ESTONIAN NATIONAL SYMPHONY ORCHESTRA Sunday • November 17 • 3pm 2013-2014 62nd• SEASON Nikolai Alexeev, Conductor Narek Hakhnazaryan, Cello Program Veljo Tormis Overture No. 2

Dvořák Concerto in B minor for Cello and Orchestra Op. 104 Allegro Adagio, ma non troppo Allegro moderato Narek Hakhnazaryan, Cello Intermission Tchaikovsky Symphony No. 5 in E minor Op. 64 Andante. Allegro con anima Andante cantabile, con alcuna licenzaza Allegro moderato Andante maestoso. Allegro vivace The ENSO's 2013 USA tour is made possible through the support of the Estonian Ministry of Culture.

www.erso.ee · Representation for Mr. Hakhnazaryan: Opus 3 Artists

Season Sponsor: Symphony Guild of Daytona Beach

Concert Grand Presenters: Compu Sys • Shirley & Mahyar Okhovatian

Associate Sponsors: Fields BMW of Daytona • PNC Bank Speedway Custom Photo Lab • Lou & Marj Fiore

Hospitality Sponsor: Carefree Catering

Media Sponsors: AM1230 – AM1490 WSBB • Bright House Networks • Halifax Magazine Hometown News • Our Florida Magazine • WROD Radio 104.7FM Foundation and Public Support The Daytona Beach Symphony Society’s 2013-2014 Season is sponsored in part by grants from Florida Department of State, Division of Cultural Affairs; County of Volusia; City of Daytona Beach; Daytona Beach Racing and Recreational Facilities District. The photographing, video or sound recording of this concert is prohibited. Pre-Concert Talk – Rose Room, 2 pm

Dr. Rose Grace, a Russian –born pianist, has concertized throughout the as a soloist and a chamber music recitalist. She has been featured as a guest artist at the Skaneateles Music Festival in New York, the Krannert Art Center in Champaign-Urbana, Illinois and Morning Chamber Music Series at Kilborn Hall at the Eastman School of Music in Rochester, New York, to name but a few. For many summers she has taught on the high school faculty at the Interlochen Music Festival in Michigan. Dr. Grace is an assistant professor at the Bethune-Cookman University School of Music. Estonian National Symphony Orchestra

The Estonian National Symphony Orchestra (ENSO, known in Estonian as Eesti Riiklik Sümfooniaorkester – ERSO) started out as a small radio orchestra in 1926. Over the years, it has become Estonia’s representative orchestra and has powerfully increased its international scope, particularly in recent decades. Since 2010 it has been led by Principal Conductor and Artistic Director Neeme Järvi, while Paavo Järvi has been its Artistic Advisor since 2002, and Olari Elts its Principal Guest Conductor since 2007. The orchestra’s previous Principal Conductors were Olav Roots (1939–44), Paul Karp (1944–50), Roman Matsov (1950–63), Neeme Järvi (1963–79), Peeter Lilje (1980–90), Leo Krämer (1991–93), Arvo Volmer (1993–2001) and Nikolai Alexeev (2001–10).

Most renowned guest conductors of the ENSO throughout the years have been Hermann Abendroth, Karel Ančerl, Paavo Berglund, Leo Blech, Albert Coates, , Mariss Jansons, Aram Khachaturian, Kirill Kondrashin, Dmitri Kitaenko, Nicolai Malko, Sir , , , Kurt Sanderling, Leif Segerstam, Maxim Shostakovich, Leonard Slatkin, , Evgeny Svetlanov, , Osmo Vänskä, etc.

The high quality of ENSO’s recordings has been identified by several recognized music magazines, having won several awards including the Grammy Award for recording of Sibelius’ cantatas (Virgin Classics). In addition to close cooperation between ENSO and Virgin Classics, the orchestra has also recorded music for Alba Records, BIS, Antes Edition, Ondine, Records, Melodiya and other companies.

The orchestra has toured widely throughout the world and has taken part in numerous music festivals at home and abroad. ENSO went on its first international concert tour to Romania and Bulgaria in 1972, with Neeme Järvi and Roman Matsov . In the 1970s and 1980s, ENSO toured the actively (including the Far East, and cities in Siberia and Transcaucasia) and was a regular performer in the renowned concert halls of St. Petersburg (then Leningrad) and . Since then the orchestra has gone on more than 50 tours, the longest being the three-week tours of Italy (2003, conductor Nikolai Alexeev) and the USA (2009, conductors Eri Klas and Nikolai Alexeev). The most important festivals ENSO has performed at include Europamusicale in , Musiksommer in Gstaad, the Baltic Sea Festival in Stockholm and Il Settembre dell’Accademia in Verona. In 2006, ENSO and the Estonian Philharmonic Chamber Choir, conducted by Olari Elts, performed Arvo Pärt’s music in Turin Cathedral as part of the cultural programme of the XX Olympic Winter Games.

ENSO’s home venue is the Estonia Concert Hall, which turned 100 years old in 2013. The orchestra also regularly performs in other large concert halls in Estonia and also at open air concerts in summer. The repertoire at ENSO includes music ranging from the Baroque period to première performances of modern works. ENSO has performed the premieres of the symphonic pieces of almost all Estonian including Arvo Pärt, Erkki-Sven Tüür, Eduard Tubin, Eino Tamberg, Jaan Rääts, Lepo Sumera, Tõnu Kõrvits, Helena Tulve and others. In addition to Estonian musicians, the orchestra performs with many renowned conductors and soloists from around the world. Program Notes

Overture No. 2 VELJO TORMIS (b. 1930) Veljo Tormis is an Estonian , regarded as one of the greatest living choral composers and one of the most important composers of the 20th century in Estonia. Internationally, his fame arises chiefly from his extensive body of choral music, which exceeds 500 individual choral songs, most of it a cappella. The great majority of these pieces are based on traditional ancient Estonian folksongs (regilaul), either textually, melodically, or merely stylistically. Tormis has famously said of his settings of traditional melodies and verse: “It is not I who makes use of folk music, it is folk music that makes use of me.”

His composition most often performed outside Estonia, Curse Upon Iron (Raua needmine) (1972), invokes ancient Shamanistic traditions to construct an allegory about the evils of war. Some of his works were banned by the Soviet government, but because folk music was fundamental to his style most of his compositions were accepted by the censors.

Veljo Tormis’ Overture No. 2 is an early, purely orchestral piece that premiered in 1959, it was the first work of an Estonian composer performed at the prestigious Warsaw Autumn Festival (Poland), in 1961. With the Overture No. 2, you hear something truly unique. Tormis claims that he has “never composed “pure music,” music for music’s own sake. Even the meaning in the often performed Second Overture is to be found elsewhere, not in the music itself. I have never just “made music.” I have always had some other reason – an idée fixe – a wish to speak up, to express some idea, even a political idea, but not a solely musical one.” ( Jonathan D. Kramer)

Cello Concerto in B minor ANTONÍN DVOŘÁK (1841–1904) Dvořák began his in New York on November 8, 1894; he completed the score on February 9, 1895, revised the ending that June, and conducted the first performance, with Leo Stern as soloist, on March 19, 1896, in London.

It is remarkable that despite this chamber-music quality, the concerto has a certain symphonic grandeur one doesn't find in most other Romantic cello concertos (Schumann, Saint-Saëns). Dvorák continues the Beethoven-Brahms tradition in which solo passages (including several prominent ones for the flute) are balanced by full-fledged orchestral statements. The orchestra's role is not restricted to mere accompaniment: it always shares the limelight with the soloist and often even takes center stage. That is because, clearly, this concerto is much more than a virtuoso showpiece for the soloist. It is in many ways a dramatic, even tragic, work, from its somber opening to the unprecedented closing section of the finale. We have a great deal of evidence to show that Dvorák was grappling with important life issues as he was writing it.

In the second movement of his cello concerto, Dvorák quoted one of his own songs ("Lasst mich allein" [Let Me Be Alone], Op. 82, No.1) which, according to leading Dvorák biographer Otakar Sourek, was a favorite song of Josefina's and its appearance here is a personal tribute. This view is supported by the fact that this melody returns at the end of the concerto, in the part that Dvorák revised after his return to Bohemia, and after Josefina's death. Here Dvorák made the almost unheard-of decision of inserting a wistful and elegiac slow section in the middle of a finale that has up to this point been dominated by a spirited dance melody. What is more, the solo cello is joined here by a second solo voice coming from the concertmaster: the combination of violin and cello (high and low) creates unmistakable associations with an operatic love duet. Precisely at the moment when one would expect a final presto to begin, the music drifts more and more into sadness. The dramatic first theme of the opening movement is recalled, as is a variant of Josefina's song. It is apparently only with some effort that Dvorák gathers up enough momentum for a few measures of Allegro vivo to end the concerto. Program Notes

Symphony No. 5 in E minor Op. 64 (1840–1893)

Tchaikovsky approached his Fifth Symphony from a position of extreme self-doubt, nearly always his posture vis-à-vis his incipient creations. In May 1888, he confessed in a letter to his brother Modest that he feared his imagination had dried up, that he had nothing more to express in music. Still, there was a glimmer of hope: “I am hoping to collect, little by little, material for a symphony.”

Tchaikovsky was spending the summer of 1888 at a vacation residence he had built on a forested hillside at Frolovskoe, not a long trip from his home base in Moscow. The idyllic locale proved conducive to inspiration and apparently played a major role in helping him conquer his demons long enough to complete this symphony, which he did in four months. The composer arrived at Frolovskoe on May 21 and immediately began working on two pieces at once: the Fifth Symphony and the symphonic poem Hamlet. But soon Hamlet was set aside and the symphony claimed his complete attention, such that its essential shape was sketched entirely by June 29. At that point he switched gears for five days, completing his draft of Hamlet; and then returning to refine and orchestrate his symphony, which he finished at the end of August.

The Fifth Symphony adheres to the classic four-movement form, but the movements are unified to some degree through common reference to a “motto theme,” a sort of Berliozian idée fixe announced by the somber clarinets at the outset. Most commentators are happy to agree that this represents the idea of Fate to which Tchaikovsky referred in his prose sketch of April 1888. It will reappear often in this symphony, sometimes reworked considerably, and it certainly defines the bleak tone that governs much of the proceedings. And yet, not everything is bleak. Shafts of sunlight often cut through the shadows: hopeful secondary melodies, orchestration of illuminating brightness, rhythmic vivacity and variety, passages of balletic grace.

The slow movement qualifies as a musical icon. Few melodies are as immediately memorable as its languid, nostalgic solo for horn, which gradually develops into a leisurely conversation with other solo winds. The theme emerges out of an introduction of supremely somber string chords and stands as a voice of consolation in the desolate wilderness. In the midst of the movement we are startled by a brutal interruption from the “Fate” theme, played by the brass. The rest of the orchestra, too, seems shocked, and holds its breath briefly before picking up the pieces of the languid melody (now with an overlay of contrapuntal elegance from various woodwinds) via some pizzicato chords.

A graceful waltz lightens the spirit for the third movement, its melody—Tchaikovsky said--derived from a song he had heard sung by a young boy in Florence some years earlier. Tchaikovsky’s masterful ballet scores inevitably come to mind as we listen to this charmed music. But Fate makes its presence known even here, in the form of a subdued statement of the motto by clarinets and bassoons near the end.

The symphony’s final movement leads to a close in which triumph is at least suggested as a possibility. The “Fate” theme, which has just closed the third movement, opens this finale, but now it is transposed from the minor mode into the major. The composer works out his musical ideas circuitously (though according to what may be generally considered a classic sonata form), and on the whole gives the impression that he is hell-bent on banishing the shadows that have haunted much of this symphony, rather after the models of Beethoven’s Fifth and Ninth symphonies. But in the end Tchaikovsky’s is a different story. “If Beethoven’s Fifth is Fate knocking at the door,” wrote a commentator when the piece was new, “Tchaikovsky’s Fifth is Fate trying to get out.” It nearly does so in a journey that threatens to culminate in a series of climactic B-major chords. But notwithstanding the frequent interruption of audience applause at that point, the adventure continues to a conclusion that is to some extent ambiguous: four closing E-major chords that we may hear as triumphant but may just as easily sound ominous. Nikolai Alexeev, Conductor

One of the most outstanding representatives of Russian conducting school, People’s Artist of the Russian Federation Nikolai Alexeev graduated from Glinka Choir College and the Leningrad State Conservatory, where he majored in choir conducting in the class of Avenir Mikhailov, and -symphony conducting in the class of Mariss Jansons. His career boosted after winning the first prize of the Competition in (1982). Currently he is the permanent conductor of St. Petersburg Philharmonic Orchestra, position taken over from Mariss Jansons. Concert tours with this orchestra have taken Nikolai Alexeev to a number of most important concert halls in the US, Germany, France and other countries.

From 2001 to 2010 Nikolai Alexeev was the Music Director and Chief Conductor of the Estonian National Symphony Orchestra. For remarkably fruitful work and developing Estonia’s most prominent orchestra to a completely new level he was awarded the State Prize of the Republic of Estonia. Nikolay Alexeev has also been the Chief Conductor of Zagreb Philharmonic Orchestra and Ulyanovsk Symphony Orchestra.

Besides the leading Russian orchestras Nikolai Alexeev has been working with Royal Concertgebouw Orchestra, Rotterdam, , Stuttgart and Copenhagen Philharmonic Orchestras, Berlin, Göteborg and Baltimore Symphony Orchestras, Liverpool Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, New Japan Philharmonic and many others.

Currently the maestro is the director of the symphony department of the Rimsky-Korsakov State Conservatory. ______Narek Hakhnazaryan, Cellist Narek Hakhnazaryan was awarded the Gold Medal at the 2011 XIV International Tchaikovsky Competition, the most prestigious prize given to a cellist. Already hailed a "seasoned phenom" by the Washington Post, and praised for his "intense focus and expressive artistry" by , Hakhnazaryan is emerging as one of the most significant young artists on the world stage.

Narek's recent debuts include performances with Valery Gergiev and the London Symphony and Mariinsky Orchestras; his debut with the Chicago Symphony; and his New York concerto debut performing the Elgar Concerto in Lincoln Center’s Alice Tully Hall with the Orchestra of St. Luke’s. In the 12-13 season, Narek appeared with the Rotterdam Philharmonic playing the Dutilleux Concerto conducted by Gergiev; he also performed with the Dallas Symphony under Jaap van Zweden, the Kansas City Symphony under Michael Stern, and the Filarmonica della Scala under Juraj Valcuha. He also made his debut with the London Philharmonic, BBC Scottish Symphony, NDR , Orchestre symphonique de Quebec, Chamber, and Seoul Philharmonic orchestras. His Summer Festival appearances included a recital at the Ravinia Festival and performances at the Aspen Festival under David Robertson.

In the 13-14 season, Narek will appear in recital at Carnegie's Zankel Hall and throughout the US. He will embark on a 3-week US tour playing Dvorak with the Estonian National Symphony conducted by Neeme Järvii and Nikolai Alexeev. He will also make his debut with the Toronto Symphony playing the Rococo Variations, and with the Sao Paulo Symphony playing Lera Auerbach. Other highlights include a tour with the Czech Philharmonic under Jiri Bělohlávek, and performances with Valery Gergiev and the Mariinsky Orchestra and Filarmonica della Scala. Recent and upcoming recitals include appearances at the , Berlin Konzerthaus, Salle Pleyel, Concertgebouw, Isabella Stewart Gardner Museum Boston, the Shriver Hall Concert Series in Baltimore, and the Vancouver Recital Series.

Mentored by , Narek was the only cellist invited to travel on behalf of Mstislav Rostropovich Foundation. As First Prize winner in the 2008 Young Concert Artists International Auditions, Narek debuted in the Young Concert Artists Series in New York at Carnegie’s Zankel Hall, and at the Kennedy Center in Washington, DC. Narek was born in 1988 in , Armenia, into a family of musicians: his father is a violinist and his mother is a pianist. His early studies were at the Sayat-Nova School of Music in Yerevan with Zareh Sarkisyan. At the age of 12, Narek began studies at the with Alexey Seleznyov, and went on to work with Lawrence Lesser at the New Conservatory of Music in Boston. Estonian National Symphony Orchestra Fall 2013 USA Tour Roster

VIOLIN I OBOES Arvo Leibur (Concertmaster) Nils Rõõmussaar (Principal) Sandis Steinbergs (Concertmaster) Aleksander Hännikäinen (Associate Principal) Marge Uus (Associate Concertmaster) Sirje Allikmäe CLARINETS Kätlin Ivask Guy Spielman (Principal) Ilze Kirsanova Madis Kari (Associate Principal) Imbi-Malle Kuus Meelis Vind (bass clarinet) Kirti-Kai Loorand Astrid Muhel BASSOONS Hanna-Liis Nahkur Peeter Sarapuu (Principal) Tõnis Pajupuu Merje Roomere Kristjan Kungla (Associate Principal) Kaiu Talve Kaido Suss Andrus Tork HORNS VIOLIN II Kalervo Kulmala (Principal) Kaido Välja (Principal) Pan Ye (Associate Principal) Kadi Vilu (Associate Principal) Kalle Koppel Marika Hellermann Tõnu Künnapas Kristel Kiik Valdek Põld Triin Krigul Kristjan Nõlvak TRUMPETS Ilze Pence Erki Möller (Associate Principal) Urmas Roomere Ivar Tillemann Mail Sildos István Baráth Mari-Katrina Suss Airi Šleifer TROMBONES Marlis Timpmann Andres Kontus (Principal) Peeter Margus (Associate Principal) VIOLAS Johannes Kiik Rain Vilu (Principal) Liina Žigurs (Associate Principal) Helena Altmanis TUBA Mall Help Andrei Sedler Kenti Kadarik Kaja Kiho PERCUSSION Juhan Palm-Peipman Madis Metsamart (Principal) Pille Saluri Vambola Krigul Svjatoslav Zavjalov Terje Terasmaa Toomas Veenre ENSO ADMINISTRATION CELLOS Kadri Tali, General Manager/Executive Director Pärt Tarvas (Principal) Daily Trippel, Production Manager Levi-Danel Mägila (Associate Principal) Marko Metsaru, Orchestra Manager Riina Erin Jüri Korjus, Stage Manager Andreas Lend Signe Vaiknemets, Tour assistant/Sales Manager Katrin Oja Maarja Kasema, Publications Manager Lauri Toom Margus Uus For Opus 3 Artists Maris Vallsalu David V. Foster, President & CEO Robert Berretta, Vice President, Senior Director, DOUBLE BASSES Artists & Attractions Booking, Manager, Mati Lukk (Principal) Artists & Attractions Regina Udod (Associate Principal) Leonard Stein, Senior Vice President, Director, Janel Altroff Touring Division Imre Eenma Associate Manager, Artists Maret Orgmets Adelaide Docx, Ants Õnnis & Attractions John C. Gilliland III, Associate, Touring Division FLUTES Lauren Tesoriero, Associate, Attractions Mihkel Peäske (Principal) Kay McCavic, Tour Manager Mari-Liis Vihermäe (Associate Principal) Gerald Breault, Stage Manager Janika Lentsius (Piccolo) Joseph Castellano, Assistant Tour Manager The Key to Success is you…Save the Yamaha piano at The Peabody!

The Daytona Beach Symphony Society and The Peabody Auditorium have joined together to save the Yamaha CFIIIS concert grand piano. Yamaha has been most supportive over the years and loaned the piano to the Symphony Society and Peabody. The piano was selected especially for The Peabody Auditorium and is considered one of the finest in the world.

The Peabody and the Daytona Beach Symphony Society are committed to enhancing the cultural quality of life for our community. Please consider making a tax-deductible gift by purchasing an octave for $5,000, a half of an octave for $2,500, a single piano key for $750 or another amount that fits your contribution budget. All contributions are appreciated. Please know that 100% of your contribution will be used to purchase and maintain the piano. Donations of $750 or more will be recognized on a commemorative plaque. Join us today and let’s work together to keep our community treasure. Please call the Symphony office 386.253.2901 or visit dbss.org for more information

Thursday, December 12, 2013 6-9 pm Halifax River Yacht Club

Start your holidays with our Kringle Mingle! Heavy Hors’doeuvres and Cash Bar Enjoy music by local youth musicians

Make your reservations today! $50 per person To purchase your tickets 386.253.2901

2013-2014 62nd• SEASON

January 24 | Donizetti’s The Elixir of Love • Teatro Lirico D’Europa January 26 | Haifa Symphony Orchestra of Israel February 7 | Buffalo Philharmonic Orchestra February 9 | Moiseyev Siberian Dancers February 28 | Don Quixote • Moscow Festival Ballet For information, call: 386.253.2901 • www.dbss.org 62nd• SEASON SPONSORS Symphony Guild of Daytona Beach

Concert Grand Presenters Contributing Sponsors Compu Sys • Shirley & Mahyar Okhovatian Cherie Keemar Dr. & Mrs. Thurman Gillespy, Jr. Radiology Associates Imaging Centers Concert Sponsors Barbara & Buzzy Glickstein Hospitality Sponsors Dr. Gordon & Gina Millar Carefree Catering Speedway Custom Photo Lab Encore Catering Lou & Marj Fiore Weekley & Arganbright Media Sponsors AM 1230 – AM 1490 WSBB Associate Sponsors Bright House Networks Carrabba’s Italian Grill Halifax Magazine The Daytona Beach News-Journal Hometown News Mary E. Duckett Our Florida Magazine Fields BMW of Daytona WROD Radio 104.7 FM Warren & Mary Ann Hoffner Orthopaedic Clinic of Daytona Beach YES Sponsors Bill & Ginny Phillips Allstate Insurance - Nanette Rosevear PNC Bank Chick-fil-A Yolanda Reilly Florida Power & Light Food Brings Hope Co-Sponsor Giles Electric Company Marina Marza Gallery

The Symphony Guild thanks its corporate members and asks you to patronize these businesses.

SYMPHONY LEVEL SONATA LEVEL Chapel & Tavern In The Garden Central Florida Lyric Opera Compu Sys The Cutting Cove Dunn’s Attic & Auction House Dillard’s Chanel Beaute Makeup Artist Frame of Mind Flagler Dental Associates, PA Susan B. Glass, CPA The Flower Market Mainly Gold Debbie Kruck’s Fitness & Pilates Studio Interiors Marketplace Virginia Renzi Minutolo, Pianist Paper Dance Sister Cities of Volusia Co., Inc. Symphony Boutique Unity Church of Daytona Beach Thrivent Financial 62nd• SEASON CONTRIBUTORS

Conductor Circle Principal Circle Otto Fowich & Jonathan Childress Barbara & Richard Alfes Richard & Bunnell Graham Mr. & Mrs. John E. Allaben Audrey Dillard Ottenstein Jay & Kathaleen Bond Grand Maestro Circle Dorothy Bradley Ron & Nancy Brown Dr. & Mrs. Edward Kupic Mr. & Mrs. James A. Dent, Jr. Maestro Circle Madeline Dwyer Anonymous Philip H. Elliott, Jr. Catherine Bauerle Robert F. Evans Tensy DiGioia Mrs. Arthur F. Jones Mary E. Duckett Warren & Prudie Kerry Julius & Becky Erlenbach Leonard & Lynn Lempel Dr. & Mrs. Thurman Gillespy, Jr. Estelle Lingenfelser Richard & Sandra Gosch Mary & Charles McDaniel Edward & Patricia Jackson George R. Menkart Hon. Michael & Eileen McDermott Paul & Linda Mescher Dr. Gordon & Gina Millar Bill Rispoli-Belco Electric Co. Mahyar & Shirley Okhovatian Diane Rogers John & Sharon Phelps Elizabeth Ruddock Jaclyn Rector Mrs. Richard H. Schermer Ian & Tina Ross Foundation Michael & Beverly Senko Ron & Evelyn Shapiro Dr. Beatrice T. Silverman, MD Judith M. Shinn Stuart Sixma-Morgan Stanley Smith Barney Constance Treloar Eva Stefanszky Jim & Denise Watson Mr. & Mrs. Paul Stevens Weekley & Arganbright Sy Weiner Ted & Margaret Yaeger Soloist Circle Virtuoso Circle Chris & Ginny Billingsley Anonymous William J. Braun Roy & Carolyn Brewer Mr. & Mrs. John Cantalupo Mr. & Mrs. J. Hyatt Brown Mary Ann Clark Eleanor Callon Elizabeth Hurtibise Audrey E. Dando Michelle Leigh Mr. & Mrs. Victor F. Doig Walter & Helen Mack Anne Maze Linda Matkovich Jim & Helen Moseley Angelika Schlieper Evelyn & Stewart Pinsof Karen Wolford Concertmaster Circle George & Ann Yates Alice & Stanley Brittingham In Memory of Ian Ross Mary Lou Deeley Bill & Mary Deininger Klaus D. Bowers Bill & Mary Lenssen Dennice & Raymond Carey, Jr. Richard & Lois Loesch Annie P. Jordahn Ray & Carol Lively Platig John & Lucille Mayo H. Gunter & Emily Seydel Joan B. Snow Lydia M. Simko Dennis Sobeck In Memory of Bernard Tinkoff Mrs. Ashton M. Tenney Norma Tinkoff Lamar Thomas