, Harvard University, Stanford University, Brown University, Brandeis University, and Northwestern University; and collaborated with a wide range of composers, from Enno Poppe to George Lewis to Erin Gee to Greg Saunier and Deerhoof.

The ensemble's name, Dal Niente ("from nothing" in Italian), is a tribute to Helmut Lachenmann's Dal niente (Interieur III), a work that upended traditional conceptions of instrumental technique, and is also a reference to the group’s humble beginnings. •

Praised as “graceful vocally as she was in her movements” (The New York Times) “consistently stylish” (Boston Globe), and “a cool, precise soprano” (Chicago Tribune), Carrie Henneman Shaw is based in the Twin Cities and Chicago, two of the country's most supportive arts communities. A member of Chicago’s Ensemble Dal Niente, Pesedjet, and Quince Contemporary Vocal Ensemble, and contributor to many of St. Paul and Minneapolis's new music projects, Shaw is a McKnight Performing Musician Fellow and has earned arts entrepreneurship awards in her role as co-director of St. Paul’s Glorious Revolution Baroque. She has performed and created a number of live-music-for-dance projects, including Jocelyn Hagen's Slippery Fish, her Wright Brothers dance-opera Test Pilot, and James Sewall Ballet's Rib Cage.

8 Shaw earned degrees in English and voice performance from Lawrence University and completed a doctorate at the University of Minnesota, and she currently teaches at the University of Washington. •

Winner of the 2002 Orléans Concours International and Laureate of the 2003 Honens International Piano Competition, Chicago-based Canadian pianist Winston Choi is an inquisitive performer whose fresh approach to standard repertory and masterful understanding, performance and commitment to works by living composers, make him one of today’s most dynamic young concert artists.

Choi maintains an active international performing schedule. Orchestras he has appeared with include the Calgary Philharmonic Orchestra, the CBC Radio Orchestra, the Champaign-Urbana Symphony Orchestra, the Cheyenne Symphony Orchestra, the East Texas Symphony Orchestra, the Elmhurst Symphony Orchestra, the Fort Collins Symphony Orchestra, Orchestra Iowa, the Kitchener- Waterloo Symphony Orchestra, the Kamloops Symphony Orchestra, the New Philharmonic, the Northwest Indiana Symphony Orchestra, the Peninsula Music Festival Orchestra, La Orquesta Sinfónica Nacional de Colombia, l'Orchestre National de Lille, l’Orchestre Symphonique d’Orléans, the Mississauga Symphony Orchestra, the Peninsula Music Festival Orchestra, the Richmond Symphony Orchestra, and the Victoria Symphony Orchestra.

Known for his colorful approach to programming and insightful commentary from the stage, Choi has recently appeared in recital at the National Arts Centre of Canada, the Glenn Gould Studio in Toronto, New York’s Carnegie-Weill Recital Hall and Merkin Recital Hall, the Kennedy Center and the Library of Congress in Washington D.C., the Kravis Center in Florida, and the "Cicle Grans Solistes" in Spain. Choi performs extensively in France, having played venues such as the Salle Cortot, Lille’s Festival Rencontre Robert Casadesus, the Messiaen Festival, and the Strasbourg Festival. He is frequently in demand throughout his native Canada and his numerous performances can often be heard on CBC radio broadcasts. Recently, he toured Eastern Ontario and Quebec under the auspices of Jeunesses Musicales and embarked on a 10-city Prairie Debut tour of the Canadian Prairie provinces. An accomplished chamber musician, he tours regularly with his wife, violinist MingHuan Xu as Duo Diorama, as well as with the Pivot Chamber Soloists. He has also performed with the Aeolus, Avalon, Philomusica and Spektral string quartets, and is a member of the Civitas Ensemble. •

A multi-faceted performer with unique communicative abilities, MingHuan Xu has delighted audiences with her passion, effortless technique, sensitivity and charisma. Her versatility allows her to perform an eclectic mix of musical styles

9 ranging from the standard works to avant-garde contemporary repertoire. She has performed extensively as a concerto soloist, duo-recitalist and chamber musician throughout five continents.

Xu’s latest recital and chamber music performances have brought her to prominent American venues including Carnegie-Weill Recital Hall, Merkin Hall, Symphony Space, the Library of Congress and the Smithsonian Institute in Washington D.C. Her Carnegie Hall debut was featured on Voice of America, a weekly television show viewed by millions of people in China, Taiwan and Hong Kong. In 2010 she performed recitals and taught master classes in China: at the Shenyang Conservatory of Music, the Sichuan Conservatory of Music, and the Central Conservatory of Music in Beijing. Her South American debut in 2006 brought her to the Festival Musica Nova in Brazil and the Festival Encuentros in Argentina. Her numerous performances have included live radio broadcasts on National Public Radio (NPR), WFMT (Chicago) and CBC (Canada) Radio.

Recent festival and concert series appearances also include Chamber Music North (MI), the Colours of Music Festival (ON), Dame Myra Hess Memorial Concerts (Chicago), Hawaii’s Ebb & Flow Arts Concert Series, the Kitchener- Waterloo Chamber Music Society, the Mammoth Lakes Music Festival (CA), the SoundaXis Festival (ON), the X-Avant Festival (ON), and the Walla Walla Chamber Music Festival (WA). She has performed with such chamber musicians as Colin Carr, Eugene Drucker, Ilya Kaler, Ani Kavafian, the Pacific String Quartet and the St. Petersburg String Quartet. She also tours extensively and internationally as part of Duo Diorama (with her husband, pianist Winston Choi) and as a member of Pivot Chamber Soloists. •

Dedicated to connecting audiences to the music of the 20th and 21st centuries, Chicago-based Ben Melsky is Executive Director and harpist of the internationally- acclaimed Ensemble Dal Niente. In close collaboration with composers and performers he encourages the creation of new work to break pre-conceived notions of the harp’s capabilities, activating new techniques, sounds, and performance practices.

Melsky’s concert activities include national and international appearances in solo and chamber ensemble configurations. Recently he has performed at the Library of Congress, the Metropolitan Museum of Art (NYC), the Ecstatic Music Festival at the Kaufmann Center (NYC), Darmstadt Summer Courses for New Music (Germany), and Art Institute of Chicago with upcoming engagements at the Los Angeles Philharmonic’s Festival Noon to Midnight, Stanford University, New Music New College, University of California Davis, and the Foro Internacional de Musica Nueva (Mexico City, MX). Having premiered hundreds of new works featuring the harp, he has worked closely with composers George Lewis, Raphael Cendo, Augusta Read Thomas, Enno Poppe, Anthony Cheung, Wang Lu, Mark

10 Andre, Tomas Gueglio, Alican Çamci, Timothy Page, Drew Baker, Eliza Brown, Katherine Young, Jeff Parker, Marcos Balter, Fredrick Gifford, Sky Macklay, Chris Fisher-Lochhead, Mikel Kuehn, and Suzanne Farrin. Also, regularly collaborating with artists across disciplines and across borders, Melsky has worked closely with the German-Icelandic contemporary music quartet Ensemble Adapter, indie noise rock group Deerhoof, and dance company Delfos Danza Contemporanea (Mazatlán, MX) with whom he was in residence at La Escuela Profesional de Danza de Mazatlán developing Proa, a new multidisciplinary piece for harp, prepared piano, and four dancers.

Melsky’s discography includes: Assemblage (New World Records), an Ensemble Dal Niente portrait album of American composer and scholar George Lewis which was named “Best of 2017” by the National Sawdust Log and one of the “Notable performances and recordings of 2017” by Alex Ross; Balter / Saunier (New Amsterdam Records), Dal Niente’s collaboration with rock band Deerhoof called “a weird and wonderful musical exchange” by Pitchfork Magazine; and a forthcoming solo album of works by Tomás Gueglio, Alican Çamci, Wang Lu, Mark Andre, Eliza Brown, and Fredrick Gifford.

Under Melsky’s leadership, Ensemble Dal Niente increased its concert activities to over 40 concerts per year reaching an international listenership. In 2017 the ensemble launched STAGED, a series of four fully-staged productions that brought together collaborators from theater, scenic design, movement, shadow puppetry and lighting design. Building on its reputation for commissioning and premiering major new works, the group has landed commissions of composers Ted Hearne, Anthony Cheung, Carola Bauckholt, Sky Macklay, Osnat Netzer, and Erin Gee. Dal Niente continues to be a model for contemporary music ensembles, producing risk-taking, intellectually rigorous, and aesthetically inspiring musical performances while expanding organizational capacity and building long-term sustainability.

Melsky received his Doctorate of Musical Arts from Northwestern University where he studied with Elizabeth Cifani and also where he received both BM and MM degrees. He was a student participant in the 2016 Darmstadt Summer Courses for New Music where he worked with harpist Gunnhilder Einarsdottir.

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11 Upcoming Events Visit loc.gov/concerts for more information

Thursday, November 19, 2020 at 8:00 pm [Concert] Jennifer Koh, violin & Thomas Sauer, piano Music by Nina C. Young, Anthony Cheung, Qasim Naqvi, Tonia Ko, Inti Figgis-Vizueta, George Lewis, Wang Lu, Lester St. Louis, Nina Shekhar, Missy Mazoli, Julia Wolfe and Beethoven Virtual Event (loc.gov/concerts/jennifer-koh.html) Additional video content available starting at 10am on 11/19/20

Friday, November 20, 2020 at 8:00 pm [Concert] Takács Quartet Music by Schubert, Bartók and Beethoven Virtual Event (loc.gov/concerts/takacs-quartet.html) Additional video content available starting at 10am on 11/20/20

Thursday, December 3, 2020 at 8:00 pm [Concert] JACK Quartet & Conrad Tao, piano Music by Rodericus/Otto, Ruth Crawford Seeger, Elliott Carter and Tyshawn Sorey Virtual Event (loc.gov/concerts/jack-quartet.html) Additional video content available starting at 10am on 12/3/20

12 (Re)Hearing Beethoven Festival See loc.gov/concerts/beethoven.html for the full lineup, including performances, lectures and conversations. Concerts include performances by:

Takács Quartet, Friday, November 20

"The President's Own" United States Marine Band, Friday, December 4

Borromeo String Quartet with Nicholas Cords, Saturday, December 5

ZOFO Piano Duo, Thursday, December 10

Adam Golka and the Verona String Quartet, Friday, December 11

Ran Dank and Soyeon Kate Lee, pianos, Saturday, December 12

Christopher Taylor, piano, Thursday, December 17

& more, details to be announced soon!

14 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

15 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

16 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 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