Orlando di Lasso's Sibylline Prophecies: - Crescendo

Christine Gevert, Artistic Director
Spring Concert 2012
Orlando di Lasso's
Sibylline Prophecies:
20 th Century Music foretold
Trinity Episcopal Church
Lime Rock, Connecticut
4:00 p.m. on Saturday, April 21 and Sunday, April 22
Pre-Concert Lecture with Juliet Mattila at 3:30 p. m.
Historical Images of the Sibyls by Susanna Schindler
Sponsored by
Nancy Wadhams, Donald Freedman
and the Turnip Top Foundation
Crescendo's Vocal Ensemble of high voices
Emily Elliot, Katharine Drake, Christine Gevert,
Jo Loi, Sarah Melcher, Andrea Patel,
Benjamin Rauch and Roberta Roll – Sopranos
Patricia Barton and Mary Verdi – Altos
Randy Orzano and Benjamin Rauch – Counter Tenors
Tricia van Oers and Felicitas Eckert, recorders
Christine Gevert, organ and conductor
-1-

Crescendo thanks the loyal program underwriters
for the July 2011-June 2012 season
Anonymous
Edward Beaty
Nancy Cushing
Carr & Marion Ferguson
Donald & Susan Freedman
Alice Gustafson
Peggy & Dave Heck
Roger & Fa Liddell
Jo & Kiau Loi
Juliet Mattila and Robin Magowan
Bruce McEver
Martha & Michael Nesbitt
Janet & David Offensend
Linda Roll
Helen & Anthony Scoville
Julia & John Scott
Victoria Sujato
Richard & Sarah Wardell
-2-

Program
Girolamo Frescobaldi (1583–1643) – “Toccata VII” from Secondo Libro (1627)
Orlando di Lasso (c.1532–1594) – “Beatus homo” motet à 2 from Bicinia Sive Cantionis
Giovanni Paolo Cima (c. 1570–1622) – “O Sacrum” à 2 (doi soprani in Ecco)
Orlando di Lasso – “Cor meum” motet à 3
Girolamo Frescobaldi – “Canzona Seconda” a due Canti
Orlando di Lasso – “Eripe me” motet à 3
Girolamo Frescobaldi – “Canzona Quarta” a due Canti
and “Toccata cromatica per le levatione”
Orlando di Lasso – “Prophetiæ Sibyllarum” and “Bicinia”
Andrea Falconieri (1585/6–1656) – “L'Eroica” à 3
Claudio Monteverdi (1567–1643) – “Laudate Dominum omnes gentes”
from Selva morale e spirituale (1640/41)
Beatus homo qui invenit sapientiam,
et qui afluit prudentiam,
melior est acquisitio eius
negotiatione argent et auri purisimi
Cor meum conturbatum est in me,
dereliquit me virtus mea,
et lumen oculorum meorum, et ipsum non est mecum.
Eripe me de inimicis meis, Domine, ad te confugi;
doce me facere voluntatem tuam, quia Deus meus es tu.
Texts and Translations
Beatus homo
Cor meum
Eripe me
-3-
Blessed is the man that findeth wisdom
and is rich in prudence:
The purchasing thereof is better than the merchandise
of silver, and her fruit than the chiefest and purest gold.
My heart is troubled,
my strength has left me,
and the light of my eyes themselves is not with me.
Deliver me from my enemies, O Lord, to thee have I fled;
teach me to do thy will, for thou art my God.

Carmina chromatico quae audis modulata tenore,
Haec sunt illa quibus nostrae olim arcana salutis
bis senae intrepido cecinerunt ore Sibyllae.
I. Sibylla Persica
Virgine matre satus, pando residebit asello,
iucundus princeps, unus qui ferre salutem
rite queat lapsis: tamen illis forte
diebus multi multa ferent immensi fata laboris.
Solo sed satis est oracula prodere verbo:
ille Deus casta nascetur virgine magnus.
II. Sibylla Libyca
Ecce dies venient, quo æternus tempore princeps,
irradians sata læta, viris sua crimina tollet,
lumine clarescet cuius synagoga recenti:
sordida qui solus reserabit labra reorum,
aequus erit cunctis, gremio rex membra reclinet
reginae mundi, sanctus, per saecula vivus.
III. Sibylla Delphica
Non tarde veniet, tacita sed mente tenendum
hoc opus. Hoc memori semper qui corde reponet,
huius pertentant cur gaudia magna prophetae
eximii, qui virginea conceptus ab alvo prodibit,
sine contactu maris. Omnia vincit
hoc naturæ opera: at fecit, qui cuncta gubernat.
IV. Sibylla Cimmeria
In teneris annis facie praesignis, honore
militiae aeternæ regem sacra virgo cibabit
lacte suo: per quem gaudebunt pectore summo
omnia, et Eoo lucebit sidus ab orbe
mirificum: sua dona Magi cum laude ferentes
obiicient puero myrrham, aurum, thura Sabaea.
V. Sibylla Samia
Ecce dies nigras quae tollet laeta tenebras,
mox veniet, solvens nodosa volumina vatum
gentis Judaeae, referent ut carmina plebis.
Hunc poterunt clarum vivorum tangere regem,
humano quem virgo sinu inviolata fovebit.
Annuit hoc caelum, rutilantia sidera monstrant.
VI. Sibylla Cumana
Iam mea certa manent, et vera, novissima verba,
ultima venturi quod erant oracula regis,
qui toti veniens mundo cum pace, placebit,
ut voluit, nostra vestitus carne decenter,
in cunctis humilis. Castam pro matre puellam
deliget, haec alias forma praecesserit omnes.
VII. Sibylla Hellespontiaca
Dum meditor quondam vidi decorare puellam,
eximio (castam quod se servaret) honore,
munere digna suo et divino numine visa,
quae sobolem multo pareret splendore micantem:
progenies summi speciosa et vera Tonantis,
pacifica mundum qui sub ditione gubernet.
Prophetiæ Sibyllarum
The modulating songs with a chromatic tenor that you hear,
these are the ones in which the sixfold twin Sibyls
sang the secrets of salvation with intrepid mouth.
Born of a virgin mother, he will sit on a shambling ass, the
charming prince, the one who is properly able
to bring salvation to the fallen: however in those days
by chance many will make many utterances of great toil.
But it is enough for the oracles to offer up one saying:
God himself will be born great of a chaste virgin.
Behold, the days will come, at which time the eternal prince,
sowing abundant crops, will take their crimes from men,
and whose synagogue will gleam with fresh light:
who alone will open the sordid lips of the accused,
he will be just to all, in the lap of the queen of the world
may the king rest his limbs, holy, forever living.
He will not come slowly, though in a quiet mind
this act should be held. This in a mindful heart always
he will place, whose greatness his prophets attest in great joy,
who, conceived in a virginal womb, will emerge
without touch of man. All works of nature this conquers;
moreover he who does it rules all things.
Of tender years, preeminent in looks, in honor
the Holy Virgin will nourish the king of the eternal army
with her milk: through whom shall rejoice with full heart
all things, and from the dawn of the world will shine
a wondrous star: wise men bearing their gifts with praise
will offer to the child myrrh, gold, Sabæan incense.
Behold, the joyful day which lifts black gloom will soon come,
unraveling the knotted volumes of the prophets
of the Judæan people, as is told by the songs of the people.
They will be able to touch this bright king of the living,
whom in human clasp an untouched Virgin will nourish.
Heaven affirms this, the glowing stars show it.
Now remain certain and true my new words,
that were the latest prophecies of the coming king,
who, coming in peace for the whole world, will be happy,
as he willed, properly dressed in our flesh,
humble with all. A chaste girl for his mother
he will choose, who in beauty shall surpass all others.
As I contemplate I once saw a girl adorned
with exceptional honor (for she kept herself chaste),
by his gift and divine spirit seeming worthy,
who in great splendor would bear a glittering offspring:
the child, fair and true, of the highest Thunderer,
who will govern the world with peaceful authority.
-4-

VIII. Sibylla Phrygia
Ipsa Deum vidi summum punire volentem
mundi homines stupidos et pectora caeca rebellis,
et quia sic nostram complerent crimina pellem
Virginis in corpus voluit demittere caelo ipse Deus
prolem, quam nunciet Angelus almae
Matri, quo miseros contracta sorde levaret.
IX. Sibylla Europaea
Virginis aeternum veniet de corpore verbum,
purum, qui valles et montes transiet altos.
Ille volens etiam stellato missus Olympo,
edetur mundo pauper, qui cuncta silenti
rexerit imperio: sic credo, et mente fatebor:
humano simul ad divino semine natus.
X. Sibylla Tiburtina
Verax ipse Deus dedit haec mihi munia fandi,
carmine quod sanctam potui monstrare puellam,
concipiet quae Nazareis in finibus, illum
quem sub carne Deum Bethlemitica rura videbunt.
O nimium felix, caelo dignissima mater,
quae tantam sacro lactabit ab ubere prolem.
XI. Sibylla Erythraea
Cerno Dei natum, qui se demisit ab alto,
ultima felices referent cum tempora soles:
Hebraea quem virgo feret de stirpe decora,
in terris multum teneris passurus ab annis,
magnus erit tamen hic divino carmine vates,
Virgine matre satus, prudenti pectore verax.
XII. Sibylla Agrippa
Summus erit sub carne satus clarissimus atque
Virginis, et vere complevit viscera sanctum
Verbum consilio sine noxa spiritus almi,
despectus multis tamen ille salutis amore,
arguet et nostra commissa piacula culpa,
cuius honos constans et gloria certa manebit.
Laudate Dominum, omnes gentes;
laudate eum, omnes populi.
Quoniam confirmata est super nos misericordia eius,
et veritas Domini manet in æternum.
[Clementine Vulgate (Psalm 116)]
Myself I saw the highest God wanting to punish
the stupid men and blind hearts of an insurgent world,
and because crimes so fill our skin, into the body of a Virgin
God himself wanted to send down from heaven the son,
which an Angel will announce to the nourishing Mother,
who will raise wretches from uncleanness they have contracted.
From the body of a virgin will come the eternal word,
pure, which will cross valleys and high mountains.
He, sent still willing from starry Olympus,
shall be given to the world a pauper, who shall rule all things
with silent majesty: I believe and shall confess in my heart:
from seed both human and divine he is born.
Truthful God himself gave these prophetic duties to me,
so I could reveal in song the holy maiden
who will conceive in Nazarene lands him
whom in flesh the lands of Bethlehem will see as God.
O exceedingly happy Mother, most worthy of heaven,
who will feed such a child at her holy breast.
I see one born of God, who sent himself down from on high,
when joyous sunrises will bring the final days:
the one whom the beautiful virgin will bear from Hebrew stock,
on earth to suffer much from his tender years,
he will nonetheless be a great prophet in divine song,
seed of a virgin mother, truthful and wise of heart.
He will be the greatest born in flesh, and the most beloved,
and the body of the true virgin the holy word will fill
with the design, without taint, of the nourishing spirit:
but he, despised by many, for love of salvation,
will censure the crimes committed by our fault:
whose constant honor and certain glory will endure.
Laudate Dominum omnes gentes
About the Composers
O praise the Lord, all ye heathen:
praise him, all ye nations.
His merciful kindness is ever more and more towards us
and the truth of the Lord endureth forever.
[Church of England 1662 Book of Common Prayer]
Orlando di Lasso (c.1532–1594) was a Flemish composer who began his musical career at the age of 12 in
Sicily. He worked until 1554 in Naples and Rome, but spent the greatest part of his career in Munich (1556-94).
An extraordinarily prolific composer, Lasso is credited with bringing Flemish polyphonic music to its peak of
development. At the same time, his writing was synthetic, drawing together the most sophisticated elements of
European music.
Girolamo Frescobaldi (1583–1643) drew huge audiences to St. Peter’s Cathedral in Rome for his organ
improvisations and performances. He moved to Florence in 1628 to become organist at the Medici Court. The
style of his composition and performance was a major influence on subsequent German writers for organ.
Giovanni Paolo Cima (c.1570-1622), the first composer to publish trio sonatas for two treble voices and
continuo, was an organist active in Milan.
-5-

Andrea Falconieri (1585/6–1656), a lute player and composer, worked in Parma and Rome before becoming
maestro de cappella in Naples.
Claudio Monteverdi (1567–1643) began his career at the Court of the Duke of Mantua, moving in 1613 to
Venice, where he served as choirmaster at St. Mark’s Cathedral. A pioneer in the development of early Italian
opera, Monteverdi composed both sacred and secular music.
About the Program
Chromatic Music in the Renaissance and Early Baroque. The term “chromatic”refers to the scale of
semitones – the steps of which are the smallest intervals in our western scales.
“...The term chromatic began to approach its modern usage in the 16th century. This usage comes from a renewed
interest in the Greek genera, especially its chromatic tetrachord, notably by the influential theorist Nicola Vicentino in
his treatise on ancient and modern practice, 1555. For instance Orlando Lasso's Prophetiae Sibyllarum opens with a
prologue proclaiming, "these chromatic songs, heard in modulation, are those in which the mysteries of the Sibyls are
sung, intrepidly," which here refers to the frequent change of key and use of chromatic intervals in the work. The chord
progression which begins the Prophetiae Sibyllarum is jarring even to ears accustomed to 20th century music: the
opening chords are C major - G major - B major - C# minor - E major - F# minor. The Prophetiae belonged to an
experimental musical movement of the time, called musica reservata. Musica reservata (also musica secreta) is either a
style or a performance practice in a cappella vocal music of the latter half of the 16th century, mainly in Italy and
southern Germany, involving refinement, exclusivity, and intense emotional expression of sung text. The exact
meaning, which appears in scattered contemporary sources, is a matter of debate among musicologists. While some of
the sources are contradictory, four aspects seem clear:
1. musica reservata involved use of chromatic progressions and voice-leading, a manner of composing which
became fashionable in the 1550s, both in madrigals and motets;
2. it involved a style of performance, perhaps with extra ornamentation or other emotive methods;
3. it used word-painting, i.e. use of specific and recognizable musical figures to illuminate specific words in the
text; and
4. the music was designed to be performed by, and appreciated by, small groups of connoisseurs. “ [Source: wikipedia]
The chromatic style culminated in a brief period at the beginning of the Baroque era – ca. 1600 – when composers
such as Carlo Gesualdo and other members of the Camerata Fiorentina took the experimentation with this style even
further and created a number of intensely expressive madrigals. During the early Baroque – 17 th century and later –
probably even till the late 19 th century - chromaticism was never used again in that form. Chromatic passages were an
integral part of the expressive language of Baroque music. It was often associated with emotions such as pain and
suffering, and the perils of the human existence – therefore used frequently also to portray the Passion of Christ. The
works of Frescobaldi and Monteverdi show this style clearly – the effectiveness of the chromatic passages is intensified
by a slowing down of the movement of the music (sometimes announced with the word “Adagio” in the scores).
A particular example of this is also the keyboard style called “durezze et ligature” (literally “hardness,” meaning
dissonances and suspensions) used in the Frescobaldi Toccata to illustrate the mystery of the transubstantiation,which
is the transformation that the bread and wine undergo during Mass to become the actual Body and Blood of Christ.
Even though a much later work than Lasso's Prophetiæ Sibyllarum, it shares this common element of using the
chromatic chord progressions to evoke a mystic transformation, alchemy and prophecy.
Lasso's Prophetiæ Sibyllarum are extraordinary works: they use the reconstruction of various texts of female prophets
which foresaw the birth of Christ and date from as early as Greek antiquity. They appealed particularly to the
Renaissance sensibility because they represented a tie between the modern and the Classical. The versions here are
collections of these prophecies which Lassos set while in Munich. The texts themselves were probably written during
Lassos' lifetime, or nearly so. Despite being widely considered the most accomplished composer of the polyphonic style
of his day (until the nineteenth century elevated Palestrina "over his head"), Lassus departed from this strength in the
music presented here; he limited himself to a sparser, four-part, style. It's predominantly syllabic and homophonic with
much chromaticism. The style shows a directness and concentration that aptly fit the assuredness of the act of
prophesy, rather than its impact.
The bicinium (pl. bicinia) is a composition for only two parts, especially one with a pedagogical purpose. The term
started to be used in the 16 th century. Students could be expected to master singing a single part in a duet more easily
than a part in a larger ensemble. Usually a bicinium was designed to be sung or played by students of the same age and
ability, rather than for a single student and a teacher. Lasso wrote a number of them, some with texts and some
without. Our choice of interspersing them with the motets of the Prophetiæ Sibyllarum was to create a frame for each
Sibyl, much as it was done in the visual arts with arches or frames.
-6-

About the performers
Christine Gevert
Ms. Gevert holds a master’s degree in organ and early music performance from the Hochschule für Musik und
Theater, Hamburg, Germany. After earning a bachelor’s degree in music theory, basso-continuo and choral
conducting from the Conservatorio Nacional de Chile, she studied choral and orchestral conducting in Berlin and
harpsichord in London. She has taught at the Berlin Church Music School, the Universidad de Chile, and the
Pontificia Universidad Católica in Santiago, Chile. While conducting and performing in Europe and South
America, she also recorded for Carpe Diem and Alerce. She has led master classes and workshops in early music,
harpsichord, and baroque vocal technique at music festivals in Germany, Chile and the US, and has appeared
locally at the Boston Early Music Festival, Music Mountain, the Berkshire Choral Festival and the Amherst Early
Music Festival. In 2012 she will perform at the Washington DC Early Music Festival. The founder and artistic
director of Crescendo and her own Baroque ensemble Les Inégales, Christine is currently music director at Trinity
Episcopal Church, Lime Rock, CT.
Tricia van Oers
graduated from the Rotterdam Conservatory and received a diploma in early music performance from Indiana
University’s early music institute. After having been employed as a recorder maker and tester by the Bostonbased
Von Huene workshop, she moved to the Harlem Valley of New York. Tricia has performed in the
Netherlands, Portugal, and the US; she teaches privately and at workshops and festivals across the US. She
performs in the New England area with baroque ensembles and orchestras.
Felicitas Eckert
is a 16-year-old AFS exchange student at Housatonic Valley Regional High School. From Ortenberg, Germany,
she has been a recorder player and performer for 12 years, and has studied at the Musikhochschule in Freiburg,
Germany. In 2011 she won the German national youth competition award for recorder trio.
Benjamin Rauch
spent a year singing soprano with Chanticleer, America's premier a cappella vocal ensemble, performing on major
concert stages across the United States, Europe, and Japan, and live on “Today.” Solo engagements include the
Greater New Haven Community Chorus, Chorus Angelicus and Gaudeamus. A native of Long Island, Mr. Rauch
won First Place two years consecutively in the Long Island Composers' Alliance Young Composers Competition.
He earned his Bachelor of Music in Vocal Performance, Choral Conducting and Composition from the Hartt
School, where he has subsequently taught in the Vocal Studies and Music Theory departments. He teaches
private voice at the Benjamin Rauch Voice Studios, and has led many workshops and master classes.
Crescendo's Vocal Ensemble
is a group of dedicated singers from Crescendo's choir whose commitment to an intense rehearsal schedule makes
it possible for amateur singers to perform rare and challenging repertoire. Since its founding in 2004, the Vocal
Ensemble has been featured in many of Crescendo's choral-orchestral concerts. Memorable ensemble
performances include Johann Sebastian Bach's motets in 2005, a performance of Carlo Gesualdo's Tenebrae
Motets accompanied by modern saxophone improvisations by Rodrigo Tarraza in 2008, and most recently, the
U.S. premiere of two Baroque cantatas by Wilhelm Friedemann Bach and Christoph Graupner. Next year, the
Vocal Ensemble will premiere a commissioned work by Berkshires composer Tasia (Cheng Chian) Wu.
Today's arrangements for the ensemble include only high voices – Sopranos, Altos and Counter Tenors. Lasso's
works were presumably performed by voices of men and boys in the sixteenth century, but high male voices are
rare nowadays. Our professional guest, Counter Tenor Benjamin Rauch, is also a male Soprano and sings part of
the motets in that range. To keep as close as possible to the historically authentic sound, color and balance of
Lasso's work, Christine Gevert has arranged the score for four high voices in close harmony. This arrangement
goes far beyond just raising the pitch: at times it exchanges complete phrases between voices to best feature the
vocal quality of the singers in this type of ensemble. This is the first performance of this unique arrangement.
Juliet Mattila, pre-concert lecturer and program editor, holds degrees in literature and writing from the
University of California, Berkeley and The University of Iowa, and a Ph.D. in Renaissance literature from the
University of Chicago. She has taught literature and writing at several universities.
-7-

English Chamber Organ by Bennett & Bennett
A generous donation by two Early music lovers from Carmel, NY – Barbara and Paul Krieger – this beautiful
organ will be heard for the first time in a public concert.
Built by John and Bonnie Bennett, the instrument was based on an anonymous 17th century organ currently
on display at Cannons Ashby House in Northamptonshire, England. Like its historical predecessors, all the pipes
are made of pine and oak. It is a true chamber or house organ with a gentle singing voice that does not overwhelm
even though the pipes speak directly into the player. The narrow scaled open pipes create a rich, almost stringlike
tone. As a result, when played in ensembles the organ almost works as a viol consort.
The case is American walnut while the façade pipes are pine with cherry caps. The keyboard is ebonized walnut
with sycamore sharps. A small electric blower with regulator is housed under the case. The design of the painted
and gilt fret-sawn pipeshades is based on the American Bull Thistle.
Range: C-c’’’ (49 notes).
Disposition: 8’ Stopped Diapason / 4’ Principal / 2’ Fifteenth (divided treble/bass)
[Source: www.bennettearlykeyboards.com. Printed with permission]
-8-

ABOUT CRESCENDO
Now in its ninth year, Crescendo is based in Lakeville, CT. The organization’s ongoing schedule of
music performance and education is currently offered for the communities of Connecticut’s Northwest
Corner, the Berkshires in Massachusetts and New York’s Mid-Hudson Valley. Crescendo’s choral and
instrumental concerts as well as its workshops, lectures and master classes often include the
participation of international performers and teachers and these programs reach audiences of
all ages and levels of experience.
Crescendo Inc. PO Box 245, Lakeville, CT 06039 860-435-4866 www.worldclassmusic.org
Crescendo Board of Directors
Edward Beaty, Claverack, NY, President
Peggy Heck, Salisbury, CT, Vice President
Martha Nesbitt, Lakeville, CT, Treasurer
Jo Loi, Lakeville, CT, Secretary
Susan Hooker, Norfolk, CT, Assistant Secretary
Geoffrey Brown, Taconic, CT
Donald Freedman, Sheffield, MA
Carr Ferguson, Lakeville, CT
William Kellett, Salisbury, CT
Juliet Mattila, Salisbury, CT
Christine Gevert (ex officio)
Board Advisers
Carol Ascher, Sharon, CT Martha Baer, Lakeville, CT Fred Baumgarten, Sharon, CT
Kitty Benedict, Salisbury, CT Kathy Drake, Millerton, NY Gordon Gustafson, Lakeville, CT
Anne Richardson, Lakeville, CT Keith Johnson, Sharon, CT Randy Orzano, Sharon, CT
F. Herbert Prem Jr., Salisbury, CT Helen Scoville, Salisbury, CT Julia Scott, W. Cornwall, CT
Roberta Roll, Sharon, CT Susan Vreeland, Lakeville, CT Allen Young, Sharon, CT
-9-

Special support for this concert has been received from:
Trinity Episcopal Church in Lime Rock, CT–our home base, which generously hosts our rehearsals,
meetings, workshops and concerts. The Reverend Heidi Truax, Senior Warden Alexis Dorf
The Tri-State Chamber of Commerce; Radio WMHT Schenectady, NY;
Robin Hood Radio, Sharon, CT; Kwik Print, Great Barrington, MA;
The Lakeville Journal, Lakeville, CT; The Litchfield County Times, Litchfield, CT;
The Northwest Connecticut Arts Council;
Publicity and Editing: Fred Baumgarten, Kathy Drake, Juliet Mattila
Event Logistics: Geoff Brown, Gordon Gustafson, Susan Gingert, Sue McBrien,
Susanna & Tom Schindler, James Conzo, Terri Brennan, Alan Swide, Jeremy Dakin
Organ tuning and servicing: John and Bonnie Bennett - www.bennettearlykeyboards.com
Geoff Brown, Video Steve Potter, Photography Brian Peters, Recording Engineer
A special thanks to
The members of Crescendo's Benefit Committee:
Jo Loi, Katharine Drake, Anne Richardson, Jean Vitalis, Susan Vreeland
The generous hosts for our Benefit Dinners:
Beth and Jack Isler, Elaine LaRoche, Jim Montanari and Dan Dwyer,
Sarah and Tom Morrison, Helen and Tony Scoville, Arete Warren,
Crescendo is supported in part by
The Community Foundation of Northwest Connecticut
The Berkshire Taconic Community Foundation
The Connecticut Commission on Culture & Tourism
The Connecticut Arts Endowment fund
The Tilia Foundation (Lynden & Leigh Miller)
The G&G Foundation
Pfizer (matching grant of Karen Greer)
-10-

Our Gratitude to the Donors and Supporters of this Benefit Event
H ow a r d A ller Pa tr icia Ma g g io (Mr s. J. P.) Ed Bea ty
Ma r th a Ba er Lin da Mich a els
Kitty Ben edict Ly n den & Leig h Miller Su sa n H ooker
Lou ise a n d Ma lcolm Br ow n Joe a n d Dia n e Mon t i-Ca ta n ia Elisa bet h Ka estn er & Pa u l De A n g elis
Ba r ba r a & Ch a r les Cook Bill & Su e Mor r ill Rober t Keiter
V ict or & Lor y Ger m a ck Ma r t h a & Mich a el Nesbitt Na n cy & Bill Kellet t
A lice G u sta fson Keith Nola n
A r len e H a jin lia n Ch r ist oph er & Ja n e Ny e A n n R. Noble
Peg g y & Rich a r d H a y es St ev e Pot ter & Ka th a r in e Dr a ke Lu cia n a Or za n o
Peg g y a n d Da v e H eck Pa tr icia & H er b Pr em Jim & Jill Sh effield
Keith Joh n son A n n e Rich a r dson & H ow a r d A ller Mon a Sta ff-G u n th er
Ron Jon es Ma r y B Rober t son Na n cy T u ck er m a n
Sim on e Ka ila n i Joh n & Ju lia Scott Ja n e L. T u ttle
Br in di & St eph en Ka y e Jea n V ita lis Ma r y V er di
Na n cy & Bill Kellet t Su sa n & Dick V r eela n d Geor g e V in cen t
Ka th er in e Kellog g (Mr s. Geor g e) A n die W illia m s A r et e W a r r en
La u r ie Lisle & Rober t Kipn iss A lber t Sly Sy lv ia W ism a r
Jo a n d Kia u Loi
Salvatore & Janet Accardo
Bruce Anderson
Carol Ascher
Susan Bachelder
Harding Bancroft
Skip Barber
James Bates
Kitty Benedict
Khurshed Bhumgara
Rosanna & Scott Bok
Annetta Brigham
Geoff & Judy Brown
Malcolm & Louise Brown
Rusty & Tina Chandler
Annette & Gerald Cloney
John & Anne Coffin
Sally & Robert Cummins
Paul DeAngelis & Elizabeth Kaestner
Kathy Drake & Steve Potter
East Mt. Medical Associates
Jose Flores
Kathleen Friend
Nancy Frost
Danielle Gaherty
Christine Gevert & Gordon Gustafson
Crescendo warmly thanks all the loyal friends and supporters
who make our continuing success possible:
Edward Greene
Karen Greer
Joyce Hawkins
Hilary Hendler
Holland & Chambelain
Ron & Hildegard Jones
Martha Katz
Belinda & Stephen Kaye
Ledie & Roxana Laughlin
Elizabeth Leech
Peter Lombardo
Jean McMillen
Giles & Kate Mellon
James & Kathy Metz
Lynden & Leigh Miller
Thomas & Sarah Morrison
Barry Moyer
Ronald M'Sadoques
John & Alice Myers
Barbara Niles
Christopher Nye
Karen Noble
John Oler
Ellie Owens
Gisella Piccolo
Herbert & Patricia Prem
Hector & Erica Prud'Homme
Denise Rice
Anne Richardson
Carol & Robert Sacks
Tom & Susanna Schindler
Barry & Helena Schuman
E.B. Sinclair
John Stookey
Leland & Fran Taliaferro
Rev. Heidi & Phillip Truax
Renee Tee
Nancy Tuckerman
David & Edith Tully
Jane Tuttle
Dorothy & Jeff Walker
Cynthia Walsh
Arete Warren
Barbara Whitesides
Rev. Cyril & Sylvia Wismar
Rene Wood
George Vincent
Jean & William Vitalis
Allen & Lindley Young
If we have inadvertently failed to list your contribution, or you would like to be listed differently,
please let us know. We are grateful for your generosity.
-11-
Edw a r d & Dia n a Gr een e
Rox a n a & Ledlie La u g h lin

Upcoming Crescendo Events
Crescendo Fall Concert
November 10 & 11, 2012
“In te, Domine, speravi” - Sacred Masterworks of Polish Baroque
Works by Gorczycki, Zieleński, Jarzębski, Pękiel, Szarzyński, Mielczewski
Crescendo Chorus, soloists and Period Instrument Orchestra
Directed by Christine Gevert
Copyright © Crescendo 2012
-12-