SAN DIEGO EARLY MUSIC SOCIETY
presents
« Sweet Accents: In Praise of Harmony»
Musica Pacifica & Aaron Sheehan
Friday, January 10, 2014
7:30PM
St James by-the-Sea
743 Prospect Street, La Jolla
Program
Ouverture from Sonata in G Major, op. 5 #4
“Look Down, Harmonious Saint” (Cantata for Saint Cecilia’s Day)
George Frideric Handel (1685-1757)
Sonata I in A Major (from Paris Quartets, Book I)
Soave – Allegro = Andante - Vivace
Georg Phillip Telemann (1681-1767)
Orphée (Cantata)
Jean-Phillipe Rameau (1683-1764)
Récitatif (“Par le charme vainqueur”)
Air trés gai (“Que du bruit de tes hauts exploits”)
Récitatif (“Mais son âme, sensible à la seule Eurydice”)
Air gracieux (“J’ai pour témoine de ma victoire”)
Récitatif (“Inutiles regrets”)
Air gai (“En amour, il est un moment marqué pour notre récompense”)
Troisième Concert in A Major (from Pièces de Clavecin en concert)
La la Poplinière
La Timide
Tambourins I and II
Jean-Phillipe Rameau
Le Rossignol en Amour
Vos mépris chaque jour
François Couperin (1668-1733)
Michel Lambert (1610-1696)
Intermission
Concerto a Quattro in d minor
Adagio – Allegro – Largo - Allegro
Georg Phillip Telemann
Arias from the Cantatas
Ich traue seine Gnaden (BWV 97)
Bewundert, o Menschen, dies große Geheimnis (BWV 62)
Johann Sebastian Bach (1685-1750)
Aaron Sheehan, tenor
MUSIC PACIFICA
Judith Linsenberg, recorders
Elizabeth Blumenstock, violin
Josh Lee, viola da gamba
Charles Sherman, harpsichord
Ms. Blumenstock plays an Andrea Guarneri violin built in Cremona in 1660, which is on generous loan to her
from the Philharmonia Baroque Period Instrument Trust.



You are warmly invited to join us for a reception in the Van Schaick room following tonight’s concert.
Please be sure to turn off any electronics devices that could make noise during the performance.
No flash photography, videotaping or recording without express permission from the performers.
Music's ability to influence our feelings, thoughts, and actions is acknowledged by all, and its power has been experienced in as
many ways as there have been composers, performers, and listeners. Handel in his cantata finds in music the reflection of a
divine order—of Musick's force the wonders show, the most of Heav'n we here can know. Rameau revisits ancient myth of
Orpheus, whose singing could even overcome the forces of death. Orpheus was moved by a force that has also been considered
divine, that is, love; love and music have been linked in song since time immemorial. (As Berlioz put it, they are "the two wings
of the soul.") It was in the 17th and 18th centuries that instrumental music developed beyond the dance floor to rival the power
of song. J.S. Bach often used popular dance figuration in his ostensibly “religious” pieces in order to make the attributes of the
divine presence immediate. In its sacred and secular, vocal and instrumental, sung and danced splendor, our program
celebrates music's power to communicate thoughts and feelings from soul to soul.
***
The trio sonatas, Op. 5 by George Frideric Handel were published by John Walsh in London in 1739. Almost all of the music in
this opus was originally written or arranged by Handel for works staged in London after his arrival there, including the delightful
Overture from #4 of the set. An example of Handel's "streamlined" overture style, it captures the outlines of the French
overture as established by Lully (stately first section marked by dotted rhythms, followed by a quick, contrapuntal section), but
presents it with less complex ornamentation and a much simpler contrapuntal approach than Lully would have used. The origin
of Look Down, Harmonious Saint is somewhat cloudy--some think that it was intended (but not used) as part of an ode to St.
Ceclia (patron saint of music) contained within the oratorio Alexander's Feast, premiered in February, 1736. A version of this
piece was included in an Italian cantata that Handel presented in the same month. Whatever its origin, the work stands on its
own and should be better known than it is.
What we now call the “First Book of Paris Quartets” by Georg Phillip Telemann was first published in Hamburg in 1730 as a set
of six Quadri, made up of two Sonatas, two Concerti and two Suites. Telemann did reissue them in Paris in 1736, as the elegant
mixture of French, Italian and even Polish styles clearly caught the Parisian taste. Their success prompted Telemann to write his
“Second Book of Paris Quartets” (Nouveaux Quatuors en Six Suites) that was performed by the leading professional musicians in
Paris to great acclaim. The Sonata Prima is the most Italianate of the "First Book" and is dominated by the traditional
polyphony of the sonata da chiesa codified by Arcangelo Corelli, with the addition of some French galanteries. While the Paris
Quartets are among the most beloved chamber works of the 18th century, the Concerto a Quattro is much less familiar, and was
in fact attributed to Handel until recently. It is nevertheless an extremely attractive, dramatic piece. Whereas in the Sonata the
three solo parts have very similar material that is tossed back and forth in a genial, conversational manner, in the Concerto the
recorder (in the first movement) and the viola da gamba (in the third) take leading roles.
Jean-Philippe Rameau is now regarded as one of the giants of 18th century music, particularly as a composer of opera and
virtuoso keyboard music. Not as well known today are his often superb efforts in "lesser" vocal genres. As defined in La Grande
Encyclopédie (1751-1752), the (French) cantata is "a short poem written to be set to music, recounting a tale of love or heroism; it
comprises a récit which states the subject, an air en rondeau, a second récit, and a final air which contains the moral point of the
work." The narrator/vocalist probes the hearts of several different characters, without the aid of staging; the setting is almost
always mythological. Written some time between 1715 and 1720 during his years as organist at Claremont, the witty and refined
Orphée is typical in its subject matter. Rameau here brings French and Italian musical techniques together effortlessly. Notable
is the elaborate middle section, where he expands the Encyclopédie's single récit into an expansive récit-air-récit including an
especially energetic obbligato line for the viola da gamba.
Rameau's Pièces de Clavecin en Concert, published in 1741, is his last major keyboard work. It was inspired by Mondonville's
Pièces de clavecin en sonates, op. 3 of 1731- solo keyboard music "enhanced" by a single violin part. Rameau stretches
Mondonville's model considerably--the harpsichord part here contains some of the most idiomatic virtuoso keyboard writing of
any Baroque composer, and there are two additional "enhancing" lines. The complete title of Rameau's set, Pièces de clavecin
en concerts, avec un violin ou une flute, et une viole ou un deuxième violon, suggests a variety of instrumentation, depending on
the availability of forces. In his preface to the work the composer suggests that the pieces "lose nothing by being played on the
harpsichord alone." This was Rameau's marketing ploy--the full version is one of the glories of 18th century chamber music. The
top line is a straightforward melodic line that could be played by any competent amateur violinist or flutist. However, the
bottom line contains some of the most heroically difficult music ever written for the viola da gamba. La la Poplinière was named
for J.-J. La Riche de la Poplinière, a tax farmer and one of the richest men in France. Rameau was personally close to him and his
wife: he was their house music director for almost 20 years. The enchanting La Timide contains some of the lushest harmonies
in all of Rameau's oeuvre. As was the Handel overture that started our program, the first of the Tambourins was originally used
in works for the stage--here, two different operas: Hyppolite et Aricie and Dardanus. The dance title refers not to what we know
as the tambourine, but rather to a large drum used in Provençal folk music.
Le Rossignol en Amour (“The Nightingale in Love”) is taken from François Couperin's XIV ordre of harpsichord pieces. It works
particularly well on the flute or recorder, as Couperin wrote in a footnote to the published version of the piece, which gives us
insight into his approach to musical interpretation:
It is not necessary to adhere too precisely to the beat in the Double above; one must sacrifice everything to
appropriate expression, to the clean execution of the passagework, and to softening the accents marked by the
mordents. This “Rossignol” can be performed with the greatest possible success on the flute, when it is well
played.
Michel Lambert is probably the least known today of all the composers on our program, although he was called "the Amphion
of our days" and "the greatest master to have appeared in centuries" by two of his notable contemporaries and was revered as
a composer, performer, and teacher of singing. He even appeared as a dancer in performances at the court of the young Louis
XIV. His biggest contribution may have been as a composer of elegant and graceful airs such as Vos mépris chaque jour, with
their very careful attention to declamation, which were a major influence on Lully (Lambert's son-in-law) and thereby set the
tone for French vocal music for the next 200 years.
Ich traue seine Gnaden, is a broad Allemande and is the most ambitious and far-reaching of all of the violin obbligati in the
cantatas of J.S. Bach. Although the cantata has an autograph date of 1734, the virtuoso violin writing is more characteristic of
the solo violin partitas and sonatas written in Cöthen in the early 1720's. Here the violin portrays a state of God's grace and
mercy, upon which the tenor comments. Bewundert, o Menschen, dies große Geheimnis has the uncanny effect of indicating
both the grandeur of Christ’s coming and the humility of his human roots, primarily expressed through the lively and joyful
Passepied that grounds the aria.
Look Down, Harmonious Saint
Recitative
Look down, harmonious Saint,
whilst we do celebrate thy art and thee!
of Musick's force the wonders show,
the most of Heav'n we here can know.
Aria
Sweet accents all your numbers grace,
touch ev'ry trembling string;
each note in justest order place
of Harmony we'll sing.
It charms the soul, delights the ear,
to it all passions bow,
it gives us hope, it conquers fear,
and rules we know not how.
Orphée
Recitatif
Par le charme vainqueur d’un chant
harmonieux
Orphée à l’empire des ombres.
Arrachait l’objet de se voeux,
Et le fis de Vénus dans ces routes
trop sombres
Conduisait son triomphe à l’éclat
de ses feux.
Un plaisir seul manquait à ce mortel
heureux:
Pluton par une loi bizarre,
avait jusqu’au pied du Ténare
constraint ses regards amoureux;
Recitative
With the vanquishing charm of a
harmonious song
Orpheus was seizing the object
of his desires
from the realm of the spirits
and the son of Venus was leading
his triumph in these
too somber paths by the light of his flames.
This happy mortal was lacking only one
pleasure:
Pluto, by a bizarre law, had forbidden
his amorous glances
up to the edge of the underworld.
Mais de jeunes amours une escorte riante
essaiat d’amuser son âme impatiente
par ces chants gracieux.
But young cupids, laughing companions,
Tried to amuse his
impatient soul with those graceful airs.
Air
Que de bruit de tes hauts exploits
l’univers toujours retentisse.
Et qu’aux sons vainqueurs de ta voix
désormais la terre obéisse.
L’enfer en respecte les loix.
Elle a su réparer l’outrage
que l’avait fais l’injuste sort.
Et l’avare sein de la mort
te rend la beauté qui t’engage.
Que du bruit…
Air
With the sound of your great exploits
let the universe always resound!
And at the victorious sound of your voice,
may the earth henceforth obey.
Hell respects its laws.
The outrage which was unjustly dealt to you
was repaired and the greedy bosom of
death is giving you back the beauty who
commits herself to you.
With the sound…
Récitatif
Mais son âme sensible à la seule Euridice,
ne songe qu’au plaisir d’ont le term est
prochain.
Cessez, dit-il,
Cessez un éloge si vain.
Recitative
But his soul, sensitive to Euridice alone,
dreams only of the pleasure whose time
is near.
Cease, he says.
Cease such a useless eulogy!
Air (Gracieux, dans le role d’Orphée)
J’ai pour témoin de ma victoire
les beaux yeux qui m’ont enflamé.
C’est le seul prix, la seule gloire
dont mon coeur puisse être charmé.
Air
I have for the testimony of my victory
the beautiful eyes that have inflamed me.
They are the only prize, the only glory
with which my heart can be charmed.
Récitatif
À ce penseur flatteur il s’émuet il se trouble,
il cède enfin au violent transport
de sa flame qui se redouble.
Attends, fais par ton Coeur encore quelques
efforts.
C’en est fait, et ses yeux ont vu ceux
d’Euridice,
Triste jouet de l’infernal caprice
prête à quitter les sombres bords
une barbare main la reticent chez les morts.
Recitative
With this flattering thought he is moved,
he is troubled, he yields finally to the
violent urge of his passion that surges.
Wait, make your heart pure again
with some effort!
It is done, and his eyes have seen those
of Euridice,
sad plaything of infernal caprice,
ready to leave the somber world,
a barbarous hand snatches her back to the dead.
Air
En vain par des nouveaux accords,
ce malheureux époux croit attendrir Mégère.
Elle est sourd, et ce n’est qu’a l’enfant de
Cythère
qu’il fait entendre ainsi sa plainte et ses
remords.
Air
In vain with new harmonies this
unfortunate spouse thinks himself able
to move Megere.
She is deaf, and only to the child of Cythera
does he make his lament and his remorse
heard.
Air (dans la rôle d’Orphée)
Amour, Amour, c’est toi qui fait mon crime.
Ne saurais-tu le réparer?
C’est a toi de le réparer.
Des feux que tu sus m’inspirer
ma chère épouse est la victime.
Vole aux enfers le réparer.
Ah! Devaient-ils nous séparer
pour un transport si légitime.
Air
Love, Love, it’s you who causes my crime!
Do you not know how to repair it?
It’s you who must repair it.
My dear spouse is the victim of the
desires that you have made me feel.
Fly to the underworld to undo it.
Ah! Must they separate us for such
a legitimate passion?
Récitatif
Inutiles regrets à sa douleur mortelle.
Tout l’abandonne sans retour.
Ce n’est plus qu’en quittant le jour
qu’il peut rejoinder ce qu’il aime.
Recitative
Useless regrets, to his mortal sadness
All is abandoned without return.
Only by leaving the earthly world can
he rejoin the one he loves.
Air
En amour il est un moment
marqué pour nôtre récompense.
Si quelquefois par indolence
on échappe ce point charmant,
plus souvent encore un amant
se perd par trop d’impatience.
De ses désires impétueux
l’amant habile est toujours maître.
Il tâche avec soin de connaître
l’instant qui doit combler ses voeux,
tel aujourd’hui serait heureux
si’l n’avoit voulu trop tôt l’etre.
En amour…
Air
In love there is a moment
marked for our reward.
If sometimes by indolence
one escapes this charming point,
more often still a lover
loses it by having too much impatience.
With his impetuous desires
the skilful lover is always master.
He tries with care to know
the instant in which he must accomplish his
desires
He would be happy today
if he had not wished it too soon!
In love there is a moment….
Vos mépris chaque jour me causent mille alarmes,
Mais je chéris mon sort, bien qu'il soit rigoureux :
Hélas ! si dans mes maux je trouve tant de charmes,
Je mourrois de plaisir si j'estois plus heureux.
Your scorn each day causes me a thousand alarms,
but I cherish my fate, even though it is severe.
Alas, if in my ills I find so many charms,
I would die of pleasure if I were happier.
Ich traue seiner Gnaden
Die mich vor allem Schaden,
Vor allem Übel schützt.
Leb ich nach seinen Gesetzen,
So wird mich nichts verletzen,
Nichts fehlen, was mir nützt.
I trust His grace,
which protects me from all harm,
from all evil.
If I live according to His laws,
then nothing will harm me,
nothing will be missing that I need.
Bewundert, o Menschen, dies große Geheimnis:
Der höchste Beherrscher erscheinet der Welt.
Hier werden die Schätze des Himmels entdecket,
Hier wird uns ein göttliches Manna bestellt,
O Wunder! die Keuschheit wird gar nicht beflecket.
Marvel, o humanity, at this great mystery:
the Supreme Ruler appears to the world.
Here the treasures of heaven are uncovered,
here a divine manna is presented to us,
O miracle! The purity will be entirely unblemished.
Aaron Sheehan has established himself as a first-rate singer in a wide variety of styles. He is equally comfortable in repertoire
ranging from oratorio and chamber music to the opera stage, and performs regularly in the United States, South America, and
Europe. He has appeared at venues such as Tanglewood, Lincoln Center, the Metropolitan Museum of Art, Washington National
Cathedral, the early music festivals of Boston, San Francisco, Vancouver, Houston, Tucson, Washington DC, and Madison, as
well as the Regensburg Tage Alter Musik. Known especially for his Baroque interpretations, he has made a name as a major
interpreter of the oratorios and cantatas of Bach and Handel. He has appeared in concert with numerous organizations
throughout the country, including Orpheus Chamber Orchestra, American Bach Soloists, Handel and Haydn Society, North
Carolina Symphony, and the San Diego Bach Collegium. On the opera stage he has appeared in leading roles in works by
Mattheson, Charpentier, Lully, Cavalli, Weill and Satie with the Boston Early Music Festival and others. His many recordings
include the Grammy-nominated operas Thésée and Psyché of Lully with BEMF on the CPO label. A native of Minnesota, Aaron
holds a BA from Luther College and a MM in Early Voice Performance from Indiana University. He is currently on the voice
faculties of Boston University, Wellesley College, and Towson University.
Musica Pacifica has, since its founding in 1990, become widely recognized as one of America’s premier baroque ensembles,
lauded for both the dazzling virtuosity and the warm expressiveness of its performances. They have been described by the
press as "some of the finest baroque musicians in America" (American Record Guide) and "among the best in the world" (Alte
Musik Aktuell). At home in the San Francisco Bay area, the artists perform with Philharmonia Baroque and American Bach
Soloists, and appear with many other prominent early music ensembles nationally and abroad. They have performed at festivals
in Germany and Austria and have been featured on German National radio as well as on National Public Radio’s "Performance
Today" and "Harmonia" and on Minnesota Public Radio. Musica Pacifica's eight CD releases on the Virgin Classics, Dorian and
Solimar labels have won national and international awards, including the highest ratings in several CD magazines and being
chosen as "CD of the Month" by the early music journal Alte Musik Aktuell (Regensburg). The prestigious Gramophone Magazine
(UK), called Dancing in the Isles “one of the zestiest recordings of recent vintage.” Fire Beneath My Fingers, was touted as “one
of the most exciting Baroque recordings I’ve heard” on Audiophile Audition. Online, Musica Pacifica may be heard on radio
station 1.fm, Last.fm, Celtic Radio, and Recorder-radio.com; and seen at youtube.com/MusicaPacificaSF. Please visit their
website at www.musicapacifica.org.
Judith Linsenberg is one of the leading exponents of the recorder in the US and has been acclaimed for her "virtuosity,"
"expressivity," and "fearless playing." She has performed extensively throughout North America and Europe, including solo
appearances at the Hollywood Bowl, Lincoln Center, and the Montreal Recorder Festival; and has been featured with such
leading American ensembles as the San Francisco Symphony, the San Francisco and Los Angeles Operas, the Oregon Symphony,
LA Chamber Orchestra, Philharmonia Baroque, American Bach Soloists, the Portland and Seattle Baroque Orchestras, the
Oregon and Carmel, Bach Festivals, and others. She has recorded for Virgin Classics, Dorian, Solimar, harmonia mundi usa, Koch
International, Reference Recordings, Musical Heritage Society, Drag City Records (with Joanna Newsom), and Hännsler Classics.
A Fulbright scholar to Austria, she is a summa cum laude graduate of Princeton University, holds a doctorate in early music from
Stanford University, and has been a visiting professor at the Vienna Conservatory and Indiana University’s Early Music Institute.
Baroque violinist Elizabeth Blumenstock is widely admired as a performer of interpretive eloquence and technical sparkle. A
frequent soloist, concertmaster, and leader with Philharmonia Baroque Orchestra, American Bach Soloists, the Italian ensemble
Il Complesso Barocco, and the Goettingen Handel Festspielorchester, she is also a member of several of California’s finest period
instrument ensembles, including Musica Pacifica, the Galax Quartet, the Arcadian Academy, and Trio Galanterie. She has
performed at the Boston and Berkeley Early Music Festivals, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi
festival in Finland, and the San Luis Obispo Mozart Festival, among many others. Her numerous recordings on multiple labels
have included several prize-winning discs. An enthusiastic teacher, Ms. Blumenstock teaches at the San Francisco Conservatory
of Music, the American Bach Soloists' summer Festival and Academy, and the International Baroque Institute at Longy and has
taught at the University of Southern California, Oberlin’s Baroque Performance Institute and the Austrian Baroque Academy.
Cited for his “stylish and soulful playing,” Josh Lee performs on viols and double bass with some of the world’s leaders in period
music. Founder of Ostraka, Josh is a member of Musica Pacifica, Les Délices, and The Two, and has performed with Philharmonia
Baroque Orchestra, Boston Early Music Festival, Orchester Wiener Akademie, Carmel Bach Festival and the Los Angeles
Philharmonic. His performances have been heard on Performance Today, Harmonia, and Österreichischen Rundfunk, and he has
recorded for Dorian, Koch International, Magnatune, Bear Machine, and Reference Recordings. Praised as “a master of the
score’s wandering and acrobatic itinerary” by the Cleveland Plain Dealer, Josh teaches at workshops across the US, and has
been a guest instructor at San Francisco Conservatory, University of California Berkeley, and Peabody Conservatory. Some of
Josh’s appearances this season include The Four Nations, Portland Baroque Orchestra, and a European tour with the indie band
Radical Face.
Charles Sherman is recognized as one of the leading harpsichord soloists and continuo players in the country and has been
called a "fluent virtuoso" by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque Orchestra and
Musica Pacifica. He has also performed and recorded with such acclaimed ensembles as the Philadelphia Orchestra, American
Baroque (SF), Musica Angelica (LA), Handel & Haydn Society and Emmanuel Music (Boston), St. Luke's Chamber Ensemble and
the Aulos Ensemble (NY), and at music festivals throughout the world. His recordings appear on the Dorian, Musical Heritage
Society, Koch International, Reference Recordings, and BMG labels. Mr. Sherman holds degrees in History and Musicology from
The University of Chicago and in Harpsichord Performance from the Juilliard School. He is one of today's leading exponents of
the art of basso continuo realization and frequently teaches master classes on Baroque accompaniment.
The San Diego Early Music Society was founded in 1981 to encourage the appreciation of Medieval,
Renaissance, and Baroque music. The Society sponsors the International Series, the “Old Masters”
series with the San Diego Museum of Art, an outreach program for the San Diego Schools, and an
annual workshop. The SDEMS publishes a blog, regular email updates to its members and friends, and
an annual directory.
Acknowledgments: This concert is funded in part by the City of San Diego
under a program managed by the Commission for Arts and Culture; and
the National Endowment for the Arts.
DOUBLE MAXIMA ($5,000 and up): Sam B. Ersan, San Diego Commission for Arts and Culture
MAXIMA ($2,500 - $4,999): Martha Altus-Buller, Ron Haas, Laurent Planchon
LONGA ($1,000 - $2,499): Sally & Andy Buffington, Laurence & Kathleen Flora, David M. Jacobson, Charles & Marilyn
Perrin, Qualcomm Foundation, Greta B. & Stephen Treadgold, WESTAF
BREVIS ($500 - $999): Patrick Anderson, Mark R. Lester, Loraine Lewis, Carol Plantamura & Felix Prael, David D.
Smith, Kemer & Aletha Thomson, John & Penelope West
SEMIBREVIS ($250 - $499): Wilma & Michael Bishop, Marianne & George Blackmar, Janice & Nelson Byrne, Sheila
Durkin & Phil Rigano, Duane Gruber, Penelope & Randall Hawkins, Steven & Martha Hillyard, Sandy Lakoff, Merrie &
Runston Maino, Judy Moore, Gary Payne, Bradley Pinchot, John & Nancy Pipkin, Qualcomm Charitable Foundation,
Juergen & Yvonne Richter, Richard & Lorraine Scott, Cindy Sparks, C. Anne Turhollow & Michael J. Perkins, Thomas
Ziegler
MINIMA ($100 - $249): Maurine Beinbrink & James Algert, Allen Allison, Linda Barnhart & Jeffrey Earnest, Douglas
Brandt, Bea and Bill Briggs, Jeff & Virginia Calcara, John Cassaboom, Valerie Chereskin & Jay Hansen, Judith Collier,
Peter & Eric Cramer, Jeanine Dreifuss, Jeffrey Earnest, Stephen Gordon, Paul Gozzo, Donna Guhl, Ming Bui & Lou
Guild, Steve Hendricks, Karl & Greet Hostetler, Robert Hyman, Susan Lynn Jordan, Vera & Ad Kalmijn, Frances Kyte,
Evelyn & Don Louthian, Elisabeth & Kurt Marti, Doug & Susan McLeod, Hal Meltzer, Ruperto Mendiones, Michele
Michaels, Michael Nabholz, Susan & Jerome Neumeyer, Joshua Olson, Sheryl Rosander, Jay Sacks, Jenny ScollardHurd, Miriam Sellgren, San Diego Fifty-Sixers, Ulla Sinz, H. Langdon & Jean Smith, Sandra Stram, Lee & Judith Talner,
Robert Turk, John & Nancy Weare
SEMIMINIMA ($50 - $99): Mary Lee Anderson, Dana Baldwin, Martha Carey, Henry Chambers, Douglas & Elisabeth
Clark, Susan & George Fee, Carol Heasley, Sandra & Thomas Jernigan, Jill Kloepper, Teri & Eduardo Rodriguez,
Elizabeth Rose, Richard & Ann Ruppert, Cathe Sobke, Leland & Annemarie Sprinkle, Nancy Stevens, Eleanor tum
Suden, Carol & John Walsh, Martha Hamilton & Gerry Whitney
FUSA ($25/$35 - $49): Ruth Anderson, Ilene Benkle, Candace Boeck, Pamela Chapman, Bobbi Chifos, Jeffry Child, Jeryl
& Sandra Cordell, Beverly Cramb, Joanna Crombie, Barry Demchak, James Determan, Byron & Marcia Edwards,
Vanessa & Michael Evans, Elisabeth Fidler, Ross Frank, Janet R. Goff, Risa Goldberg, Wendy Greene, Howard Grey, B.
Hame, Susan And Doug Hulbert, IBM Corporation Matching Grants, David K. Jordan, Caroline Kidman, Ellen Komor,
Frank Laughton, Lanna Lewin, Joanna Lotsoff, Linda & Kevin McCormack, Barbara Metzger, Praveen Nair, Takae
Ohnishi and Lei Liang, Dr. Ilya S. Perlingieri, Henry Powell, Angela & Michael Quinn, Dan & Sharon Ratelle, Beth &
Todd Roseman, Anne Rubsamen, Brian & Sherri Schottlaender, Delle Schwartz, Marygale Severance, William Stiles,
Steve & Patricia Tighe, Cheslav Versky, Humberto Viveros, Robert Walsh, Carolyn Wood
ORGANIZATIONAL MEMBERS: Courtly Noyse, La Jolla Renaissance Singers
BOARD OF DIRECTORS: Mark Lester, President; Laurent Planchon, Vice-president/Artistic Director; Angela Quinn,
Secretary; Martha Altus-Buller, Treasurer; Sally Buffington, Jeff Calcara, Duane Gruber, Donna Guhl, Penny Hawkins,
David Jacobson, Kemer Thomson, Greta Treadgold
SAN DIEGO EARLY MUSIC SOCIETY • P. O. BOX 82008 • SAN DIEGO, CA 92138
(619) 291-8246 • sdems@sdems.org • www.sdems.org