CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021
The McKim Fund in the Library of Congress
JENNIFER KOH, VIOLIN
THOMAS SAUER, PIANO
Thursday, November 19, 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/jennifer-koh.html for conversations with Jennifer Koh, Julia Wolfe and George Lewis, available starting at 10am on Thursday, November 19.
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
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 Thursday, November 19, 2020 — 8:00 pm
The McKim Fund in the Library of Congress
JENNIFER KOH, VIOLIN
THOMAS SAUER, PIANO Audio Engineer: Ryan Streber Video Production: Ryan McCullough Oktaven Studios •
1 Program
Ludwig van Beethoven Sonata in G major for piano with violin accompaniment, op. 30/3 (1801-2) Allegro assai Tempo di Minuetto: ma molto moderato e grazioso Allegro vivace
Nina Shekhar warm in my veins (2020)
Anthony Cheung Springs Eternal (2020)
Lester St. Louis Ultraviolet, Efflorescent (2020)
Missy Mazzoli Hail, Horrors, Hail (2020)
George Lewis The Mangle of Practice (2014) Commissioned by the McKim Fund in the Library of Congress
Wang Lu Hover and Recede (2020)
Tonia Ko The Fragile Season (2020)
Qasim Naqvi HAL (2020)
Inti Figgis-Vizueta Quiet City (2020)
2 Nina Young There had been signs, surely (2020)
Julia Wolfe Mink Stole (1997) Commissioned by the McKim Fund in the Library of Congress •
About the Program
Ludwig van Beethoven, Sonata in G major for piano and violin, op. 30/3
In the spring of 1802 Beethoven retreated from Vienna to the small town of Heiligenstadt, just north of the city. His doctor had ordered him to seek quieter surroundings to preserve his hearing. Confronting the loss of such a vital sense for a composer created enormous despair. Beethoven wrote (but did not send) to his brothers Carl and Johann an emotionally wrenching letter (the Heiligenstadt Testament) on October 6 and 10, 1802, and revealed that his circumstances seemed so overwhelming and isolating that he had contemplated suicide. Heard against the background of this level of despair, the energetic, fresh, and even joyous Sonata op. 30, no. 3, written during this summer at Heiligenstadt, seems even more remarkable for its night and day contrast with his state of mind at the time of composition. How is a composer, depressed enough to consider suicide, able to write a work so full of life, energy, and humor? Thankfully, Beethoven managed to focus on his creative ideas instead of his sorrow and survived this period of crisis. In other letters to friends around this time he indicated how much he was flourishing professionally. Indeed, around this time Beethoven was also composing his Symphony no. 2, op. 36, the charming set of Bagatelles for piano solo, op. 33, and two of the three pianos sonatas from op. 31, among other works.
The three sonatas of op. 30 (no. 1 in A major, no. 2 in C minor, and this work, no. 3 in G major), were published in 1803 with the title "Trois sonates pour le pianoforte avec l'accompagnement d'un violon," revealing a different approach to chamber music for violin and piano. The roles are flipped; the piano part dominates the music, with the violin in more of an accompanying, although essential, part. The technical demands for the pianist are considerable, further justifying the title. Beethoven acquired
3 permission from Tsar Alexander I (1777-1825), Emperor of Russia, who was greatly admired in Vienna, to dedicate this set of sonatas to him, eventually securing a fee some 12 years later in exchange for the honor of the dedication.
This uncomplicated sonata has three movements. The first movement is marked Allegro assai, the second designated Tempo di Minuetto, and the third marked Allegro vivace. The first movement opens with an economical exposition, in which the first theme is presented in the space of the first four bars, with scales and arpeggiated figures that immediately establish the key and the athletic character of the music. The second theme, surprisingly in the dominant minor, appears after a brief transition. The development section is unusually brief. Beethoven dispensed with a coda, which, given the condensed nature of this movement, might have disturbed the balance. The second movement telescopes the traditional second and third movements into a single one that has the tempo, although not the form, of a minuet. The calm and gracefully ornamented melody provides a pleasing contrast to the more active outer movements. Its beautiful, lyrical melody is spun out through variations in ornamentation and alternations between major and minor mode. The last movement is a virtuosic chase between the violin and piano, which alternate patterns of runs and laughing grace notes in both parts. The rustic sound of a country hurdy-gurdy introduces this movement and later interrupts, but only briefly, before the chase resumes its breathless flight to the end. Great energy and humor infuse this transparent and amazingly light-hearted work, reflecting the influence of both Mozart and Haydn. The beautiful surroundings of Heiligenstadt seem to have inspired Beethoven in spite of his personal challenges.
Laura Yust Senior Cataloguing Specialist Library of Congress, Music Division • In response to the unfolding pandemic, Jennifer Koh and arco collaborative swiftly organized a commissioning program entitled Alone Together that has yielded 40 micro-commissions for solo violin. Several works from this remarkable collection of pieces are included in this program alongside two classic commissions from the McKim Fund in the Library of Congress.
4 Nina Shekhar, warm in my veins
The title warm in my veins comes from a quote by pioneering American nurse Clara Barton in which she states, “The patriot blood of my father was warm in my veins.” In the face of catastrophe, it is easy to lose sight of our essence of self and being. But our sense of identity is deep and impenetrable—the blood of our ancestors runs warm in our veins, carrying their culture, wisdom, and fieriness of spirit. Our present communities run warm in our veins. Our love for one another runs warm in our veins. And resilience will always run warm in our veins. Many thanks to Jennifer Koh and ARCO Collaborative for commissioning this piece for the Alone Together project.1
~ Nina Shekhar
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Anthony Cheung, Springs Eternal
Springs Eternal is taken from the phrase "hope springs eternal." Hope is a very heavy word right now, having the sense of being somewhat powerless at the moment, but still hoping for a better future, for a better outcome, I think is what I was trying to get at in both the title and the piece.
~ Anthony Cheung, transcribed from spoken introduction2
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Lester St. Louis, Ultraviolet, Efflorescent
So the piece is titled Ultraviolet, Efflorescent. It's thinking about the upside that many people see to this time of quarantine; that there will come a lot of unseen kind of growth. Like things that can't necessarily be measured on the public scale. That kind of pairing of words, it's like, yes it is particular to something I've been thinking about a lot recently. But at a general scale that's always true. That's kind of what our practice sessions time, that's what our walks are, that's what all our personal time is. So the 1 Notes from Nina Shekhar’s website: http://ninashekhar.com/warm-in-my-veins/ 2 https://youtu.be/NlhEbPoT08g 5 piece itself is more so often a vehicle to get towards those ideas versus it having some immediate relationship to the content. Because in a way it's like ultraviolet rays. It's unseeable or unknowable to have some kind of trace or set of connections to the title, to the content and meaning of the piece.
~ Lester St. Louis, transcribed from spoken introduction3
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Missy Mazzoli, Hail, Horrors, Hail
The title of my piece is Hail, Horrors, Hail, and it's a quote from John Milton's Paradise Lost. This has this sort of elastic feeling of tempo, where you kind of get to go as fast as you want. The score has this sort of color coding system, so notes that are pink can be played at any duration. So the idea [is that] instead of writing it out in a very precise way, I wanted the player to also get into that idea of elastic time, where you play them faster and faster, but there's not a specified duration and [I] just wanted to explore a sort of different harmonic language in the work and so was using this to try a couple new things.
~ Missy Mazzoli, transcribed from spoken introduction4
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George Lewis, The Mangle of Practice
I’ve borrowed the title of this piece from an essay by the sociologist of science Andrew Pickering, who deploys the word “mangle” in at least two senses, the first of which is nearly forgotten today. The mangle was the British term for what Americans called the “wringer,” twin rollers in ancient washing machines that squeezed excess water from just-washed clothes. Pickering’s notion of the mangle refers to the results of the nonlinear push-pull dynamic of resistance and accommodation, where human purposes and aspirations become reconfigured in indeterminate ways through our interactions with the material world—even to the extent
3 https://youtu.be/QfBNkC_diW8 4 https://youtu.be/z0NFnOWUsL4 6 where it becomes difficult to draw a bright line between human and material expressions of agency.
In everyday life, the mangle is a performative process, an artifact of emergence, a struggle between human and non-human (material and immaterial) realms, taking place in the real time of practice, in which human identity and purpose are run through the wringer with unpredictable and sometimes difficult or even painful results. I encourage encounters with this music in ways that recall the mangle, the dialectic of resistance and accommodation in listening that in the final analysis is fundamentally improvisative, even if (as in the case of the present work) the piece itself does not include improvised modes of organization. In both the sound and the form of this piece, I attempt to present a sense of what Pickering calls “irrevocably impure human/material hybrids” that evince their origins in processes of mangling as part of the more broadly constituted human (and even posthuman) condition.5
~ George Lewis
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Wang Lu, Hover and Recede
The title of the work actually came while I was composing and eventually finalized only very recently. Hover and Recede; It's the sense that something hard [is] above us, but we are moving, hopefully we're moving forward, and there is sense of progress and ...hope. This short piece explores a simple descending repetitive microtonal motive that may be heard as a faint siren, and expresses the mourning of precious lives lost around us.
~ Wang Lu, transcribed from spoken introduction6
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5 The Mangle of Practice was commissioned by the McKim Fund in the Library of Congress and was premiered at the Library on October 30, 2014. 6 https://youtu.be/IuFcVxRLq3A 7 Tonia Ko, The Fragile Season
I decided to write a piece that was only pizzicato. Of course it expresses a kind of fragility that I’m going for, but also I think kind of the attempt to make a melodic line that kind of have that expression in it is sort of this poignant kind of tension instead of this kind of lush springtime that you kind of calmly associate with it. For me this year it's really been all about kind of treacherous environments, a kind of more fragile expression of spring this year.
~ Tonia Ko, transcribed from spoken introduction7
As an additional note, Ko offers the following poem:
The Fragile Season
A fragile Spring: shards of petals scatter in panicked gusts.
Over the coming weeks they will harden into lumps of glass, sinking into the earth.
The season is no longer soft; we find cracks in everything. •
Qasim Naqvi, HAL
[This work] is titled HAL, and I wrote it for Hal Wilner, who was a producer and a music supervisor, among other things. When I was a teenager I was introduced to this album called Weird Nightmare. That album, it just kind of had a profound effect on my thinking at that age. [It] sent me on a different path. And then fast forward, April of this year I found out that Hal had passed away from the coronavirus. He was ... in his early 60s, so he still had a lot of time left. And so I just wanted to write a piece for him as a way of saying thank you.
~ Qasim Naqvi, transcribed from spoken introduction8
7 https://youtu.be/AeUPRbg3VME 8 https://youtu.be/IBKdIK4FUeM 8 •
Inti Figgis-Vizueta, Quiet City
The title of my piece is Quiet City and it is constructed out of a poem that I wrote just thinking about kind of all the sounds that I'm hearing [and] all the sounds that I'm not hearing from my little corner of East Village. Actually it's been super cool; because all of the like 7:00 p.m. pot banging and shouting and whooping, I had to add some stuff over the period of writing the piece.
~ Inti Figgis-Vizueta, transcribed from spoken introduction9
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Nina Young, There had been signs, surely
The title of my work is There had been signs, surely. We're all looking for meaning in the smallest things around us and I think as we're isolated, smaller details are coming to the surface. [We] want to figure out why are we in the situation? Were there things that we should have known to listen to before? And [in] many ways the inspiration for this piece comes from that. There's kind of two kinds of material. There are longer notes that are like little wailing sighs with sort of dissonant double stops, and then there's this very ... rapidly unfolding fast kind of melodic fragment and so that's kind of the continuity that gets interrupted.
~ Nina Young, transcribed from spoken introduction10
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Julia Wolfe, Mink Stole
I was thinking about the fact that a mink stole was the ultimate symbol of glamour for a woman in the 1950s (movie stars, etc.). And I thought about 9 https://youtu.be/PjeIFQRzxuM 10 https://youtu.be/pXRdWF2QKUk 9 how a piece of music might serve the same function, a kind of replacement for the mink stole—a glamorous virtuosic fun piece to wrap around you; one that luxuriated in rapid passages and expressive tunes. The piece was originally written for two women, but the glamour metaphor works for men as well.
~ Julia Wolfe11
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About the Artists
Recognized for intense, commanding performances, delivered with dazzling virtuosity and technical assurance, violinist Jennifer Koh is a forward-thinking artist dedicated to exploring a broad and eclectic repertoire, while promoting diversity and inclusivity in classical music. She has expanded the contemporary violin repertoire through a wide range of commissioning projects, and has premiered more than 70 works written especially for her. Her quest for the new and unusual, sense of endless curiosity, and ability to lead and inspire a host of multidisciplinary collaborators, truly set her apart.
In recital, Koh performs music from her Bach and Beyond series, which traces the history of the solo violin repertoire from Bach’s Six Sonatas and Partitas to 20th- and 21st-century composers, in Rockport, ME and at the International Women’s Museum in Washington, DC; and her Shared Madness commissioning project, comprising short works for solo violin that explore virtuosity in the 21st century, written for the project by more than 30 of today’s most celebrated composers. In addition to experiencing Shared Madness in the concert hall, listeners are also able to hear recordings of the premiere performances and interviews between Koh and the composers via the Shared Madness radio show, which originally aired on WQXR’s New Sounds (formerly Q2) during the summer of 2017 and remains available on demand. Another important project created by Koh is Bridge to Beethoven which she performs with her frequent recital partner Shai Wosner. Bridge to Beethoven pairs Beethoven’s violin sonatas with new and recent works inspired by them to explore the composer’s impact and significance on a diverse group of musicians.
Koh is the Founder and Artistic Director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us. The organization 11 Mink Stole was commissioned by the McKim Fund in the Library of Congress and premiered at the Library in 1997. These notes were taken from a performance of the work at the Library of Congress on April 16, 2010. 10 supports artistic collaborations and commissions, transforming the creative process by engaging with specific ideas and perspectives and investing in the future by cultivating artist-citizens in partnership with educational organizations. Koh is a member of the Board of Directors of the National Foundation for the Advancement of the Arts, a scholarship program for high school students.
Born in Chicago of Korean parents, Koh began playing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11. She has been honored as “A Force of Nature” by the American Composers Orchestra and Musical America’s 2016 Instrumentalist of the Year. Koh was a top prize winner at Moscow’s International Tchaikovsky Competition, winner of the Concert Artists Guild Competition, and a recipient of an Avery Fisher Career Grant. She has a Bachelor of Arts degree in English literature from Oberlin College and studied at the Curtis Institute. •
American pianist Thomas Sauer performs regularly as soloist, chamber musician, and recital partner. His large and varied repertoire encompasses Bach to the present day and includes both staples and neglected masterworks. Audiences and critics alike praise his playing for its clarity, expressivity, and assured stylistic sense. Some of Sauer’s recent solo appearances include concertos with the Quad-City and Tallahassee Symphonies and the Greenwich Village Orchestra, and recitals at Mannes College, Merkin Concert Hall, Rockefeller University, St. John’s College, Oxford, and Vassar College. In the spring of 2009 he appeared on Broadway as the pianist in 33 Variations, a play about the composition of Beethoven’s Diabelli Variations. With his long-time duo partner, English cellist Colin Carr, Sauer has appeared at the Wigmore Hall (London), Holywell Music Room (Oxford), the Amsterdam Concertgebouw and Musikgebouw, Bargemusic (New York City), the Isabella Stewart Gardner Museum (Boston), and Princeton University, among many other venues. Other duo recitals include violinists Midori (Berlin Philharmonie and the Palais des Beaux Arts in Brussels) and Jennifer Koh (Kennedy Center). Among Sauer’s numerous chamber music appearances are performances at the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society, performances with members of the Juilliard String Quartet at the Library of Congress, and numerous concerts with the Brentano String Quartet (including piano quintets by Schumann, Brahms, Franck and Carter).
Sauer has performed at many of the leading festivals in the United States and abroad, including Marlboro, Caramoor, Music@Menlo, Chamber Music Northwest, El Paso Pro Musica, and the Chamber Music Festivals of Seattle, Taos, Four Seasons (North Carolina), Portland and Salt Bay (Maine), as well as Lake District Summer Music (England) and Festival des Consonances (France).
11 Sauer’s varied discography includes recordings of Beethoven and Haydn piano sonatas on MSR Classics, the complete cello and piano works of Beethoven and Mendelssohn with Colin Carr on Cello Classics, a disc of Hindemith sonatas with violist Misha Amory (Musical Heritage Society), music of Britten and Schnittke with cellist Wilhelmina Smith on Arabesque, music of Ross Lee Finney with violinist Miranda Cuckson on Centaur Records, and violin sonatas of Mozart with Aaron Berofsky on Blue Griffin Recordings. Sauer regularly performs the music of today both as soloist and chamber musician and in recent seasons has premiered works by Philippe Bodin, Robert Cuckson, Sebastian Currier, Keith Fitch, David Loeb, Donald Martino, David Tcimpidis, and Richard Wilson.
A committed teacher with students at Mannes College, Vassar College, and the Graduate Center of the City University of New York, Sauer is the founder and director of the Mannes Beethoven Institute, a highly regarded week-long summer training program in New York. A graduate of the Curtis Institute, Mannes College of Music and the Graduate Center of the City University of New York, his major teachers included Jorge Bolet, Edward Aldwell, and Carl Schachter.
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12 Upcoming Events Visit loc.gov/concerts for more information
*Events marked with an asterisk are part of our
(Re)Hearing Beethoven Festival
See loc.gov/concerts/beethoven.html for the full lineup, including performances, lectures and conversations.
*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
*Friday, December 4, 2020 at 8:00 pm [Concert] "The President's Own" United States Marine Band Music by Beethoven: Symphonies 3 and 7 Virtual Event (https://loc.gov/concerts/presidents-own-marine-band.html) Additional video content available starting at 10am on 12/4/20
*Saturday, December 5, 2020 at 8:00 pm [Concert] Borromeo String Quartet Music by Beethoven: Symphony no. 8, op. 130 & 133 Virtual Event (https://loc.gov/concerts/borromeo-nicholas-cords.html) Additional video content available starting at 10am on 12/4/20
13 Wednesday, December 9, 2020 at 8:00 pm [Concert] vision string quartet Music by Robert Schumann and the vision string quartet Virtual Event (https://loc.gov/concerts/vision-string-quartet.html) Additional video content available starting at 10am on 12/9/20
*Thursday, December 10, 2020 at 8:00 pm [Concert] ZOFO Music by Beethoven: Symphonies 4 and 6 Virtual Event (https://loc.gov/concerts/zofo.html) Additional video content available starting at 10am on 12/10/20 BONUS: This concert will be available as an augmented reality experience for a limited period of time!
*Friday, December 11, 2020 at 8:00 pm [Concert] Verona String Quartet and Adam Golka Music by Beethoven: Hammerklavier Sonata in Two Versions Virtual Event (https://loc.gov/concerts/beethovens-hammerklavier.html) Additional video content available starting at 10am on 12/11/20
*Saturday, December 12, 2020 at 8:00 pm [Concert] Ran Dank & Soyeon Kate Lee Music by Liszt and Beethoven: Symphony no. 9 Virtual Event (https://loc.gov/concerts/dank-lee.html) Additional video content available starting at 10am on 12/11/20
*Thursday, December 17, 2020 at 8:00 pm [Concert] Christopher Taylor Music by Beethoven: Symphonies 1, 2 and 5 Virtual Event (https://loc.gov/concerts/christopher-taylor.html) Additional video content available starting at 10am on 12/17/20
Friday, December 18, 2020 at 8:00 pm [Concert] Stradivari Anniversary Concert Details to be announced Virtual Event (https://loc.gov/concerts/antonio-stradivari.html) Additional video content available starting at 10am on 12/18/20
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
17