Angels and Cathedrals: The Music of Hisaishi, Humperdinck, Higdon, and Saint-Saëns featuring the Senior Symphony
Carter Simmons, Artistic and Music Director
SATURDAY, NOVEMBER 11, 2023
7:00 pm
Shattuck Music Center Auditorium, Carroll University
JOE HISAISHI (b. 1950)
Water Traveller
ENGELBERT HUMPERDINCK (1854-1921)
"Evening Prayer" and "Dream Pantomime" from the opera Hansel and Gretel
JENNIFER HIGDON (b. 1962)
blue cathedral
Intermission
CAMILLE SAINT-SAËNS (1835-1921)
Symphony No. 3 in C Minor (“Organ”), Op. 78 (1886)
I. Adagio-Allegro Moderato
Poco adagio
II. Allegro Moderato-Presto
Maestoso-Allegro-Piu Allegro
FIRST VIOLIN
Hans Hemann, Concertmaster
Magdalena Masur, Concertmaster
Jayanth Suthan, Concertmaster
Henry Snavely, Concertmaster
Benyamin Kim
Titus Veldhouse
Christianna Ebel
Rosy Kojis
Lucas LaBeau
Brynn Nelson
Andrea Hanna
Kayami Jackson
Emilia Sato
Maia Cardew
Sal Stein
Isabella Krynicka
Ben Christiaansen
Madeline Bingenheimer
Alexander Chen
Nathanael Chu
Valkyrie Ladd
Yiwen Ma
Krish Vasudev
Ariana Augustine
SECOND VIOLIN
Nishanth Suthan
Samuel Botshtein
Johana Kim
Lexi Mabini
Norah Boerner
Dana Kim
Aris Arvanetes
Simon Doerr
Benjamin Jiang
Brady Ahler
Flynn O'Rear
Logan Gleesing
Ipek Yilmaz
Rebecca Brojanac
Suraksha Kodgi
Ruthee Rosploch
Soren Ellingstad
Avana Kelly
Owen Bell
Emerson Neldner
Emerson LaWall-Shane
Alexandra Holzman
VIOLA
Sonya Wilhelm, Principal
Brae Bigelow, Assistant Principal
Rem Leach
Violet Lucier
Levi Stein
Alana Perez
Haley Burns
Spencer Laga
Akilah Muhammad
Cassidy Quandt
Gregory Farmer
Samantha Stundtner
Lucy Hamann
CELLO
Ava Larsen, Principal
Gabrielle Peck, Principal
Luke Field, Principal
Reagan Laws
Maryveth Ochoa
Adela Ramirez
Carlos Recinos
Lukas Vater
Rebecca DeBoer
Ella Smullen
Kate Weisman
Rylee Stelpflug
Carolina Islas
Michael Montie
Jurnee Fisher
Ashley Bongard
BASS
Benjamin Levin, Principal
Gavriilia Fyrogeni, Assistant Principal
Alexander Matusiak
Lauren Gooden
Dmitriy Levit
HARP
Nancy Lescher Drabot
PIANO and CELESTE
Lucas LaBeau
ORGAN
Jayne Latva
FLUTE
Maribel Cortez
Sophie Gerew
Marisa Lehner
Zackary Muñoz
Jane Tretheway
PICCOLO
Sophie Gerew
Marisa Lehner
Zackary Muñoz
OBOE
Abby Debbink
Claire Fifarek
Lydia Morency
ENGLISH HORN
Abby Debbink
Claire Fifarek
CLARINET
Lilly Beane
Jordan Haney
Maggie Kidd
Rayna Kavalauskas
BASSOON
Ben Beumler
Gavin Hansen
Faith Weigand
Andie Wisniewski
CONTRABASSOON
Faith Weigand
HORN
Shaurya Bansal
Alexandra Mueller*
Meera Rao
Anaka Velie
TRUMPET
Milo Ascher
Zachary Burgess
Oscar Endres
TROMBONE
Emmeline Erickson
Erich Haefer
Austin Kempen
TUBA
Lane Wendorf
TIMPANI and PERCUSSION
Kyler Katanik
Rachel Shatzer
Nicolas Strichartz
Issac Visser
Concertmasters and woodwind, brass, and percussion players are listed in alphabetical order.
* - assisting alumni musician
Thank you to those who regularly work with our Senior Symphony musicians!
- Paul Hauer, String Advisor
- Nicole Gabriel, Music Librarian
In addition, we are grateful to these teaching artists who have coached the orchestra this year:
- Frank Almond, Johnston Family Artist-in-Residence
- John Babbitt
- Mike Giacobassi
- Ben Haimann, Community Artists Coordinator
- Paul Hauer, Senior Symphony String Advisor
- Ravenna Helson
- Amanda Koch
- Kevin Pearl
- Erin Pipal
- Don Sipe, Brass Studies Director
Joe Hisaishi (Mamoru Fujisawa)
b. December 6, 1950; Nagano, Japan
Water Traveller from Samurai Kids
Among contemporary Japan’s foremost film composers, Hisaishi has been particularly associated with films of director/animator Hayao Miyazaki. Trained from the age of four by the violin methods of Shinichi Suzuki, Hisaishi also attended myriad films with his father. He later studied composition at the Kunitachi College of Music and with famed anime composer Takeo Watanabe. In 1974, Hisaishi began creating concert music and anime scores. He is widely known for his music written for the Japanese animation studio, Studio Ghibli.
As his reputation grew, Hisaishi adopted a professional name, based on the name of American musician/composer Quincy Jones. A Wikipedia article explains: “Quincy, pronounced Kuinshi in Japanese, can be written using the same kanji in Hisaishi, and Joe came from Jones.”
Fluent in European classical, Japanese folk, electronic and popular symphonic idioms, Hisaishi has produced sonic tapestries attracting world-wide recordings, awards and prizes. Generally characteristic of his fluidly wide-ranging expression is a 2010 score entitled Water Traveller.
The music accompanies a movie adventure called “Samurai Kids,” in which an 8-year-old boy, Satoru, encounters and learns from an ancient samurai warrior named Sutonahiko Suminoe who is only six inches tall. The adventurous 1993 movie won an Excellence-Silver Award, the Popularity Awards for the Most Popular Film in Japan, and Best Music Score for Joe Hisaishi.
Engelbert Humperdinck
b. September 1, 1854; Siegburg | d. September 27, 1921; Neustrelitz
"Evening Prayer" and "Dream Pantomime" from the opera Hänsel und Gretel
On April 18, 1890, Humperdinck’s sister, Adelheid Wette, sent him texts of four children’s songs, requesting that he set them to music. Amused, the composer took only about two hours to set down a dance duo, an echo song, and a “cock crow” song; he sent it back to her under the title A nursery consecration festival piece by Adelheid Wette, Hansel and Gretel. Set to music by Uncle Ebebe (the name his young nieces called him). About this same time, Wagner’s widow Cosima invited Humperdinck to Frankfurt as a music teacher for her son Siegfried. His creativity stimulated by this renewed contact with the Wagner family, Humperdinck began to seek a new opera project.
Humperdinck was drawn to more serious opera subjects, but his father, sister, brother-in-law and woman friend (Hedwig Taxer) all urged him to make a setting of the Hansel and Gretel story. Urging him onward, even to the extent of sketching out a libretto, they wheedled and cajoled the composer; at one point he jokingly referred to the project as “the family curse.” Acquiescing to their demands in September of 1890, he composed several elements and, employing a traditional hymn of mountain children, the Evening prayer. At this point, he was well on his way to having a “Singspiel,” a lighter operatic form in which the musical numbers are connected by dialogue. Humperdinck continued to work toward this goal; he was able to present the Singspiel version of the work to Hedwig at Christmas 1890, on the occasion of their official engagement.
Amid the demands of his activities as a teacher and critic, Humperdinck became consumed with the idea of expanding his project into a fully-fledged opera (with continuous music and no dialogue). “I am again occupied with Hansel and Gretel, and am sorting out the patch-work,” he wrote to his fiancée. “But every time I set to work I can scarcely resist the temptation to compose the piece as a continuous whole—and yet I must restrain myself, because otherwise I’d be already even later.” The long-suffering Hedwig responded: “If it’s so tempting for you to set the whole to music, then that will certainly be the most suitable…even if through this our marriage is still further delayed—and it’s taking so long already.” Still polishing his effort during the following autumn, he wrote to her: “Hansel and Gretel with me is like our engagement with you: the longer it lasts, the more despondent I become.” In the first weeks of December 1891, he completed the overture: “It has become a rather extensive piece of music, a kind of symphonic prologue…that could be entitled Child Life.” After the holidays, he set to work on the orchestration; it took him another two years to complete. During this period he married Hedwig; by the opera’s completion and publication (October 1, 1893), the pair had a son.
Several conductors showed interest in the new score, but it was the young composer-conductor Richard Strauss who was most enthusiastic, writing: “My dear friend, you are a great master who is bestowing on the dear Germans a work they barely deserve but nevertheless, it is to be hoped, they will very soon be able to appreciate at its full importance...” Wanting to premiere it in the Christmas season, Strauss scheduled it in Munich on December 14, 1893. The impoverished composer spent his last money to go assist and attend the premiere in the Bavarian capitol. Humperdinck wrote to his sister: “This morning I had the good fortune to attend an orchestral rehearsal, which gave me what I have needed for a long time, a great inward stimulus. I feel like Moses when he saw the promised land from afar.” Unfortunately, an influenza epidemic made it necessary to postpone the Munich performances. A few days later, Strauss conducted the opera’s premiere in Weimar (December 23, 1893). Humperdinck could not afford to attend. The opera was an instant success. Produced at over fifty theaters in its first year, Hansel and Gretel soon went on tour. This inspired and beautifully crafted opera was particularly successful when performed the following year in Vienna.
In the third scene of Act II, the famed strains of the “Dream-Pantomime,” evoke the “fourteen angels” who gather to protect Hänsel and Gretel through the night.
Jennifer Higdon
b. December 31, 1962; Brooklyn, NY
blue cathedral
Commissioned by the Curtis Institute of Music in celebration of its 75th Anniversary, this music was largely conceived in 1999 and first performed by the school’s orchestra, under Robert Spano, at the Academy of Music in Philadelphia on May 1, 2000.
Born in Brooklyn, but raised in Georgia and Tennessee, Higdon is a product of an essentially rural life with artistic counterculture parents and a lot of pop music. She played percussion in high school and taught herself to play flute. When she went to study music at Ohio’s Bowling Green College, her flute teacher encouraged her to write music for flute and piano. Ultimately gravitating more and more toward composition, Higdon gained graduate degrees in composition at the University of Pennsylvania, where she studied with George Crumb, Jay Reise, and Ned Rorem. Since then, she has taught part time at Philadelphia’s Curtis Institute and Bard College (in New York’s Hudson Valley). She also conducts several ensembles, but makes it clear that her “main work is composing.” Dr. Higdon was awarded the 2010 Pulitzer Prize for her Violin Concerto. She currently holds the Milton L. Rock Chair in Composition Studies at the Curtis Institute of Music in Philadelphia.
The composer’s comments reveal the very personal nature of her music:
Blue...like the sky. Where all possibilities soar. Cathedrals...a place of thought, growth, spiritual expression...serving as a symbolic doorway into and out of this world. Blue represents all potential and the progression of journeys. Cathedrals represent a place of beginnings, endings, solitude, fellowship, contemplation, knowledge, and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind's eye the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars, moving in a contemplative stance. The stained glass windows' figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving upward at first and then progressing at a quicker pace, rising towards an immense ceiling which would open to the sky...as this journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted to create the sensation of contemplation and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music.
Those were my thoughts when The Curtis Institute of Music commissioned me to write a work to commemorate its 75th anniversary. Curtis is a house of knowledge—a place to reach towards that beautiful expression of the soul which comes through music. I began writing this piece at a unique juncture in my life and found myself pondering the question of what makes a life. The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way. This piece represents the expression of the individual and the group…our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey. This is a story that commemorates living and passing through places of knowledge and of sharing and of that song called life.
Camille Saint-Saëns
b. October 9, 1835; Paris | d. December 16, 1921; Algiers
Symphony No. 3 in C Minor, Op. 78 (“Organ Symphony”)
An enormously gifted and vital musician, Saint-Saëns was a dominant figure in French music during the latter part of the 19th century. Arising from a bourgeois background through his abilities as a pianist and organist, he attended the Paris Conservatory and developed into an indefatigable performer, composer, and teacher. In retrospect, it appears that Saint-Saëns’ greatest contribution was his promotion of French instrumental music at a time when his country was totally infatuated with opera. Although he wrote thirteen operas, most notably, Samson et Dalila, Saint-Saëns devoted the majority of his talents to writing instrumental music and encouraging other composers to do likewise. Largely because of Saint-Saëns’ influence, French instrumental music arose to the forefront of European music by the turn of the century.
Saint-Saëns’ own finest achievement in the area of instrumental music was his brilliant Symphony No. 3. Commissioned by the London Philharmonic Society for the concerts of its seventy-third season, the work was begun early in 1886; it was completed in time for its premiere performance on May 19 of the same year. That concert was particularly noteworthy, for Saint-Saëns not only conducted his new work, but also appeared as soloist in the Beethoven Piano Concerto No. 4 in G major. Another illustrious musical personage also took part in the concert: Sir Arthur Sullivan —of Gilbert and Sullivan fame— conducted the rest of the program.
That Saint-Saëns was championing a cause is fairly evident from his remarks about this, his last symphony: “The composer thinks that the time has come for the symphony to benefit by the progress of modern instrumentation, and he therefore establishes his orchestra as follows: three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, tuba, three kettledrums, organ, pianoforte (now for two hands and now for four), triangle, a pair of cymbals, bass drum, and the usual strings.” Because the organ plays such an imposing role in the musical fabric, the symphony is frequently known as the Organ Symphony. It is dedicated “to the memory of Franz Liszt.” The theme of its last movement was used to charming effect in the 1995 porcine saga Babe.
Realizing that the novel elements of his work might invite adverse criticism, Saint-Saëns carefully set forth the following analysis for the world premiere:
“This symphony is divided into two parts, after the manner of Saint-Saëns’ Fourth concerto for piano and orchestra and the Sonata for piano and violin. Nevertheless, it includes practically the traditional four movements: the first, checked in development, serves as an introduction to the Adagio, and the Scherzo is connected, after the same manner, with the Finale. The composer has thus sought to shun in a certain measure the interminable repetitions which are more and more disappearing from instrumental music.
“After an introduction (adagio) of a few plaintive measures the string quartet exposes the initial theme, which is somber and agitated (allegro moderato). The first transformation of this theme leads to a second motive, which is distinguished by a greater tranquillity; after a short development, in which the two themes are presented simultaneously, the motive appears in a characteristic form for full orchestra, but only for a short time. A second transformation of the initial theme includes now and then the plaintive notes of the introduction. Varied episodes gradually bring calm, and thus prepare the adagio in D flat. The extremely peaceful and contemplative theme is given to the violins, violas, and violoncellos, which are supported by organ chords. This theme is then taken by clarinet, horn, and trombone, accompanied by strings divided into several parts. After a variation (in arabesques) performed by the violins, the second transformation of the initial theme of the allegro appears again, and brings with it a vague feeling of unrest, which is enlarged by dissonant harmonies. These soon give way to the theme of the adagio, performed this time by some of the violins, violas, and violoncellos, with organ accompaniment and with a persistent rhythm of triplets presented by the preceding episode. This first movement ends in a coda of mystical character, in which are heard alternately the chords of D-flat major and E minor.
“The second movement begins with an energetic phrase (allegro moderato), which is followed immediately by a third transformation of the initial theme in the first movement, more agitated than it was before, and into which enters a fantastic spirit that is frankly disclosed in the presto. Here arpeggios and scales, swift as lightning, on the pianoforte, are accompanied by the syncopated rhythm of the orchestra, and each time they are in a different tonality (F, E, E-flat, G). This tricky gaiety is interrupted by an expressive phrase (strings). The repetition of the allegro moderato is followed by a second presto; but scarcely has it begun before a new theme is heard, grave, austere (trombone, tuba, double basses), strongly contrasted with the fantastic music. There is a struggle for the mastery, and this struggle ends in the defeat of the restless, diabolical element. The phrase rises to orchestral heights, and rests there as in the blue of a clear sky. After a vague reminiscence of the initial theme of the first movement, wholly transformed, is now exposed by divided strings and the pianoforte (four hands), and repeated by the organ with the full strength of the orchestra. Then follows a development built in a rhythm of three measures. An episode of a tranquil and pastoral character (oboe, English horn, clarinet) is twice repeated. A brilliant coda, in which the initial theme by a last transformation takes the form of a violin figure, ends the work; the rhythm of three measures becomes naturally and logically a huge measure of three beats; each beat is represented by a whole note, and twelve quarters form the complete measure.”
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Lori Gendelman
Jodi Gibson
Cathy Girard
Charles & Susan Gnewuch
Jeffrey Goldberg
Goldstein Law Group, S.C.
Barbara Groth
Steve & Mardee Gruen
Penny L. Gutekunst
Matthew & Victoria Haas
Nicholas & Danita Hahn
Edward Hammond & Marcia Brooks
Stanley & Julie Hanna
Phil & Mary June Hanrahan
Paul & Kathy Hartke
Beth Heller
Melva Henderson
Steve Herro
Elizabeth Hill-Karbowski & Jeff Karbowski
Jason Hille
Charles & Jean Holmburg
Howard Frankenthal Family Foundation, Ltd.
Jerome & Alice Jacobson
Marc & Lori Jacobson
Thomas & Patricia Jester
Laura Johnson
Margaret Kaine
Steve & Ellen Kellogg
Joseph Kmoch
Scott & Ellen Knowles
W. David & Dedi Knox II
Michael Koebel
Sophie Kojis
Bill & Becky Komisar
Connie & John Kordsmeier
Michael & Patricia Kremin
Lois Krewinghaus
Fran & Paul Kritzer
Jacob Krmpotich
Katarzyna Krynicka
Christopher & Milagros LaBeau
Lynn Langlois & Fred Schaumberg, DO
William Lassow
Mike & Gail Lauer
Greg & Charlotte Lawless
Donald Lawson
Elliot & Eva Lipchik
Andrew & Emily Lukasek
Ann Margolis
Bruce Martin
Jessica & Rob McCabe
Paul & Carol McInerny
James & Sandy Metzger
Sunit & Lisa Mohindroo
Lindsey Moloney
'nalytix LLC
Jack & Kim Nelson
Joel & Donna Nettesheim
Peter Ogden & Terri Mahoney-Ogden
Dave & Maggey Oplinger
Sarah & Matt Pancheri
Gehres Paschal
Joanne Peck
Mark & Julie Petri
John & Nicole Pienkos
Michael & Patricia Pingitore
Pamela Pletcher
Ijoister Pyle-Harris
Bunny Raasch-Hooten
Marty Radocha
Susan Ranft
Ben & Kristin Rehberg
Virginia Riesing
Steven & Rona Rindt
Chris & Angie Roloff
Andrew & Natalie Sajdak
David & Joyce Sauer
Howard & Robin Schlei
Gerald & Amy Schneider
Mark Schwertfeger
Seer Interactive
Allen & Diane Sengpiel
Randall & Kay Shrader
Valerie Laabs-Siemon
Russ & Barb Simpson
Paul & Nicole Sippy
Amy Sporich
Barbara Stanford
Calla Stanford
L. William Staudenmaier Jr.
Thane & Carol Storck
Jack Sutte & Audra Zarlenga
Thomas W. & Nancy A. Florsheim Trust
Carin Thomure
Gile & Linda Tojek
Debra Tula
Madelaine Tully
Lynn Turk
Todd Turk
Kimberly Uding
Miriam van de Sype
Monica & Brahm Vasudev
Daniel & Margot Vetrovsky
Yesenia Villanueva
Katy Weisenburger
Chuck Wikenhauser
Colleen Wilder
Frederick & M. Darlene Wilson
Bruce & Susan Winter
Arthur Wolf
Hope Wolf
Irene Yakubovich
Clara Yu
Michael & Eileen Zei
Joan Zepecki
In-Kind Donors
Anonymous
A. J. Ugent Furs
Adventure Rock
Frank Almond
America's Action Territory
Anton's Salon & MSpa
Artery Ink
Beans & Barley
Brian & Laurel Bear
Bel Canto Chorus
Belle Fiori Ltd.
Bookworm Gardens
Boone & Crockett
Brewhouse Inn & Suites
Brown Deer Lanes
Cave of the Mounds National Natural Landmark
Charles Allis & Villa Terrace Museum
ComedySportz
Vivian Cucu
Danceworks
Discovery World Science & Technology Museum
Carol Dylan
Royce Earnest
Linda Edelstein
Katie Falk
First Watch
Frankly Music
Michael & Beth Giacobassi
Gilbert Brown Foundation
Good Miles Running Company
Great Lakes Aquarium
Green Bay Packers Give Back
Grimaldi's Pizzeria
Haggerty Museum of Art
Hal Leonard LLC
Paul Hauer
Kimberly and Pete Jankowiak
Jewish Museum Milwaukee
Cassandra Jordan Franz
Kilwins Milwaukee-Bayshore
Jeff Konig
Kathleen Koth
Lakeshore Chinooks
Latino Arts
Little Caesars Enterprise
Lynden Sculpture Gardens
Marcus Hotels & Resorts
Marquette University Al McGuire Center
Jennifer Mattes
Maxwell Mansion Lake Geneva
Milwaukee Admirals
Milwaukee Art Museum
Milwaukee Bucks
Milwaukee County Parks
Milwaukee Repertory Theater
Milwaukee Youth Arts Center
Milwaukee Youth Symphony Orchestra
Mister
Robert & Barbara Monnat
Morningstar Golfers Club
Museum of Wisconsin Art
National Bobblehead Hall of Fame & Museum
Navy Pier
Next Act Theater
Olbrich Botanical Society
Orangetheory Fitness
Oriental Trading Company
Pizza Shuttle
PNC Foundation
Praireville Park
Jim & Michele Rabideau
Racine Zoological Society
Marci Richards
Deborah Ruck
Saint Kate - The Arts Hotel
Saz's Hospitality Group
Skyzone Greenfield
Sprecher Brewing Company
The Bartolotta Restaurants
The Cheesecake Factory Restaurants Inc
The World In Leather
UCC Cafe El Sol
Ultimate Confections
Urban Ecology Center
UWM Manfred Olson Planetarium
Carlos Velazquez-Sanchez
Villa Terrace Decorative Arts Museum
Village Bowl
Barbara Wanless
Wehr Nature Center
Wisconsin Association of Campground Owners
XRay Arcade
Zoological Society of Milwaukee
Gifts in Honor of:
Owen Addison
Clinton & Maybeth Ludeman
John Aley
Scott & Elizabeth Idleman
Brian & Laurel Bear
Steve & Karen Braun
Julie Berquist
Allen & Kristin Ibsen
Martha Brown
Julie Badciong
Brianna Cimoch
Jeffrey Benjamin
Evan Chirillo
James & Patricia Bowen
Cameron Corraggio
Lynn Turk
Linda Edelstein
Kathryn Bloomberg
Linda Strommen
Michael Gauger
Constance Kling
Krista Marit Gullickson
Roy Jablonka & Sigrid Gullickson Jablonka
Margarete & David Harvey
David & Diane Knox
Nolan Henderson
William & Julia Henderson
Eli Hoffmann
Elizabeth Hoffmann
Lydia Hynson
Cynthia W. Matchette
Charles Johnson
Marian & Donald Yoder
Mae E. Jones
Robert A. Jones
Mary Schmidt
Nailah Jones
Melissa Jones
Jayne Jordan
Sara Jordan
Mike & Mary Jordan
Sara Jordan
Vera Lefort
Eileen & Paul Lefort
Blake Marlowe
Jodie Marlowe
Isabella McGinley
Elisabeth McGinley
Lily Michalski
Leslie Batten
Miksich Family
Briohn Building Corporation
Erik & Carol Moeser
Carol Pohl
Bonnie Bertram
Kevin & Susan Roche
Luke Martin Murray
Joe & Cathy Murray
Jodi Peck & Les Weil
Patricia Cadorin
Ed & Doris Heiser
MYSO's Philharmonia
Joe & Lisamarie Collins
Fran Richman
Barbara Grande
Josie Sagan
Richard & Peggy Daluge
Doug Scott
Jim & Jane Anello
Carter Simmons
Joshua Richman
Alison Singewald
Scott F. Singewald
Tony Sturino
Paul & Kathy Hartke
Cort Vande Walle
Thomas & Pauline Schultz
Shawn & Faith Weigard
Carl & Kathleen Benter
Gifts in Memory of:
Dr. Isabel Bader
David & Margarete Harvey
Peter Davidson & Milton Weber
Judith Goetz
James & Florence Edelstein
Jeff Edelstein
Jerome Franke
Alexander George
Judy Garber's Mother
Croen Foundation, Inc.
Jerome Kaiser
Joseph Kmoch
Tom Kurtz
Scott, Susan, & Sally Rondeau
Roger Nelson
Sara Wagner
Harriet Russell
Thomas Russell
Judie Wille
Gerald Wille
