NINETY-FIRST SEASON
A
Garyth Nair, Music Director and Conductor
Jason Asbury, Assistant Conductor and Accompanist
Summit Chorale is Chorus in Residence at Drew University
Summit Middle School Auditorium, Summit, NJ
Saturday, March 4, 2000, 8:00PM
Red, White, and New
Michael Baruffi, tenor
Andi Campbell, soprano
Candus Hedberg, mezzo-soprano
Ellis Hilton, bass
William Riley, baritone
Terence Wood, countertenor
Chamber Symphony of New Jersey
Jason Asbury, piano
Garyth Nair, conductor
SUMMIT CHORALE
PROGRAM
I
Psalm 27
John Kaefer (b. 1976)
solo: Mr. Riley
— INTERMISSION —
(15 Minutes)
II
from Music for Shakespeare’s “Romeo and Juliet”
David Diamond (b. 1915)
1. Overture
2. Romeo and Juliet, balcony scene
3. Romeo and Friar Laurence
4. Juliet and her nurse
III
Chichester Psalms
Leonard Bernstein (1918–1990)
I. Psalm 108, verse 2; Psalm 100
quartet: Ms. Campbell, Ms. Hedberg, Mr. Baruffi, Mr. Hilton
II. Psalm 23; Psalm 2, verses 1–4
solo: Mr. Wood
III. Psalm 131; Psalm 133, verse 1
quartet: Ms. Campbell, Ms. Hedberg, Mr. Baruffi, Mr. Hilton
A LARGE PRINT EDITION of this program is available at the door. Please ask
an usher if you wish to have a copy.
Summit Chorale appeals to parents to assist their children
in developing courteous audience behavior.
•••
Please turn off all electronic noisemakers, including pagers, cell phones, wristwatch alarms
and the like which may disturb other audience members during the performance.
•••
Please do not use cameras requiring flash during the performance.
•••
The use of recording equipment, including audio and video recorders,
is strictly prohibited during the performance.
•••
Please refrain from smoking anywhere in this building.
Look for these upcoming SUMMIT CHORALE events!
March 31, 2000 – 8:00PM
St. Mark’s Episcopal Church,
Basking Ridge
OUTRIGGERS – Benefit Concert to support the victims
of Hurricane Floyd in Manville, NJ. Outriggers is the
chamber-sized outreach chorus of SUMMIT CHORALE
formed this year to expand our involvement in the
communities we serve.
May 12, 2000 – 8:00PM
Our Lady of Peace Roman
Catholic Church, New Providence
SUMMIT CHORALE – Concert: Up with the Lowlands!
Works by Dutch and Flemish composers from the Middle
Ages through Sweelinck in the 16th century and on to
Piet Kee in the 20th. It promises to be a season finale
worthy of our ninetieth birthday, Maestro Nair’s thirtieth
anniversary and the start of the new millenium.
May 13, 2000 – 8:00PM
United Methodist Church in
Madison, Madison
May 20, 2000 – 1:00PM
Central Presbyterian Church,
Summit
Concert at 4:00PM
CHILDREN’S CHOIR FESTIVAL – This one-day festival
for Children’s Church Choirs from the area, sponsored by
SUMMIT CHORALE, will culminate in a 4:00PM concert
expected to delight all listeners (not just the parents)!
Funding has been made possible in part by the New Jersey State Council on the Arts
through a grant administered by the Union County Division of Cultural and Heritage Affairs.
Additional funding has been provided through a grant from The Frank & Lydia Bergen Foundation.
TRANSLATION
Chichester Psalms
I. Psalm 108, verse 2; Psalm 100
I. Psalm 108, verse 2; Psalm 100
Urah, hanevel, v’chinor!
A-irah shahar!
Awake, psaltery and harp:
I will rouse the dawn!
Hariu l’Adonai kol haarets.
Iv’du et Adonai b’simha.
Bo-u l’fanav bir’nanah.
D’u ki Adonai Hu Elohim.
Hu asanu, v’lo anahnu.
Amo v’tson mar’ito.
Bo-u sh’arav b’todah,
Hatseirotav bit’hilah,
Hodu lo, bar’chu sh’mo.
Ki tov Adonai, l’olam has’do,
V’ad dor vador emunato.
Make a joyful noise unto the Lord all ye lands.
Serve the Lord with gladness.
Come before His presence with singing.
Know ye that the Lord, He is God.
It is He that hath made us, and not we ourselves.
We are His people and the sheep of His pasture.
Enter into His gates with thanksgiving,
And into His courts with praise.
Be thankful unto Him, and bless His name.
For the Lord is good, His mercy is everlasting,
And His truth endureth to all generations.
II. Psalm 23; Psalm 2, verses 1-4
II. Psalm 23; Psalm 2, verses 1-4
Adonai ro-i, lo ehsar.
Bin’ot deshe yarbitseini,
Al mei m’nuhot y’nahaleini,
Naf’shi y’shovev,
Yan’heini b’ma’aglei tsedek,
L’ma’an sh’mo.
Gam ki eilech
B’gei tsalmavet,
Lo ira ra,
Ki Atah imadi.
Shiv’t’cha umishan’techa
Hemah y’nahamuni.
Ta’aroch l’fanai shulchan
Neged tsor’rai
Dishanta vashemen roshi
Cosi r’vayah,
Ach tov vahesed
Yird’funi kol y’mei hayai,
V’shav’ti b’veit Adonai
L’orech yamim.
The Lord is my shepherd, I shall not want.
He maketh me to lie down in green pastures,
He leadeth me beside the still waters,
He restoreth my soul,
He leadeth me in the paths of righteousness,
For His name’s sake.
Yea, though I walk
Through the valley of the shadow of death,
I will fear no evil,
For Thou art with me.
Thy rod and Thy staff
They comfort me.
Thou preparest a table before me
In the presence of mine enemies,
Thou anointest my head with oil,
My cup runneth over.
Surely goodness and mercy
Shall follow me all the days of my life,
And I will dwell in the house of the Lord
Forever.
… continued …
Lamah rag’shu goyim
Ul’umim yeh’gu rik?
Yit’yats’vu malchei erets,
V’roznim nos’du yahad
Al Adonai v’al m’shiho.
N’natkah et mos’roteimo,
V’nashlichah mimenu avoteimo.
Yoshev bashamayim
Yis’hak, Adonai
Yil’ag lamo!
Why do the nations rage,
And the people imagine a vain thing?
The kings of the earth set themselves,
And the rulers take counsel together
Against the Lord and against His anointed.
Saying, let us break their bands asunder,
And cast away their cords from us.
He that sitteth in the heavens
Shall laugh, and the Lord
Shall have them in derision!
III. Psalm 131; Psalm 133, verse 1
III. Psalm 131; Psalm 133, verse 1
Adonai, Adonai,
Lo gavah libi,
V’lo ramu einai,
V’lo hilachti
Big’dolot uv’niflaot
Mimeni.
Im lo shiviti
V’domam’ti,
Naf’shi k’gamul alei imo,
Kagamul alai naf’shi,
Yahel Yis’rael el Adonai
Me’atah v’ad olam.
Lord, Lord,
My heart is not haughty,
Nor mine eyes lofty,
Neither do I exercise myself
In great matters or in things
Too wonderful for me.
Surely I have calmed
And quieted myself,
As a child that is weaned of his mother,
My soul is even as a weaned child.
Let Israel hope in the Lord
From henceforth and forever.
Hineh mah tov,
Umah naim,
Shevet ahim
Gam yahad.
Behold how good,
And how pleasant it is,
For brethren to dwell
Together in unity.
NOTES ON THE PROGRAM
by Mary W. Helms
Summit Chorale continues the celebration of
Garyth Nair’s thirtieth year as its Music Director
and Conductor with music by three Americans.
The program includes established works by
David Diamond and Leonard Bernstein and
features the world premiere of a new piece by
New Jersey composer, John Kaefer.
This concert exists as a result of over fifty years
of synergy between the conductors and
composers involved. Mr. Nair was introduced to
the Chichester Psalms as a member of The
Camerata Singers under Leonard Bernstein’s
direction. Bernstein and David Diamond were
good friends and regular correspondents for most
of their adult lives, and Bernstein programmed
Diamond’s compositions for the New York
Philharmonic during his tenure as its conductor.
In turn, Diamond has been John Kaefer’s mentor
since they met in Paris in 1997, and Kaefer
dedicated Psalm 27 to Diamond. Kaefer
contacted Nair about the possibility of having
Summit Chorale perform Psalm 27 and the two
have worked together on its preparation. This is
Kaefer’s second collaboration with Nair; the first
involved Come, Lovely and Soothing Death,
which was commissioned by Summit Chorale in
1995.
I
(Please see the biography of John Kaefer for
more background and career information.)
In August, 1998, John Kaefer began composing
four settings of psalm texts for soprano and
piano, including a setting of the first verse of
Psalm 27. As he worked, he kept returning to
one particular chord; this chord would become
the foundation for an altogether new composition
for chorus, flute and piano. That fall, Kaefer
showed his work to David Diamond. Diamond
was enthusiastic, and at his suggestion, Mr.
Kaefer decided to rework the piece on a much
larger scale, setting the entire psalm for chorus,
orchestra, and baritone soloist. Unable to find a
single translation that met his musical needs,
Kaefer developed his own hybrid text. The work
was completed in February 1999.
The character of the music of Psalm 27 closely
mirrors the emotions generated by the psalmist’s
words so that the moods of the piece alternate
between sections of calmness and anxiety.
Seven such sections are grouped into three in the
following pattern:
calm/anxious //
calm/anxious/calm //
anxious/calm.
In addition to this structure, Mr. Kaefer has used
the chord that served as its genesis to unify the
work. It opens the piece in the brass, strings, and
then the choir, invoking a sense of mystery.
Kaefer calls this the “God” chord and maintains
that it “represents the tumultuous, varying levels
of confidence that the psalmist has in his
Creator.” It reappears throughout, and closes the
work as it dies away in the strings.
After the opening section of calmness, a new
motif is introduced when the basses sing the
word “afraid.” The lower strings present a series
of menacing eighth-note tremolos derived from
the “God” chord. Kaefer writes that, “As the
‘God’ chord itself symbolizes the psalmist’s
confidence in God, so the tremolos symbolize
the psalmist’s anxiety at violence and conflict.”
This motif, too, is heard frequently.
Mr. Kaefer continues, “another signal the listener
can detect is a rapid descending scale, heard for
the first time after the words ‘devour my flesh.’
Used numerous times at paramount structural
and emotional points, the descending scale is
altered into several different variations: an
ascending scale, a fragmented ascending scale
(which builds to the climax), and a slow rising
scale (which appears in the restful period after
the climax). In addition, as a precursor to the
furious climax (characterized by a brass chorale
and loud, crashing cymbals), the scale appears in
ascending and descending form, breaking into
repeated upward fragments, which convey
heightened distress.”
Psalm 27 contains orchestral transitions between
choral sections to help build or release tension.
These transitions also function as introductory
statements that are reiterated and developed by
the baritone soloist or chorus. The baritone solos
consist of simple and eloquent phrases which, as
Kaefer puts it, “represent the psalmist’s love of
God. The chorus symbolizes the emotional and
ever-changing moods of the psalmist. Strongly
violent and accompanied passages are followed
by harmonic and emotional stability.”
Mr. Kaefer describes Psalm 27 as “a work of
pure energy…highly dissonant at times, and
beautifully consonant at others. My use of
dissonance is purely musical; that is, it
continually aids the text or mood of the psalm.
My harmonic and contrapuntal language is
highly unified, thus creating a sense of solidarity.
The singularity of my musical language,
beginning with the ‘God’ chord, is found
throughout the entire work.”
II
Born in Rochester, NY in 1915, David Diamond
studied at the Cleveland Institute, at the Eastman
School with Bernard Rogers, and privately in
New York with Roger Sessions. In 1936 he
traveled to France to collaborate with
dancer/choreographer Leonide Massine on a new
ballet. Although the ballet was never performed
(for lack of funds), Diamond stayed in Paris until
1939, composing, studying with the influential
teacher of composition, Nadia Boulanger, and
forming friendships with many of the musical
and literary figures of the day, including Ravel,
Stravinsky and Gide.
Diamond has been a notable teacher as well as a
composer. He was appointed Fulbright
Professor at the University of Rome in 1951,
then moved to Florence to concentrate on
composing. He returned to the U.S. in 1965 to
celebrate his fiftieth birthday by conducting the
New York Philharmonic and other orchestras in
performances of his work, then turned again to
teaching. Diamond served successively on the
music faculties of the University of Buffalo, the
Manhattan School of Music (where he chaired
the composition department), and the Juilliard
School. He currently lives in Rochester.
David Diamond’s music has been honored with
numerous awards which have helped make it
possible for him to devote much of his life to
composition. These include three Guggenheims,
the Juilliard Publication Award, New York
Music Critics Circle Awards, a Prix de Rome
from the American Academy, and the William
Schuman Lifetime Achievement Award. More
recently he received a Presidential Medal of
Honor in the Arts from President Clinton.
Many of the finest orchestras in the country have
commissioned and performed David Diamond’s
compositions. Now in his mid-eighties, the man
who Seattle Symphony conductor Gerard
Schwarz terms “America’s greatest living
composer” is still writing. One of his most
recent works, A Gala Celebration, was
commissioned for the concert inaugurating
Seattle’s Benaroya Hall in September, 1998.
According to his former student Francis Thorne,
symphonies, quartets, and songs are the core of
Diamond’s large and extremely varied output.
His music “shows an intensely individual
lyricism, occasionally austere but more often
romantically tinged” although it gradually
underwent a transition “from the romantic and
diatonic to the more chromatic and complex.”
However, Diamond has never adhered to any
single system or avant-garde movement. He is
known for “sustained professionalism, integrity,
individuality and independence of judgment.”
One of Diamond’s best-loved works is the suite
of Music for Shakespeare’s Romeo and Juliet,
commissioned by Thomas Scherman for the
premiere concert of the Little Orchestra Society
at New York’s Town Hall in October, 1947. In
his review, New York Times critic Olin Downes
wrote, “Mr. Diamond has something to say that
is his own, and his own way of saying it. He
does not follow any musical dogma, ancient or
of today. He uses those expressive means which
fulfill his needs, writing with feeling that never
becomes cheap or sentimental…. He speaks
through the instruments as one deeply imbued
with the spirit of the drama, so that in his prelude
the listener may hear if he chooses the strife of
the two houses, or in the music to the balcony
scene the apostrophe to the dawn….” Yet
Diamond’s masterly orchestration is used to
create a work that is not so much literally
descriptive as highly evocative.
III
The energetic and flamboyant Leonard
Bernstein was the most remarkable all-round
musician America has produced. Enormously
talented, not only was he the first American to
achieve international renown as a conductor, but
he also composed successfully for symphony
orchestra, chorus, small ensembles, solo singers,
and piano as well as for the musical theatre,
ballet and films. He performed as a piano
soloist, published several books on music, and
became known to millions through his televised
concerts and lectures.
In 1965, Bernstein took a sabbatical from his
conducting duties with the New York
Philharmonic and, in his own words, “decided to
use that year only to compose.” He continued,
“…I made many experiments.… And I wrote a
lot of music, twelve-tone music and avant-garde
music of various kinds, and a lot of it was very
good, and I threw it all away. And what I came
out with…was a piece called Chichester Psalms,
which is simple and tonal and tuneful…because
that was what I honestly wished to write.”
The Chichester Psalms were commissioned by
The Very Reverend Walter Hussey, Dean of
Chichester Cathedral in England, to be sung by
the three choirs of Chichester, Winchester, and
Salisbury at their traditional summer festival.
The church authorities agreed to Bernstein’s
condition that the Psalms be sung in Hebrew,
and Dr. Hussey wrote to inform him of the
performing situation, which included limited
space and a choir consisting only of boys and
men. He added, “…I hope you will feel quite
free to write as you wish and will in no way feel
inhibited by circumstances. I think many of us
would be very delighted if there was a hint of
West Side Story about the music….”
Dr. Hussey got his wish. The “Lamah rag’shu,”
section reworks a chorus cut from the “Prologue”
to West Side Story, and the principal melodic
material throughout was adapted from music
Bernstein had begun to compose for a musical
based on Thornton Wilder’s The Skin of our
Teeth, a project recently and reluctantly
abandoned. Partly because of their Broadway
elements, the Chichester Psalms attained
immediate popularity.
The Chichester Psalms were completed on
May 7, 1965 and premiered in New York on
July 15 with a mixed adult chorus, the
professional Camerata Singers, and members of
the New York Philharmonic under Bernstein’s
direction. On July 31 the work was performed in
Chichester as originally conceived, with the
festival chorus of men and boys.
Much of the Chichester Psalms develops out of
the five-note motif with which it opens.
Expanded and varied, this motif provides the
basis of the first movement setting of Psalm 100
in a rather jazzy and dance-like 7/4 rhythm.
In contrast, the second movement opens with a
lyrical setting of Psalm 23 for boy alto or
countertenor soloist and choir with harp
accompaniment. This is rudely interrupted by
fierce outbursts from the men: “Lamah rag’shu”
(“Why do the nations rage….” Psalm 2).
Gradually the peaceful melody resumes and the
disturbance subsides although disquiet remains.
After an orchestral meditation, the mood changes
and Psalm 131 is set to a sinuously flowing
melody in 10/4 meter. The original motif which
opened the work reappears in a slow, softly sung,
unaccompanied coda. The Chichester Psalms
close with a unison “Amen” as a muted trumpet
and a harp repeat the five notes of the initial
motif once more.
Thanks are due John Kaefer for explaining Psalm
27 and Garyth Nair for sharing his diagrammatic
analysis of the work. –MWH
WHO’S WHO
John Kaefer, composer of Psalm 27, was born in 1976 and began composing at the age of ten.
His
catalogue includes works for orchestra, orchestra and chorus, and chamber ensembles of varying
instrumentation; in addition, he has written numerous works for solo piano and viola.
Recent awards in composition include a 2000 Charles Ives Scholarship from the American Academy
of Arts and Letters, a 1999 Britten-On-The-Bay Award for French Horn composition, the 1998 Renee B.
Fisher Foundation Composer Award, the 1997 Nadia Boulanger Scholarship from La Schola Cantorum of
Paris, France, and first prize in the 1994 International Clarinet Association Composition Competition.
Recent commissions include disFIGURATIONS for piano from the Renee B. Fisher Foundation,
Moustique for mixed ensemble from the New Jersey Chamber Music Society, and Dialogues for horn and
piano from the International Horn Society. His works have been performed nationwide in music festivals
such as the Aspen Music Festival, Musica Camerata in Seattle, Composers Inc. in San Francisco, and
Music Ninety-Eight in Cincinnati. In addition, his music has been performed at festivals in London and
Paris.
Mr. Kaefer received his Bachelor of Music at the Eastman School of Music studying with Christopher
Rouse and Joseph Schwantner. In addition, he worked privately with David Diamond. He currently is
pursuing a Master of Music in composition at the Yale School of Music studying with Ezra Laderman,
Alvin Singleton and David Del Tredici.
William Riley, baritone, has been a laureate in numerous competitions and the recipient of grants
from several foundations in the U.S. and internationally. He was recipient of the largest Oratorio Prize in
the world, the Young Artists Award in Oratorio from the National Federation of Music Clubs. He has been
a guest of the Brahmsgesellschaft in Baden-Baden, Germany, was among the winners of the NATS Artists
Awards in San Antonio in 1987, and has been featured at NATS State, Regional and National Meetings. He
has recorded for Koch Schwann Austria, Musical Heritage Society Records and Westminster Music and
Books. His recording of Scripture Songs of Scott McClain is currently available from AW Productions,
Princeton, NJ. He has performed with opera companies and symphony orchestras from coast to coast, and
internationally as well.
In the area of voice training and research, Mr. Riley has been consultant to The White House, The
Metropolitan Opera, Mt. Sinai Hospital’s Grabscheid Voice Center and Lenox Hill Hospital. A voice
training and research associate to the practice of Gwen S. Korovin and formerly to the late Wilbur James
Gould, M.D., he has been active with the Voice Foundation, the Canadian Voice Care Foundation, the
MedArt World Congress of Arts and Medicine, the Second World Voice Congress and other research
institutes; he has actively served in the editorship of professional journals in the field of voice. He is among
the leading experts in the field of voice and singing techniques and in retraining of voice. He has received
much public acclaim for his work with the remarkable rehabilitation of Ben Vereen, and with his work with
President Clinton. His operatic clients appear regularly at the Metropolitan Opera, San Francisco Opera, La
Scala, Covent Garden and other major houses. Last year, Riley was the only voice trainer mentioned at the
Grammy Awards, thanked by his long-time client Celine Dion.
Jason Asbury
is now in his second year with SUMMIT CHORALE as Assistant Conductor and
Accompanist. Mr. Asbury received his Bachelor of Music from DePauw University of Greencastle, IN,
and his Master of Music from Westminster Choir College in Princeton, NJ. In 1994, he received a grant
from DePauw University to attend the North German Organ Academy where he spent the summer before
continuing studies in Vienna the following semester.
Mr. Asbury is currently Organist and Choir Director at Prospect Presbyterian Church, Maplewood, NJ,
where he directs adult and children’s choirs as well as their Bell Choirs. He also serves on the faculty of St.
Ann’s School, Brooklyn Heights, NY, and the choral faculty of Brooklyn Music School.
Mr. Asbury keeps an active performance schedule in the New York area as a concert organist and
choral accompanist. Recent recitals and tours include concerts at Carnegie Hall and St. Patrick’s Cathedral,
both in New York, St. Andrew’s Cathedral, Honolulu, and a Christmas tour with the American Boychoir.
He also coordinated a joint concert involving the Prospect Presbyterian Church Festival Choir and the
DePauw University Concert Choir held at Carnegie Hall in the spring of 1998.
Garyth Nair
celebrates his thirtieth anniversary as Music Director and Conductor of
SUMMIT CHORALE with the 1999–2000 season. The themes of the Chorale’s motto, Tradition, Innovation,
Excellence, have been hallmarks of his tenure with the organization. With unrivalled skill, Maestro Nair
builds programs that combine under-appreciated works of past centuries, choral masterpieces and
groundbreaking new works. His striving for excellence has brought SUMMIT CHORALE into the front ranks
of choral organizations in the New York-New Jersey metropolitan area.
Maestro Nair is also an Associate Professor of Music at Drew University in Madison, NJ, where he
conducts Drew’s Chorale and Orchestra and supervises the Affiliate Artist voice faculty. He serves on the
faculty of Drew Summer Music and is Conductor of the Lakeland Youth Symphony Senior Orchestra.
With the arrival of spectrogram technology in the Drew Music Department, Mr. Nair has devoted
considerable time to researching the use of this technology in the applied voice studio, resulting in the
recent publication by Singular Publishing of a pioneering book in this field, Voice–Tradition and
Technology: A State-of-the-Art Studio.
Garyth Nair began his vocal and conducting studies at Westminster Choir College, Princeton, NJ.
There he was appointed Assistant Conductor of the famed Westminster Choir—the first student in the
College’s history to be so honored. He later studied at Tanglewood with the late Sir Adrian Boult and
completed an MA in Musicology at New York University. He is the former Music Director/Conductor of
the Chamber Symphony of New Jersey and former Assistant Conductor of the New Jersey Symphony.
Questions? Want more information about SUMMIT CHORALE?
Call (973) 762–8486
write us
P.O. Box 265; Summit, NJ 07902-0265
or visit us online
http://www.summitchorale.org
SUMMIT CHORALE EXECUTIVE BOARD
Charles Tucker, President
Susan Blum, Vice President
Robert J. Grubb, Treasurer
Maya Daniels
Elaine F. Gennaro
Carolyn McGee
Richard L. McKee
Mary W. Helms, Secretary
Terry Perkins
Larry Schwenk
William Stroker
Eleanor Winslow
MEMBERS EMERITUS OF SUMMIT CHORALE
Janice Haer
Alfreda Hays
MEMBERS OF SUMMIT CHORALE
SOPRANOS
Joyce Ariyan2
Joanna Barouch
Susan Blum
Andi Campbell
Maya Daniels
Linda Eriksen
Elynn M. Finston
Cynthia Gavenda2
Elaine F. Gennaro
Candus Hedberg
Mary Helms
Meredith Hutcheson2
Kalina Jastrebowska2
Betty Merrick
Josephine Mescallado
Diane Murray
Janet Painter
Jennifer Russell1
Megan Skarecki
Jessica E. Sockel1
Amy Wilhelm
Tara Worth2
ALTOS
Leslie Ash
Renata Cichocka
Ruth Cresson
Kathleen Diffley
Maralyn Feige
Rosemary Greenaway
Linda Langstaff
Janet G. Lazar2
M. Beth Lohner
Carolyn McGee
Carter Jones Meyer
Terry Perkins
Robin Taylor Roth
Margaret Sherman
Barbara Tucker
Eleanor Winslow
Helen Winters
Terence Wood
BASSES
Eric A. Campbell
Richard B. Cole
Robert J. Grubb
Edward B. Harris
Jon Hauge2
Howard D. Helms
Ellis Hilton
John F. Little
Richard L. McKee
Bruce Meyer2
Arthur Perkins2
Marc Poirier
Christopher Roemmele
Heinz D. Roth
William D. Stroker
Charles Tucker
TENORS
Michael Baruffi
Gill Diamond2
Alan GaNun
Jonathan Greene
Alfred Maragni
Edward McKelvey
R. Allan Muller2
Jack Paddon
Gretchen Royce
Ian Smith
Steven Wetter
John Winslow
1
Summit Chorale Scholarship recipient
2
Member on Leave of Absence
CHAMBER SYMPHONY OF NEW JERSEY
VIOLIN I
Gerald Tarack
Alice Poulson
Byung-Kook Kwak
Allan Schiller
Marilyn Gibson
Valerie Levy
Rebecca Harris
Marie Pintavalle-Tracy
VIOLIN II
Victoria Stewart
Ragga Petursdottir
Sharon Holmes
Dimitri Hadjipetkov
Susan Maren
Karin Lube
VIOLA
Elizabeth Schulze
Julie Goodale
Judith Nativ-Meyers
CELLO
Joshua Gordon
Gerall Hieser
Karen Conrad
BASS
Vincent Carano
CONTRACTOR
Vincent Carano
FLUTE
Karla Moe
Theresa Norris
OBOE
Marsha Heller
William Meredith
CLARINET
William Shadel
Paul Gallo
BASSOON
William Scribner
Wendy Large
FRENCH HORN
Francisco Donaruma
Janet Lantz
TRUMPET
Charles Olsen
David Sampson
Charles Bumcrot
TROMBONE
Gary Capetandes
Douglas Edelman
Mark Johansen
TIMPANI
Thomas Mulvaney
PERCUSSION
John Leister
John Meyers
Daniel McMillan
Alan Michaels
HARP
Barbara Biggers
Karen Stern
ANNUAL FUND CAMPAIGN 1999-2000
GUARANTORS ($1,000+)
Robert J. Grubb
R. Allan Muller
Mary and Howard Helms
Larry Schwenk
Barbara and Bud Tucker
SUSTAINERS ($500+)
Edward and Carol Berninger
Mr. & Mrs. John K. Garner
Thomas A. and Carol A. Campbell
Jan M. Kamil and Janet G. Lazar
Lois Drews
McLester and Jannye McKee
Heinz and Robin Roth
DONORS ($250+)
Gloria and David Adler
Andi and Eric Campbell
Gloria and Ed Crum
Mr. & Mrs. Barrett Flanders
Michael and Elaine Gennaro
Jon and Stephanie Hauge
BENEFACTORS ($100+)
Dr. & Mrs. Domingo M. Aviado
Alice and John Barstow
Frank and Sue Blum
Renata Cichocka
Elynn and Martin Finston
Cindy and Alan GaNun
Charles and Erna Hoover
Mr. & Mrs. Christian E. Kaefer
Fred and Jo Kies
John and Barbara Little
Lucinda Malin
Carolyn McGee
Dr. William and Mrs. Virginia Nadel
Marc Poirier
Betsy Potter
Mr. & Mrs. Frank L. Uhlman
Eleanor and John Winslow
Mr. & Mrs. Edward W. Zimmerman
PATRONS ($50+)
Anne E. Aronovitch
Mr. & Mrs. Karl E. Becker
Bruce T. Benson
Mr. & Mrs. Roberts W. Brokaw III
Mr. & Mrs. Bernard Greene
Laura Greenwald
Randy Harris
Avis Clarke Hyde
Dr. & Mrs. Irving Lazar
Virginia M. Morrissey
William and Sally Swezey
Mr. & Mrs. Berkley A. Tague
CONTRIBUTORS ($25+)
Millie and Jack Cooper
Alan and Jerry English
Les and Betty Faulkner
William Garmany
John D. Gosselink
Herbert H. Graves
Joan and William Hyland
Mr. & Mrs. Bard H. Langstaff
Pertainia A. Marshall
Pamela Dunz Melhado
Dorothy G. Montague
Patricia (Curtin) and Mark Munley
Carolyn C. Ollom
Stephen and Mary Jo Pardee
John Charles Smith
SUMMIT CHORALE solicits your support during our ninety-first season.
Please help us continue to bring the best in choral musical programming and performance
to you, your family and friends.
Become a Summit Chorale Patron by mailing your check, payable to SUMMIT CHORALE, to:
SUMMIT CHORALE; P.O. Box 265; Summit, NJ 07902-0265
Thank you!
Information filed with the Attorney General concerning this charitable solicitation may be
obtained from the Attorney General of the State of New Jersey by calling (973) 504-6251.
Registration with the Attorney General does not imply endorsement.
CORPORATE AND FOUNDATION SUPPORTERS
AlliedSignal
Lucent Technologies
American Home Products Corporation
MAERSK SEALAND, Inc.
EXXON Corporation
NOVARTIS
Johnson & Johnson
Telcordia Technologies
WARNER-LAMBERT
AT&T Foundation
CIGNA Foundation
The Frank & Lydia Bergen Foundation
Lan-Nor Grene Foundation
The PLAINFIELD FOUNDATION
Union County Division of Cultural and Heritage Affairs / NJ State Council on the Arts
COMMERCIAL SPONSORS
We encourage you to support these local businesses that support the arts and SUMMIT CHORALE.
Gold Division ($100 +)
Chatham
Florham Park
New Providence
South Orange
Summit
West Orange
Carolyn Grimsley - RE/MAX Townsquare
Salomon Smith Barney –
Thomas P. Madaras
Aquila Cucina Italiana
Murray Hill Inn
The Prescription Counter
Bourne, Noll & Kenyon, P.A.
MPD Printing
Riegler Dodge, Inc.
Barton Press
Silver Division ($50 +)
Berkeley Heights
Elizabeth
Maplewood
Morristown
New Providence
Summit
Vicendese Family, Ltd.
Richard Altman, DDS
Maplewood Pet Shop
Tri-County Orthopaedic/Sports Medicine
MDs: Mark J. McBride
John A Hurley
Robert T. Goldman
Michael I. Goldberger
Paul M. Lombardi
Braunschweiger Jewelers
Frasco Chiropractic Clinic
Neuman & Schindler Opticians
The Photo Summit
Trost’s Bake Shop
World of Music
Bronze Division ($25 +)
Berkeley Heights
Chatham
Maplewood
New Providence
Summit
Berkeley Cleaners
Liberty Drug & Surgical
Robin Hutchins Gallery
VALSART
Village Wine Shop
Ferdinand Jewelers
The New Prestige Diner
Ms. Debbi’s School of Dance
Nee Dell’s
Rod Trugman’s Salon Reincarnation
Summit Diner
Summit Hearing Aid Center