Viva la Musica! Choir • Orchestra

Shulamit Hoffmann, Conductor Anna Khaydarova, Pianist Lauren Haber, Soprano • John Mansfield, Tenor EQUIEM

R For The Living Dan Forrest

Solace, Redemption, Awe, and Wonder

Sunday, June 2, 2019, 3:00 p.m. LAUMC, 655 Magdalena Avenue, Los Altos, CA 94024 Farewell concert before the choir performs at Carnegie Hall

Admission by donation at the door Suggested $25/adult, $10/child

www.vivalamusica.org • 650-346-5084

Image: Crab Nebula from the Hubble Space Telescope Program Dan Forrest Non Nobis Domine Lauren Haber, soprano

Approximately 5 minutes

Dan Forrest Requiem for Living Choir

Orchestra Strings Harp Organ Flute, Oboe, French horn Timpani & Percussion: glockenspiel, suspended and crash cymbals, triangle, crotales, snare drum, tom-tom

Soloists Lauren Haber, soprano John Mansfield, tenor

1. Kyrie 2. Vanitas vanitatum 3. Agnus Dei 4. Sanctus 5. Lux Aeterna Approximately 40 minutes

1 Notes, Texts & Translations

Non Nobis Domine Non nobis Domine is a short Latin Christian hymn used as a prayer of thanksgiving and expression of humility.

Non nobis Domine Not unto us, O Lord, not unto us, Sed nomini tuo da gloriam But to thy name give the glory. Amen.

Requiem for the Living Composer’s Notes (edited)

A requiem, at its core, is a prayer for rest, traditionally, for the deceased. The five movements of Requiem for the Living, however, form a narrative just as much for the living, and their own struggle with pain and sorrow, as for the dead. Overall, the work is a prayer for rest (Requiem) for the living, as much as for the deceased. It’s a “grant US rest,” even more than a “grant THEM rest.”

The opening movement sets the traditional Introit and Kyrie texts—pleas for rest and mercy—using ever-increasing elaborations on a simple three- note descending motive. In it, the grief of the Requiem and Kyrie prayers is expressed, as grief is faced head-on and we grapple with the sorrow that is common to all human existence.

The second movement expounds on the “vanity of vanities, all is vanity” refrain from Ecclesiastes, with no small amount of anger and bitterness and “rage against the machine,” reflecting a crisis of faith for many people. The middle section quotes Job, who is the best biblical example we have of the problem of pain, and even he says, in his darkest moment, “It would have been better if I hadn’t been born. Aggressive rhythmic gestures are juxtaposed with long, floating melodic lines, including quotes of the Kyrie from the first movement.

2 The third movement,the Agnus Dei, is out of its traditional order, because at that point in the narrative, I need to see the Lamb of God, who died to redeem mankind from all fallenness—vanity and pain and sorrow and destruction. The Agnus Dei is a plea for deliverance and peace. It is only after recognizing the Lamb of God that we can then turn to the Sanctus. It becomes a response to the Agnus Dei, instead of prelude to it as in the normal liturgical order. Interestingly, I see the phrase “heaven and earth are full of Thy glory” as not merely a worship moment, but actually a part of the Divine answer to the problem of pain. Looking to Job again, God’s answer to the problem of pain is literally, “Look at my works of creation— see my transcendent power and majesty,” and of course Job is then humbled by the realization. So my vocal score includes a quote of Job 38 at the top of this movement: where God says to Job “Where were you when I laid the foundations of the earth...when the stars sang together for joy?”

This movement depicts the wonder of the heavens and earth (pleni sunt caeli et terra gloria tua) as a Divine answer to the problem of pain. My setting of the Sanctus text is literally a depiction of God’s wondrous glory in three different places: the universe (inspired by that Deep Field picture from the Hubble Telescope), earth as viewed from the International Space Station (there are fantastic videos on Youtube), and finally, mankind, God’s wondrous image- bearers, who demonstrate his glory even more directly than all the rest of this. There are three sections to the piece, which are inspired by these three thoughts: an ethereal section for the Hubble image, a warmer section with more motion that grows very majestic for the view of Earth, and a bustling energetic final section, teeming with the life and energy of a city full of image-bearers.

The final movement, Lux Aeterna, portrays light, peace, and rest, for both the deceased and the living. It is an arrival at rest and peace, not just in the realization of the “eternal light” which God offers those who seek him, but even here and now, for us, the living, on earth—our Requiem, our Rest, is found in Christ. I purposely quoted “Come unto me all ye who labor and are heavy laden, and I will give you... REST,” because it is the answer to the opening prayer for rest. The answer to that prayer is already given, in Matthew 11: Christ is our rest. And I lined up the English word “rest” with the return of the Latin word Requiem in this final movement. You can see it in the score and hear it in the performance when the tenor solo ends and the choir begins again, Requiem aeternam.

3 The whole work is tied together motivically by the opening three notes that you hear—they form the basis of all the development in the first movement, the pitch material of the accompaniment figure in the second movement (alluding to the traditional Dies Irae plainchant, even though I am not using the Dies Irae text), the opening of the fourth movement, where the descent goes one note farther, and starts to find a destination/ goal/”rest” if you will), the recapitulation moments throughout the fifth movement, and then, in one last gesture, the final three notes of the entire work are those three pitches, now ascending (instead of descending), as if reaching the heavens.

Musically, a major work like this allowed me to work out ideas on a much larger scale than I can in, say, a typical 3-4 minute choral anthem. The first movement allowed me to unfold one idea’s possibilities, developing it slowly over a much longer span. The second movement, because of the subject matter, was a great opportunity to write something stern or even a bit “nasty,” instead of sicky-sweet or sappy. By the time I was done, it contained octatonicism, unexpected rhythmic figures, even great big tone clusters for the organ pedals. The third movement was actually very difficult to write even though it sounds simple and direct—it took a while to get all the musical ideas to feel inevitable, proportionate, and properly paced as they unfold over time. The fourth movement allowed me to experiment with some polymeter, with those groupings of 3 in the harp and percussion while the choir floats over top of them in their own meter; I also had a great time carefully managing the huge buildup of energy throughout, that culminates in the explosion of energy in the final section. And of course the fifth movement just needed to pull everything together, tie up loose ends motivically, and usher us off into eternal rest.

The work was written over a period of probably 16 months or so, from early 2012 through mid-2013. Frankly, most of my effort was spent discarding ideas that were bad, or mediocre, or clichéd, or decent, or even “pretty good,” in the hopes of only using ideas that were really, truly inspired. It’s a daunting task to set these ancient texts in a modern setting. I strove to write something appropriate to their gravity, and something that would make a lasting impression. I hope the end result does, indeed, profoundly affect listeners and performers.

4 Conductor’s Notes Composer Dan Forrest has eloquently described his Requiem for the Living, and shared with us his compositional process. From a performer’s viewpoint, this magnificent music, scored for choir, orchestra, and soprano and tenor soloists, and unfolding in five majestic movements, is spectacular, powerful, luscious, and feeling-laden. It embraces the personal and reflective as well as the grand, powerful, and dramatic. Its melodic, rhythmic, and harmonic language readily expresses the text. The orchestral timbres compliment the harmonic and rhythmic writing—a heavenly harp, powerful organ, silvery flute, plangent oboe, rich French horn, majestic timpani, incisive percussion, and parlando (speaking) strings. Rooted in the language of late Romanticism, the music’s eloquent beauty is readily accessible to listeners. And, as its moniker suggests, this Requiem is for both the departed and the living. According to the Hickory Chorale, who commissioned the work, it may have become the most popular choral-orchestral in the canon since it’s publication in early 2014. It is easy to understand why the work is so popular: it gives achingly beautiful musical expression to loss and yearning and solace. Viva first performed theRequiem in May 2014; as we have witnessed and experienced, it can deeply affect listeners and performers. Forrest uses the Greek Kyrie eleison—the traditional plea for mercy—as the text for the first movement. The movement opens quietly, with a three- note motif slowly descending in one violin part while the first note is held in another, perhaps a portrayal of the awe-filled moments of transition from life to death. The music is mainly in the reserved aeolian mode and harmonic minor. As it develops both lyrically and dramatically, it moves to major modalities in expressions of optimism. For the second movement, Vanitas Vanitatum, Forrest combines two texts: the Latin version of “Vanity of vanities, all is vanity!” (from Ecclesiastes), that addresses the apparent futility or meaninglessness of life, and the traditional liturgical Requiem text. The music’s dark, threatening character is reminiscent of the traditional Requiem Dies Irae (Day of Wrath). Two intense sections of biting orchestral and vocal rhythms, that the composer marks, “Relentlessly marching,” bookend a contrasting lyrical middle section that tenderly depicts lacrimosa (tears), in falling melodic lines and repeated swelling and receding dynamics, an effective word painting in the music of falling tears. This movement is predominantly in minor, but, when Pie Jesu is sung, it moves to the reassuring F major.

5 The third movement, Agnus Dei, opens with gently lilting harp and upper strings, over which an oboe sings tenderly and, despite D flat major, plaintively. The soprano soloist takes up the oboe’s melody, and, in one more beautiful and soaring melodic phrase after another, offers an intense plea for deliverance and peace. When the choir enters, it sings at times in answer to the soloist, at other times providing harmonic underpinning for her melodic lines. Only when the choir sings miserere (“have mercy on us”) does the music move to minor. Gorgeous chordal progressions lead to a luscious climax. Then the music settles back into the gentle, limpid motif of the opening.

The composer tells us that the opening music of the fourth movement, Sanctus, was inspired by cosmic images sent from the Hubble Telescope, and by images of earth seen from the International Space Station. The same three note slowly descending motif that we heard at the opening of the piece once again sets an ethereal mood. It seems to suggest the mystery and wonder of life and death, here contemplated in corollary spiritual and scientific aspects. The composer cites the Book of Job, in which God says, “Where were you when I laid the foundation of the earth,...when the stars sang together...for joy?” The stars do indeed sing for joy in this celebratory D major setting of the Latin text, Pleni sunt caeli et terra gloria tua (“Heaven and earth are full of Thy glory”). The composer says the last section of the movement portrays earth teeming with the vitality of all of its inhabitants. The Sanctus, the largest movement of the work, has a wide range of musical timbres, from the heavenly tinkling harp and glockenspiel at the opening to the majestic brass climax.

In the final movement, Lux Aeterna, the protection of eternal light is evoked as themes from the first, third, and fourth movements return in the orchestra, the choir, and soprano solo. There is an “awesome”expression of “Lux” (Light), in the orchestra and the choir, its mystery underpinned by harp, flute, andpianissimo timpani tremolos. In a final inspiration and in B major, a tenor soloist offers the reassurance of solace, redemption, and rest. This hopefulness is carried over into the choir and soprano soloist’s last utterances of perpetual light and peace. The descending three notes of the very opening return, now optimistically ascending, in the key of E major, heard for the first time right at the end of the work. Slowly, quietly, the music comes to a contemplative stasis. © Shulamit Hoffmann 2019

6 Introit – Kyrie Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord, Et lux perpetua And let perpetual light luceat eis. shine upon them. Exaudi orationem meam, Hear my prayer, Ad te omnis caro veniet. fFor unto Thee all flesh shall come. Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison Lord have mercy.

Vanitas Vanitatum Vanitas vanitatum, omnia vanitas! Vanity of vanities, all is vanity! (Ecclesiastes) Pie Jesu Domine, dona eis requiem. Merciful Lord Jesus, grant them rest. (Dies Irae-Day of Wrath) Lacrimosa, Full of tears, Et locutus est, pereat dies He said, Let the day perish in qua natus sum. wherein I was born. (Job 3:2-3)

Agnus Dei Agnus Dei, Lamb of God, Qui tollis peccata mundi Who takes away the sins of the world, Miserere nobis, dona eis requiem. Have mercy on us, grant them rest. Agnus Dei, Lamb of God, Qui tollis peccata mundi, Who takes away the sins of the world, Dona nobis pacem, Grant us peace, Miserere nobis Have mercy on us, Dona eis requiem. Grant them rest.

7 Sanctus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt caeli et terra. Heaven and earth are full gloria tua. of Thy glory. Hosanna in excelsis! Hosanna in the highest!

Lux Aeterna Lux aeterna luceat eis, May light eternal shine upon them, Domine: O Lord, Cum sanctis tuis in aeternum: In the company of Thy saints forever: Quia pius es. For Thou art merciful. Et lux perpetua luceat eis. Let perpetual light shine on them.

Come unto me, All ye who labor and are heavy laden, And I will give you rest. (Matthew 28:18)

Requiem aeternam dona eis, Domine, Rest eternal grant to them, O Lord, Et lux perpetua And let perpetual light luceat eis. shine upon them. Dona nobis pacem. Grant us peace.

8 Soprano I Choir Alto I Hatsuko Arima Stenzel Joyce Cavanaugh Danni Carter Therese Curotto Lauren Haber * Marina Gonzales Chui Kwong Hwang Melanie Martinez Sara McNinch Carol Meyer * Patricia Parfett Lisa Reiche Etienne Vick Ann Ritter

Soprano II Alto II Marti Akeley Lois Aldwin Doris Arensberg-Lehr Dawn Bangart Elyse Belanger Betsy Daly-Caffell Andrea Dobbs Ellen Donnelly Jan Grady Kathy Hsu Amy Jervis Cheryl Ritchie Maureen Murray Rugala Trudy Roughgarden Kathy Or Pat Osborne Bass I Maria Claudia Peroto Greg Burroughs Abigail Wisdom Robert Kozak Jennifer Wisdom Randy Nickel Angela Wu Matthew Reeve * Tenor I Bass II Tim Cooney Michel Conrad Louise Morin Roger Gee Alison Yuen Nyberg * Pierre Saint-Hilaire * Section Leader Tenor II John Mansfield Marcio Paduan Donadio Howard Roberts

9 Orchestra Violin I Organ Virginia Smedberg, Concertmaster Valerie Sterk Thomas Alexander Sofia Fojas Harp Hazel Keelan Be’eri Moalem Anna Maria Mendietta

Violin II Flute Oleks Makarenko Ginger Rombach-Adams Margaret Hall Rachel Magnus Hartman Oboe Kay Wang Alayne Gyetvai Viola Stephen Moore French Horn Galina André Cathleen Torres Wilbur Wong Timpani & Percussion Cello Doug Chin Robin Snyder Jennifer Mathers

Double Bass David André Michael Boone

10 Artistic DirectorShulamit Hoffmann founded Viva la Musica in 2001, and has since served as the organization’s artistic and executive director. She is particularly proud of Viva la Musica’s history of performances of major works for choir and orchestra, from Bach and Beethoven to Britten, Bernstein, and beyond, and especially of its twinned focus on traditional repertoire as well as the music of living composers. Dr. Hoffmann made her Carnegie Hall conducting debut in 2009 and she returns to Carnegie later this month to conduct Dan Forrest’s Requiem for the Living with a 160 voice choir, full orchestra, and soloists. She earned her doctorate in music education from Teachers College, Columbia University in 2016. Her dissertation, Expression in Live Choral Performance: Meanings, Modalities, Processes, Synergies is a product of her research into adult choral performance. She has taught at the College of San Mateo since 2002, and at Idaho State University, Brigham Young University Extension, University of Cape Town, and the University of Witwatersrand. Several of her former students are now college professors of music. She has received Congressional Recognition Awards for service to her community (2013 and 2002), and her biography is entered into the Congressional Record of the United States. She was the Foster City honoree for the San Mateo County Mayors’ Diversity Award in 2013. Named Outstanding Graduate Student in the School of Music and Dance at San José State University, she is also the recipient of scholarships from Columbia University, San José State University, University of South Africa, and national scholarships from her native South Africa. She has been a recording artist for the South African Broadcasting Corporation. She holds degrees in choral conducting, piano performance, general music, and English literature, and licentiate teaching diplomas from the Royal Schools of Music, London, and from the University of South Africa. She is a festival adjudicator for the California Music Educators Association, and she has served as program chair and president for local chapters of the National Federation of Music Clubs and of the California Music Teachers’ Association.

11 Collaborative PianistAnna Khaydarova &Soloists has served as Viva la Musica’s collaborative pianist since 2005. Although she does not perform in this concert, her stellar musicianship in rehearsals contributes greatly to the choir’s performance. Ms. Khaydarova received her bachelor’s degree with honors from Tashkent University, Uzbekistan, and her master’s degree from Notre Dame de Namur University, California. She was a prizewinner in the Bartok-Prokofiev-Kabalevsky International Competition in Redford, Virginia, and in an NDNU Concert Competition, soloing with the Redwood Symphony. She is music director at Island United Church in Foster City, teaches in San Mateo, and accompanies at the Mozart School in Palo Alto. Ms. Khaydarova was the featured soloist in Beethoven’s Choral Fantasy in Viva la Musica’s December 2013 performances.

Lauren Haber, soprano, made her international debut as the title role of Suor Angelica with the Sienna Music Festival. Performances include Madame Lidoine from Dialogues des Carmélites with the Aaron Copland Opera Studio, Mimì from La Bohème with The CoOPERAtive Program, Ottavia from L’incoronazione di Poppea with the Aaron Copland Opera Studio, La Ciesca from Gianni Schicchi with the Queens Symphony Orchestra, and Suor Angelica with the New York Lyric Opera Theatre. As Artist in Residence with the New York Lyric Opera Theatre, Ms. Haber made her Weill Hall debut as Il Paggio in Rigoletto. She has performed Mimì from La Bohème with the International Vocal Arts Institute in Canada, Donna Anna from Don Giovanni at the Westchester Summer Vocal Institute, Fiordiligi from Così Fan Tutte with the New York Opera Exchange, and Woglinde from Das Rheingold with the Hellenic Music Foundation; Elijah with the Queens College Symphony Orchestra, and Mozart’s Requiem and Carmina Burana with the Long Island Youth Symphony. She holds Master’s Degree in Vocal Performance from Manhattan School of Music, and was a participant in the Martina Arroyo Foundation Role Performance Seminar.

12 John Mansfield, tenor, is a professional choral singer in his hometown of San Francisco. Most recently, Mr. Mansfield performed with Cappella SF and the San Francisco Symphony Chorus. Specializing in early music, Mr. Mansfield has sung with the SF Renaissance Voices for multiple seasons; he has also been featured as the soloist in Vivialdi’s Dixit Dominus with Viva La Musica ensemble. In 2018, he joined Phenix Opera to reprise the role of “Sailor” in Purcell’s Dido and Aeneas. Upon receiving his Bachelor of Music Education and teaching credential from San Francisco State University, Mr. Mansfield was hired by the San Francisco Unified School District. He currently teaches instrumental and general music to students ranging in age from pre-kindergarten to eighth grade. When he isn’t teaching or performing classically, Mr. Mansfield enjoys playing in his ukulele duo, “The Letterboxers.”

Viva la Musica! Viva’s repertoire includes major works and miniatures, classical and contemporary repertoire, and performances that include multi-cultural and multi-media components. Viva has collaborated with Master Sinfonia Chamber Orchestra in performances of Beethoven’s Mass in C (2010), Brahms Requiem (2012) and Mendelssohn’s Die erste Walpurgisnacht (2018), and with Symphony Parnassus in Beethoven’s Ninth Symphony (2007) and Karl Jenkins In These Stones Horizons Sing (2008).

Choral-Orchestral Repertoire Baroque Bach Easter Oratorio Bach Magnificat, BWV 243 Buxtehude Magnificat Charpentier Te Deum Corelli Christmas Concerto Op. 6, no. 8* Handel Messiah, Parts 1, 2, 3 Ignacio de Jerusalem Versos* Pachelbel Magnificat Pisendel Fantasie: Imitation des Caractères de la danse* Purcell Funeral March for Queen Mary*

13 Ruggierri Gloria Torelli Christmas Concerto Op. 8, no. 6* Vivaldi Concert for Orchestra, RV 151* Vivaldi Concerto for Two Oboes, RV 535* Vivaldi Concert for Two Trumpets, RV 537* Vivaldi Dixit Dominus, RV 807 Vivaldi Gloria RV 589 Vivaldi Magnificat RV 610 Vivaldi The Four Seasons Concerti* Vivaldi Domine ad adjuvandum me festina, RV 593

Classic Abel Sinfonia Op 7 No. 6* J.C. Bach Magnificat C. P. E. Bach Magnificat H 722 Wq 215 Durante/Pergolesi Magnificat Pergolesi Stabat Mater Mozart Ave Verum Corpus, KV 618 Mozart Double Piano Concerto, K.365/316a* Mozart Triple Piano Concerto, KV 242* Mozart Coronation Mass, KV 317 Mozart Church Sonata for Orchestra, KV 329* Mozart Credo Mass, KV 257 Mozart Dixit and Magnificat, K 193 Mozart Eine Kleine Nachtmusik, KV 525* Mozart “Per Pieta” Tenor aria with orchestra* Mozart Requiem, KV 626 Mozart Serenata Notturno, KV 239* Haydn Mass in Time of War (Paukenmesse), Hb. XXII:9 Haydn Missa in Angustiis (Lord Nelson Mass), Hb.XXII:11 Haydn Te Deum for Empress Maria Theresa, Hb.XXIIIc:2 Haydn Toy Symphony*

Romantic Beethoven Choral Fantasy Beethoven Mass in C, Op. 86 Beethoven Ninth Symphony Beethoven The Creatures of Prometheus Overture, Op. 43* Brahms A German Requiem Fauré Requiem Foote Aria and Gavotte for String Orchestra * Holst St Paul’s Suite* Schubert Magnificat in C, D. 486 Mendelssohn Die Erste Walpurgis Nacht

* Orchestra only

Continued on next page

14 Contemporary

LeRoy Anderson Sleigh Ride* Kim André Arnesen Magnificat Kim André Arnesen Requiem Carol Barnett The World Beloved: A Bluegrass Mass Randol Bass A Feast of Carols Randol Bass A Savior is Born Randol Bass Gloria Bernstein Suite from West Side Story Dwight Bigler (arr.) The First Noël Craig Bohmler Joy to All The World Benjamin Britten A Ceremony of Carols Craig Courtney A Musicological Journey through the Twelve Days of Christmas Richard Evans (arr.) Wexford Carol Dan Forrest Requiem for the Living Dan Forrest Jubilate Deo Ola Gjeilo Sunrise Mass Ola Gjeilo Dark Night of the Soul & Luminous Night of the Soul Mark Hayes Gloria Ed Henderson (arr.) El Cielo Canta Stanley Hoffman Three Hannukah Pieces Lara Hoggard Personent Hodie Gustav Holst Christmas Day Hal Hopson Carols Karl Jenkins Adiemus Karl Jenkins Armed Man Mass Suite: A Mass for Peace Karl Jenkins (arr.) A Celebration of Christmas Karl Jenkins In These Stones Horizons Sing Karl Jenkins Stella Natalis Kirke Mecham Seven Joys of Christmas Glen McClure Kyrie (with steel drums) Henry Mollicone A Christmas Celebration Richard Nance A Child My Choice René Carlos Ochoa Misa del Pueblo Daniel Pinkham Christmas Cantata Ariel Ramirez Misa Criolla Ariel Ramirez Navidad Nuestra Robert Ray Gospel Magnificat Ottorino Respighi Ancient Airs and Dances, Suites 1 & III* John Rutter Brother Heinrich’s Christmas John Rutter Gloria John Rutter Mass of the Children John Rutter Magnificat Conrad Susa Carols and Lullabies Gwyneth Walker Rejoice!

Approximately 500 shorter choral works

15 VivaFounded la Musica! 2001 A non-profit public benefit corporation

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16 Fall 2018—SpringDonors 2019 Corporate Putti $10-$99 YourCause Anonymous (3) Michel Conrad Archangels $5000+ Jim & Ellie Manser Anonymous Naoko Masuno

Angels $1000-$4999 Donors of Goods & Services Carol Meyer Frank & Jennie Brown, Box Office Larry Keiffer, Box Office Seraphs $500-$999 Sally Calvert & Crew, Front of House Stanley Hutchinson, IT Jean & Jimmy Kan Larry Keiffer, Bookkeeping Lisa Reiche Kevin McAuliffe, Tax Preparation Carol Meyer, Bank Courier Cherubs $100-$499 Michel Conrad, Stage Management Hatsuko Arima Stenzel Many Hands, Stage Crew Betsy Daly-Caffell Joyce Cavanaugh, Reception Joseph & Diane Cerata Terri Cook Therese Curotto Viva la Musica Board Art & Antoinette Denison Shulamit Hoffmann Ed D Michael Drinnan Stanley Hutchinson AA Linda Houston Matthew Reeve, Christina Roman Christine Hunt Barbara Kelsey Alison Nyberg Eithne Pardini Matthew Reeve Ann Ritter Michael & Barbara Spitzner Sandi Tatman PhD

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