Hill Auditorium, Ann Arbor, Michigan
University Musical Society
The Orchestra of St. Luke's
Roger Norrington, Conductor
Nancy Argenta, Soprano
Sunday Afternoon, March 14, 1993, at 4:00 Hill Auditorium, Ann Arbor, Michigan
"Doctor Haydn's London Academy"
A concert after the manner of many given by Joseph Haydn in London between 1791 and 1795, including works written exactly 200 years ago.
Symphony No. 99 in E-flat major (1793)
First two movements: Adagio Vivace assai Adagio
Cantata: Scena di Berenice for soprano and orchestra (1795)
Symphony No. 99 in E-flat major (1793)
Last two movements: Menuet: Allegretto Vivace
March for the Prince of Wales (c. 1772)
English Songs (1795) Sailor's Song Sympathy
Adagio from Divertimento for nine instruments in F major, Hob. 11:20 (c. 1760)
She Never Told Her Love (1795) Fidelity (1794)
Symphony No. 92 in G major (1789) "Oxford" Adagio Allegro spiritoso Adagio
Menuet: Allegretto Presto
Special thanks to Steven Moore Whiting, U-M Professor of Music History and Musicology, for this afternoon's
Philips Pre-concert Presentation.
Thank you to the Stearns Collection for the use of their 18th-century kettledrums in this afternoon's
Thirty-Seventh Concert Of The 114th Season 114th Choral Union Series
"Dr. Haydn's London Academy"
Works by Joseph Haydn
Born March 31, 1732, in Rohrau, Lower Austria Died May 31, 1809, in Vienna
The death in 1790 of Prince Nikolaus Esterh&zy, Haydn's patron, may have been cause for mourning in and around Vienna, but to Johann Peter Salomon, a German-born violinist and impresario living in London, it represented a business opportunity. Salomon, who was in Cologne auditioning singers when he got the news, left promptly for Vienna, and a few days later he was standing in Haydn's parlor and saying, "I am Salomon of London; I have come to fetch you to England; tomorrow we will make an accord." Haydn reportedly enjoyed the pun in French, accord means both "agreement" and "chord" and, free at last to travel, readily agreed to go to this distant country where his music was already the rage. Mozart is said to have asked him, "How will you manage in London You don't even speak the language." Haydn replied, "Ah, my language is understood all over the world."
More than understood, as it turned out stepping from the isolation of Esterhaza into the London limelight, Haydn found himself the eighteenth-century equivalent of a rock star. Dr. Charles Burney, the contemporary musical chronicler, was present at the first of the "Salomon Concerts" on March 11, 1791, when the recently-composed Symphony No. 92 in G major introduced Haydn to his London public:
Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever, to my knowledge, been caused by instrumental music in England. All the slow middle movements were encored; which never before happened, I believe, in any country.
Similar successes followed at later concerts. Haydn was easily persuaded to stay in England another year and to return a couple of years later for another long visit. His last dozen symphonies, Nos. 93-104, his crowning achievements in the genre, were all written for this enthusiastic audience.
These works, transmitted to us via the latter-day institutions of the symphony orchestra and subscription orchestral concerts, are only a small but glorious part of the music-making that occupied nearly all Haydn's waking hours during his long stays in London. In addition to two symphonies, tonight's program offers rare glimpses of his other musical activities, by means of a musical potpourri typical of that era's concerts or "academies" (from the German Akademie), as the English sometimes called them.
Symphony No. 99 in E-flat major
Haydn returned to Vienna from his first English visit in the late summer of 1792, and immediately began to think about his next one. At some point, apparently, Salomon wrote Haydn that his plans for the 1794 season included adding two clarinets to the orchestra. This instrument was still something of a novelty, despite Mozart's superb use of it in solo and orchestral roles during the previous decade. During 1793 the date is confirmed by an unusual type of Italian paper used for the manuscript Haydn rose to Salomon's challenge with a new symphony, now known as No. 99, that made resourceful use of the clarinets, and of the reinforced wind section as a whole.
The next English visit as eagerly awaited by the composer as by his London audience began on February 4, 1794, and the first concert took place just six days later, with the Symphony No. 99 as its main attraction. The work "was received with rapturous applause," the Morning Chronicle reported the next day. The critic described the new symphony as a work of which "it is impossible to speak in common terms. It is one of the grandest efforts of art that we have witnessed. It abounds with ideas, as new in music as they are grand and impressive; it rouses and affects every emotion of the soul."
In Haydn's time, it was rare to preserve the integrity of a symphony by making the audience sit in silence for its entire four-movement length. Instead, a sorbet was usually offered between courses, and sometimes portions of a symphony were strategically deployed as an impressive start, a mid-evening pick-me-up, or a rousing finish to the entire concert. Since this was the near-universal practice, one hopes that audiences were adept at mentally "finding their place" in the interrupted work.
Scena di Berenice, Hob. XXIVa:10
For his last London "benefit" concert -meaning an event the proceeds of which went to the composer --on May 4, 1795, Haydn composed a scena in operatic style for the soprano Brigida Giorgi Banti, using a text from Anrigono by the celebrated poet and librettist Metastasio. Haydn later reported, apparently attempting a bit of doggerel in English, that Signora Banti "sang very scanty." No matter the number was a great success, and has since joined a distinguished line of operatic "mad scenes" that display sopranos' technique and temperament to the fullest.
Scena di Berenice
Berenice, che fai Muore il tuo bene,
stupida, e tu non corn! Oh Dio! vacilla l'incerto passo; un gelido mi scuote insolito tremor tutte le vene, e a gran pena il suo peso
il pie sostiene. Dove son Dove son Qual confusa folia d'idee tutte funeste adombra
la mia ragion Veggo Demetrio; il veggo che in atto di ferir... Fermati! Fermati! vivi! D'Antigono io sard. Del core ad onta volo
a giurargli fe: diro... Misera me, s'oscura il giorno, balena il ciel! L'hanno irritato i miei meditati
Ahime! Lasciate ch'io soccorra il mio ben, barbari Dei. Voi m'impedite e intanto forse un colpo improvviso... Ah, sarete contenti;
Berenice, what are you doing Your dear one is dying and
dumbfounded, you do not run to him. Oh, God! With faltering step, I stagger; an icy cold is shivering through my every vein, and my feet can hardly
bear my weight. Where am I Where am I What mad, sad thoughts are darkening
my mind I see Demetrio;
I see him in the act of stabbing... Stop! Stop! Live! I shall be Antigono's. To my shame, I hurry
to swear my love to him: I shall say... Poor me, The day is turning dark! My perjury has angered
the heavens. Alas! Let me
rescue my dear one, cruel gods. You stop me and wish perhaps that an unexpected blow... Ah, you would be happy;
that he is killed.
Aspetta, anima bella:
ombre compagne a Lete andrem.
Se non potei salvartie
portrd fedel... Ma tu mi guardi, e parti Non partir!
Non partir, bell'idol mio, per quell'onda all'altra sponda voglio anch'io passar con te.
Che fingo Che ragiono
Dove rapita sono
dal torrente crude 1
de miei martiri Misera Berenice, ah, tu deliri!
Perche, se tanti siete che delirar me fate, perche non m'uccidete, affani del mio cor Crescete, oh Dio, crescete affanni del mio cor, finche mi porga aita con togliermi di vita 1'eccesso del dolor. Crescete, oh Dio tec.
Wait, dear soul:
Let us go to Hades as companion shadows.
If you cannot save yourself
I can faithfully...
But you look at me, and go away Do not leave!
Do not leave, my fair idol, through the sea to the other shore I want to cross with you.
Why pretend What am I thinking
How can I be saved
from this cruel torrent
of suffering Wretched Berenice, oh, you are raving!
Why, since you are so numerous
to make me rave,
why don't you kill me,
you sorrows of my heart
Increase, oh God,
sorrows of my heart increase,
until I am brought
to the point of taking my life
by my excessive grief.
Increase, oh God etc.
March in E-flat major "for the Prince of Wales," Hob. VIII:3
During his London stays, Haydn often played and conducted concerts for the British royal family, especially at Carlton House, residence of the Prince of Wales. In April, 1795, the prince married Princess Caroline of Brunswick, deemed by Haydn a "fairly good" pianist. We have only Haydn's early biographer Griesinger to attest that tonight's March in E-flat major, Hob. VIII:3, is the one listed in Haydn's own catalogue as having been composed "for the Prince of Wales." We have no evidence at all to link this music to the princely nuptials other than its unusual character, alternating four bars of the customary snappy dotted rhythm with four bars of gentler music marked Cantabile, and liberal use of back-and-forth imitation, all of which might symbolize marital harmony. Other features that make this march sound more "symphonic" than the usual military ditty include many syncopated sforzandi on the weak beats of the bar, and a variety of scoring in the trio.
Does it require the greatest living musical genius of the age to set folksongs to simple piano accompaniments for home use The English apparently thought so. Late in 1791, Haydn made a couple of dozen such settings (including an optional violin part, always good for sales) as a favor to the publisher William Napier, who desperately needed cash. Amateur
singers and players flocked to buy the collection, and a tradition was bom. For years thereafter, Haydn continued to supply this market, until his English folksong settings numbered in the hundreds. After him, Beethoven kept body and soul together while working on the Ninth Symphony and late string quartets by satisfying the English appetite for familiar tunes in celebrity arrangements. We twentieth-century Americans are hardly in a position to look down on this trade, and besides, any songs to which these composers set their hand was sure to be, at the very least, well crafted, charming, and suited to the text.
Adagio from Divertimento in F major, Hob. 11:20
In the pre-CD era, a 30-year-old piece by even so famous a composer as Haydn could come as a novelty to his fans in a distant country. Haydn not only composed in and for England, but arrived there with a bag full of earlier works that he thought would suit the English taste. So it is that our program commemorating Haydn's career-capping English visits includes a movement from his early, struggling years in Vienna, probably composed about 1760 for his first employer, Count Morzin. The Divertimento (also sometimes called Cassation, a nearly synonymous title) in F major is a symmetrical five-movement work, beginning and ending with march-like movements that recall this genre's origin as a movable outdoor entertainment. Between these, two minuets flank an expressive central Adagio, which we will hear tonight.
Haydn accompanied Count Morzin to his summer house in Lukavec, Bohemia, and while Czech influences aren't conspicuous in this movement, it does have a pastoral character reinforced by the gentle throb of repeated notes in the accompaniment oddly enough, the same figuration that sounded so ominous in the Symphony No. 99. The charming pizzicato concluding theme is preceded, at its second and final appearance, by a leisurely, rhapsodic cadenza, during which each ensemble voice has its moment in the sun.
Symphony No. 92 in G major ("Oxford")
In July 1791, Dr. Burney arranged for Haydn to receive an honorary Doctor of Music degree from Oxford University. The composer's "final exam" consisted of presenting a new symphony at the commencement ceremony in the University's Sheldonian Theatre. As no freshly-composed work was ready on commencement day, the orchestra played No. 92 -"very fine," wrote one journalist, "but well known." Even so, this symphony has ever since been called not the "d'Ogny" or the "Salomon," but Haydn's "Oxford" Symphony. As for the composer, he took an almost childlike delight in the honor and the academic pageantry, although, as he later said, "I felt very silly in my gown."
Roger Norrington on:
The idea behind "Haydn's Academy": I don't claim that this program reflects more than some of the flavor of those events. Concerts could last up to four hours. They were meant to entertain people for a whole evening. It was like settling down to watch TV from eight o'clock till midnight. You saw and heard all sorts of bits and pieces, and that's what we're trying to give an impression of. All of this music was performed in England, and much of it was written for England. So in this concert you have an English conductor and a singer who lives in England attempting to convey a sense of that civilised world of English music-making two hundred years ago, which did so much for Haydn and his music.
The orchestra's role in eighteenth-century concerts: The orchestra was often used as "bookends" you'd do two movements of a symphony to give the concert a grand start, and then there would be songs and sonatas and maybe a harp concerto, and the last two movements of the symphony at the end of a section. That's why we're putting songs with just voice and piano in the middle of what looks like an orchestral concert. The fact is, there weren't any "orchestral concerts" in Haydn's day. That was still true, by the way, as late as 1850 or even 1860. When a pianist
like Clara Schumann came to town, she'd get the local musicians together and decide with whom she was going to play a sonata, a piano quartet, and so on. It was like getting a jazz group together. It was late in her career when she gave her first solo piano recital. Musicians of Haydn's generation would never dream of inflicting themselves solo upon an audience. There were always a few wonder people who did it Paganini, for example. But that was a kind of circus event. Normal concerts were always mixed groups of performers.
Haydn's style: Haydn inherited a whole language of music-making from the Baroque, and as the creator of "the Classical style," he was the first composer to use that code in a new way. He "de-aristified" the Baroque. He had this wonderful common touch and could make music out of any material. He seemed to be writing for a new kind of audience, which is symbolized by the move from Esterhdza to London, from a court to a public concert hall. He didn't have to change his style when he made that move in a sense, he had always been writing middle-class music.
Historical performance practice: The layout of the orchestra will be as Haydn had it in London, with the two violin sections facing each other and the double basses split on either side. We will be using a fortepiano in the symphonies as well as to accompany the singer, but I won't be presiding from it, as Haydn did. We're paying close attention to tempo, articulation, phrasing and bowing. There are almost no "slow movements," as we understand the term, anywhere in Haydn. Lento, Maestoso, and Grave are all very rare in his symphonies Adagio is about as slow as it gets, and even that means literally an "easeful" tempo, not necessarily very slow. Everybody danced in those days, and dance music is the foundation of all Haydn's movements. That's why phrasing is so important: it's what made people want to dance. Even in concerts, the} listened to music with their feet. If the Andante was too slow or not well phrased, people would instinctively think, "I can't dance to this." And you couldn't risk boring the audience if you did, they wouldn't come back! They didn't feel obligated to suffer for the sake of "culture." It is possible to entertain people of simple tastes and still satisfy the more sophisticated ones. Great films always do that. So did Haydn: no pretension, no aristocratic airs, and yet wonderful mastery.
Haydn's reputation: During the nineteenth century music became heavier, more "serious," as it went from Mendelssohn to Wagner. People took themselves and it much more seriously. Haydn didn't fit that mold. That's not to say his music hasn't got any weight to it, but the humor and the sense of enjoyment is so crucially important. It's Jane Austen, not the Bronte sisters. You know, the Brontes, who were just a generation younger than Austen, confessed that they didn't understand her at all. That change in attitudes happened very, very quickly. Schumann, Berlioz, Wagner -they were fascinated by the Mozart of Don Giovanni, but had no use for Haydn at all. What we're trying to do with a concert like this is to pull Haydn center stage again. He would never have given an entire concert of his own music -he would have included works by Johann Christian Bach and other London-based composers. But I believe we hear him better this way. He is one of my favorite composers, because it's so challenging to play his music well. Today, when some conductors are still using a magnificent work like the 104th Symphony as a sort of warm-up for a program of heavier music, Haydn needs an advocate, a good courtroom lawyer. That's a job 1 love doing.
About The Artists
The Orchestra of St. Luke's evolved from the St. Luke's Chamber Ensemble, founded by Artistic Director Michael Feld-man in 1974. The Orchestra was first organized for the Caramoor Music Festival in the summer of 1979, with Ensemble members forming its core as principal chairs and section leaders. St. Luke's derives its name from the historic Church of St. Luke-in-the-Fields in New York's Green?wich Village where the Chamber Ensemble originally performed.
Since its inception, the Orchestra of St. Luke's has become one of the most highly visible and critically acclaimed en?sembles in New York, recognized for its mastery of a diverse repertoire spanning from the Baroque to contemporary periods. In 1990 Roger Norrington was named the Orchestra's first Music Director and Prin?cipal Conductor.
The Orchestra gained major recogni?tion in 1984 for its performances in the Handel Opera and Bach festivals at Carne?gie Hall, and for the world premiere of Andrew Lloyd Webber's Requiem, broad?cast on PBS. During the next few years prominent engagements included the New York premiere of John Adams' opera Nixon in China; the world premiere of Adams' Fearful Symmetries, commissioned by St. Luke's; a concert version of Gershwin's O Thee SingLet 'Em Eat Cake at the Brook?lyn Academy of Music; and the Broadway production of The Threepenny Opera. In subsequent seasons the Orchestra has ap?peared regularly at Carnegie Hall, both in its own series and as a special guest.
Under the direction of Music Director Roger Norrington, St. Luke's presents an annual subscription series at Lincoln Center's Avery Fisher Hall as part of the "Great Performers" series. Highlights from the 1992-93 season to date include the North American premiere of a new flute concerto by Krzysztof Penderecki, per?formed by Jean-Pierre Rampal; a concert recital with soprano Aprile Millo; and a sold-out all-Beethoven performance with violinist Thomas Zehetmair.
The Orchestra made its debut on the nationally televised "Live From Lincoln Center" series in 1990 in a concert with Frederica von Stade, Samuel Ramey, and Jerry Hadley. It has since appeared on many broadcasts with soloists including Yo-Yo Ma, James Galway, and Marilyn Home. It has also appeared on several PBS specials including "A Carnegie Hall Christmas" with Andre Previn, Kathleen Battle, Fred-erica von Stade, and Wynton Marsalis. A recording and video of this concert has recently been released by Sony Classical.
In October 1992 the Orchestra under?took its first international tour, traveling to Japan and performing with guest soloist and conductor Jaime Laredo. Tonight's concert, the Orchestra's Ann Arbor debut, is part of its first U.S. tour. The Orchestra will make its Tanglewood debut this July with Roger Norrington conducting and violinist Joshua Bell as guest soloist.
The Orchestra's discography of over 50 recordings includes two Grammy-award winning releases for Nonesuch: John Adams' Nixon in China and Samuel Barber's Knoxvilk: Summer of 1915 with soprano Dawn Upshaw. Also on Nonesuch are Adams' Fearful Symmetries and American Elegies. Musicmasters has released the first three volumes of a major Stravinsky record?ing project conducted by Robert Craft. These recordings include Le Sacre du Printemps, Oedipus Rex, Pulcinella Suite, and Persephone. Vivaldi's Four Seasons led by Nadia Salerno-Sonnenberg appears on AngelEMI. The Bach Album on Deutsche Grammophon features the Orchestra with Kathleen Battle and Itzhak Perlman. Per?formances of Haydn symphonies and Handel's Water Music conducted by Sir Charles Mackerras can be heard on the Telarc label. CBSSony Classical features the Orchestra with Michael Tilson Thomas in Beethoven's Eroica Symphony, and with Kathleen Battle and Wynton Marsalis in the best-selling classical album of 1992, Baroque Duet.
Roger Norrington made his debut with the Orchestra of St. Luke's at Carne?gie Hall during the 1989-90 season in a critically acclaimed and sold-out concert featuring Beethoven's Eighth and Ninth Symphonies. He was appointed the Orchestra's first Music Director and Prin?cipal Conductor in March 1990, and led his inaugural concert in that position in December 1990. He now returns to Ann Arbor for the second time since his local debut as conductor for the Michigan MozartFest in 1989.
Roger Norrington was born in Oxford, England. He sang and played the violin from an early age, studied English Litera?ture at Cambridge University and music at the Royal College of Music in London. In
1962 he formed the Schiitz Choir with which he presented innovative concerts and produced many recordings. He served as Music Director of the Kent Opera from its inception in 1969 until 1984He founded the London Classical Players in 1978, and from 1985 to 1988 was Principal Conductor and Artistic Advisor of the Bournemouth Sinfonietta and Principal Guest Conductor of the Jerusalem Sym?phony.
Norrington and the London Classical Players have recorded the complete Bee?thoven Symphonies and Piano Concertos,
as well as works by Mozart, Schubert, Weber, Berlioz, Mendelssohn, Schumann, Wagner and Brahms, under an exclusive contract with EMI Classics. These record?ings have received great public and critical acclaim and several have won important prizes including the Gramophone Award for Period Performance in 1987 for the Beethoven Symphonies Nos. 2 and 8, the Grand Prix Caecilia of Belgium in 1989 for the Beethoven Symphonies Nos. 1 and 6, the Ovation Award for the Berlioz Sym?phonic Fantastique and the Deutsche Schallplattenpreis in 1990 for the complete Beethoven Symphonies.
Roger Norrington has worked with most of the leading symphony orchestras in Great Britain, and in London with the Philharmonia, London Philharmonic, Lon?don Symphony, BBC Symphony, English Chamber Orchestra and Chamber Orches?tra of Europe. Each season he appears with the Boston and San Francisco symphonies, and he has frequently guest conducted in Baltimore, Cleveland, Los Angeles, Mon?treal and Toronto.
Norrington's opera credits include en?gagements at Covent Garden and the Eng?lish National Opera in London and, as a guest conductor, at La Scala in Milan, La Fenice in Venice and the Teatro Comunale in Florence. During his music directorship of Kent Opera, he conducted over fifty works covering a wide ranging repertoire from Monteverdi to Michael Tippett.
Norrington's interest in historical stag?ing of opera is expressed through the Early Opera Project, which he co-founded with his wife Kay Lawrence in 1983. Their production of Monteverdi's Orfeo in Flor?ence, Rome, Bath and London was criti?cally acclaimed and pointed the way to several period opera reconstructions.
Roger Norrington was made an Order of the British Empire (OBE) in 1979, Cavaliere (Italy) in 1980 and a Com?mander of the British Empire (CBE) in 1990.
Born in Canada, Nancy Argenta re?ceived her initial musical training in British Columbia, and graduated from the Univer?sity of Western Ontario in 1980. Three Canada Council Scholarships enabled her to study in West Germany and then in England, where she now lives. Her teachers have included Sir Peter Pears and Gerard Souzay; she now studies with Vera Rosza.
Operatic appearances around the world have included roles in Handel's Tamerlano and Floridante; Rameau's Hippolyte et Aricie; Purcell's King Arthur, Dido and Aeneas and The Fairy Queen; Haydn's L'lnfedelta delusa (also recorded); Mozart's he Nozze di Figaro; the title role in Monteverdi's L'lncor-onazione di Poppea, and Mozart's Die Zauberflote with Roger Norrington (re?corded for EM I). Future engagements in?clude performances of Mozart's Cosi fan tutte with La Petite Bande, and a recording for EMI of Don Giovanni with the London Classical Players.
Nancy Argenta works regularly with Roger Norrington and the London Classi?cal Players, and with conductors Trevor Pinnock, Christopher Hogwood, and An?drew Parrott among others. She has ap?peared with many orchestras and choirs throughout Europe and Great Britain, in?cluding the BBC Philharmonic, Northern Sinfonia, English Concert, Academy of Ancient Music, Monteverdi Choir and Orchestra, London Baroque, Nash Ensem?ble, and Orchestra of the Age of Enlight?enment. In March 1991, she gave her first concerts in Japan and will be returning there later this year.
Argenta's first two EMI recordings were recently released: Schubert lieder with Melvyn Tan, and Scarlatti cantatas with Chandos Baroque Players. Further record?ings include Purcell songs, Bach Cantatas, Haydn and Mozart lieder and American songs. Other forthcoming releases include French Baroque cantatas with Trio Sonnerie (Harmonia Mundi), Haydn's Theresienmesse with Pinnock and the Eng?lish Concert (Archiv), Bach's B Minor Mass with Collegium Musicum 90 and Mozart's C Minor Mass with the Northern Sinfonia, both with Hickox (Chandos).
Recent engagements have included a tour of Canada with Tafelmusik, perfor?mances of Beethoven's Mass in C with the Philharmonia Orchestra, and Alexander's Feast at the Bath Festival, and concerts with the Diisseldorf Symphony, Freiburg Baroque and Aarhus Symphony Orches?tras. Forthcoming concerts include perfor?mances of Haydn's Tieresienmesse at the Proms with the English Concert and ap?pearances in Toronto.
This tour marks Ms. Argenta's debut with the Orchestra of St. Luke's and her first performance in Ann Arbor.
Attention: Former May Festival Children's Chorus participants -We want to know who you are and to invite you to join us for festivities and a pho?tograph on Ingalls Mall, Sunday, May 9, at 2:00 p.m. Please call Sally Cushing at the UMS office, (313) 747-1174, and give her your name (as it was listed when you sang in the chorus), address, phone number, and the years you sang or leave this information on our answering machine. We're compiling a list and want you on it!
Orchestra of St. Luke's Roger Norrington, Music Director
Krista Bennion Feeney,' concertmsistress Mayuki Fukuhara Mitsuru Tsubota Karl Kawahara Anca Nicolau Marilyn Reynolds Robert Shaw Susan Shumway Mineko Yajima Martin Agee Robin Bushman Serena Canin Christoph Franzgrote Rebecca Muir Sara Parkins Leonid Yanovsky
Louise Schulman Ronald Carbone Stephanie Fricker Maria Lambros Karen Ritscher Ann Roggen
Myron Lutzke' Rosalyn Clarke Daire Fitzgerald Loretta O'Sullivan
John T. Kulowitsch John Feeney Lewis Paer
Elizabeth Mann Sheryl Henze
Clarinets William Blount Monte Morgenstern
William Purvis" Stewart Rose"
Trumpets Chris Gekker" Carl Albach
Timpani Maya Gunji
Harpsichord Robert Wolinsky"
"Member of St. Luke's Chamber Ensemble
St. Luke's Chamber Ensemble
Michael Feldman, Artistic Director
Marianne C. Lockwood, Executive
Director Nizam P. Kettaneh, Director of
Janice J. Shoultz, Business Manager Jeffery Cotton, Personnel Manager Liliane R. Brochu, Director of
Rosalyn Bindman, Education Director Deborah L. Freedman, Marketing &.
Development Associate Ronald S. Merlino, Music
Administrator Peter Nicholson, Public Relations &
Marketing Associate Nicolle S. Feigin, Administrative
Daniel Gruber, Assistant Librarian David Bury, Development Consultant