Post on 12-Apr-2018
“Splendor and Solace”Haydn Lord Nelson Mass
Kim André Arnesen Requiem
Sunday, June 12, 2016, 4 pmPre-concert talk 3:30 pm
225 Tilton Avenue, San Mateo, CA 94401
Choir • Orchestra • SoloistsShulamit Hoffmann, Director
Anna Khaydarova, PianistTeressa Foss, Soprano
Solmaaz Adeli, Mezzo-SopranoCorey Head, Tenor
Jeffrey Fields, Baritone
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Program
“Lord Nelson” Mass Franz Josef Haydn (1732-1809)
SoloistsTeressa Foss, Soprano
Solmaaz Adeli, Mezzo-SopranoCorey Head, Tenor
Jeffrey Fields, Baritone
1. Kyrie
2. GloriaQui TollisQuoniam
3. Credo Et IncarnatusEt Resurrexit
4. Sanctus Benedictus
Osanna
5. Agnus DeiDona nobis
Scored for vocal solos, choir, strings, trumpets, and timpani.
Duration: 45 minutes.
Intermission Viva la Cookie!
Gourmet treats & water for sale
Requiem Kim André Arnesen(b. 1980)
SoloistsSolmaaz Adeli, Mezzo-Soprano
Guy Clark, Trumpet
1. Requiem Aeternam
2. Dies Irae
3. Not in Vain
4. Lacrimosa
5. Rex tremendae
6. Pie Jesu
7. Sanctus
8. We Remember Them
Scored for mezzo-soprano solo, choir, strings, trumpet, and percussion.
Duration: 45 minutes.
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Notes, Texts, TranslationsProgram notes © Shulamit Hoffmann 2016
Mass in D minor Haydn
Haydn scholar, H.C. Robins Landon, describes Haydn’s Nelson Mass or Mass in Anguished Times as arguably the composer’s greatest composition. It reflects the composer’s reaction to the troubled events of the time: the French Revolution and the early Napoleonic Wars. A modern audience, moved by the anxieties of our own time, will find resonances in Haydn’s impassioned work. As Vice-Kapellmeister with the noble Hungarian Esterhazy family, Haydn was required to compose both secular and church music, and, late in his career, a great deal more church music. The D minor mass was written in the summer of 1798, at the height of Haydn’s maturity, about five years before ill health would force him to stop composing. At the time, the composer had been in the service of the Esterhazy family for some 37 years. The current Esterhazy prince was the third under whom Haydn served. Less musically inclined than his predecessors and currently penurious, he had dismissed all the orchestral woodwind players from his employ. Haydn considered his newly reduced orchestra, and with genius, turned the lack into highly effective orchestral scoring. Strings, trumpets, timpani, and organ is an instrumentation that readily yields a proud, heroic, military feel, and, in the movments with strings alone, a lyrical, sweet, persuasiveness. While Haydn was at work on the Mass, Admiral Nelson’s fleet took the French by surprise and decimated them at the Battle of Aboukir. But Haydn could not have known of Nelson’s victory until weeks after the Mass was finished. The title, (Lord) Nelson, was applied to the Mass by others, perhaps because the work was performed for Lord Nelson and Lady Hamilton when they visited Prince Esterhazy at Eisenstadt Castle in September of 1800. Robbins Landon thinks the D minor mass was probably played on Sunday September 7th or Monday September 8th, 1800: “It is no doubt, from this occasion that the work [previously known as “Missa in augustiis”] became known under the title Nelson Mass.” Robbins Landon recounts the visit of Lord Nelson and his paramour, Lady Hamilton: “Nelson was greeted with a frenzy amounting almost to hysteria on his trip through Austria, Bohemia and Germany
in the autumn of 1800. He cites Haydn’s friend, Griesinger, who writes, “Haydn found a great admirer in Milady Hamilton. When she paid a visit to the Esterhazy estates in Hungary she paid little attention to their highnesses and never left Haydn’s side for two whole days…N[elson]and his party, which included Sir William and Lady Hamilton who leads him [Nelson] about like a keeper with a bear...arrived at Eisenstadt on 6 Sept [1800] and stayed four days.” Opinions about Lady Hanilton vary. Robbins Landon continues: “Lord Fitzharris writes: ‘Lady Hamilton is without exception the most course, ill-mannered, disagreeable woman we met with.’ But Moerner says: ‘She is now 46 and the fattest woman I’ve ever laid eyes on, but with the most beautiful head. A voice such as hers excelled all my expectations and I don’t think I shall ever again hear anything so heavenly…’ From Griesinger we learn that, “Nelson asked for the worn-out pen with which Haydn had written his compositions and in return gave [Haydn] a watch...From all the evidence, there can be little doubt that Haydn, too, was captivated by the ‘Nelson touch’.” [From Robbins Landon Vol 4] When Viva la Musica performed in Vienna in 2006, we visited Eisenstadt, the Esterhazy Palace, and the Haydn house, now a museum, where we came upon a plaster cast of Lord Nelson’s death mask. With his sensuous lips and rugged, Mick Jagger kind of appeal, what a handsome, irresistible, heroic fellow Nelson must have been! The music named after him has similar sensuous, compelling, rugged, and heroic appeal.
Text from the Ordinary of the Roman Catholic Mass
Kyrie
Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy.
Gloria
Gloria in exceslis Deo. Glory to God in the highest. Et in terra pax And on earth hominibus bonae voluntatis. peace to people of good will. Laudamus te. Benedicimus te. We praise You. We bless You. Adoramus te. Glorificamus te. We worship You. We glorify You.
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Gratias agimus We give thanks to Youtibi propter magnam gloriam tuam. according to Your great glory.Domine Deus, Rex coelestis, Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty.Domine Fili unigenite, The Only-begotten Son,Jesu Christe. Lord Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father.
Qui Tollis
Qui tollis You who take away peccata mundi, the sins of the world, miserere nobis. have mercy on us. Qui tollis You who take awaypeccata mundi, the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes You who sit ad dexteram Patris, at the right hand of the Father,miserere nobis. have mercy on us.
Quoniam
Quoniam tu solus Sanctus. For You alone are holy. Tu solus Dominus. You alone are Lord. To solus Altissimus, You alone are the Most High, Jesu Christe. Jesus Christ.Cum Sancto Spiritu With the Holy Spiritin gloria Dei Patris. in the Glory of the Father. Amen. Amen.
Credo
Credo in unum Deum, I believe in one God, Patrem omnipotentem, The Father Almighty, factorem coeli et terrae, Maker of heaven and earth,visibilium omnium et invisibilium. and of all things visible and invisible. Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, Filium Dei unigenitum. the Only-begotten Son of God.
Et ex Patre natum ante omnia saecula. Born of the Father before all ages. Deum de Deo, lumen de lumine, God of God, Light of Light,Deum verum de Deo vero. true God of true God.Genitum, not factum, Begotten, not made, consubstantialem Patri: of one substance with the Father: per quem omnia facta sunt. by whom all things were made. Qui propter nos homines, Who for us men,et propter nostram and for our salvationsalutem descendit de coelis. came down from heaven.
Et Incarnatus
Et incarnatus And became incarnateest de Spiritu Sancto by the Holy Spirit ex Maria Virgine: of the Virgin Mary:et homo factus est. and was made man. Crucifixus etiam pro nobis; He was also crucified for us;sub Pontio Pilato passus, suffered under Pontius Pilate,et sepultus est. and was buried.
Et Resurrexit
Et resurrexit tertia die, And on the third day He rose again,secundum Scripturas. according to the Scriptures. Et ascendit in coelum: He ascended into heaven:sedet ad dexteram and sits at the right handPatris. of the Father. Et iterum venturus est cum gloria He will come again in glory judicare vivos et mortuos. to judge the living and the dead.Cujus regni non erit finis. and His kingdom will have no end. Et in Spiritum Sanctum, And in the Holy Spirit,Dominum et vivificantem, the Lord and Giver of life, qui ex Patre Filoique procedit. Who proceeds from the Father and the Son. Qui cum Patre, et Flio Who with Father and Son simul adoratur et conglorificatur: together is adored and glorified:qui locutus est per Prophetas. who spoke through the prophets. Et unam, sanctam, And one holy, catholicam et apostolicam Ecclesiam. Catholic and Apostolic Church.
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Confiteor unum baptisma I confess one baptism in remissionem peccatorum. for the forgiveness of sins.Et exspecto resurrectionem And I await the resurrection mortuorum. of the deadEt vitam venturi saeculi. And the life of the world to come.Amen. Amen.
Sanctus
Sanctus, Sanctus, Sanctus, Holy, Holy, Holy,Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra Heaven and earth are filled with gloria tua. your glory. Hosanna in excelsis! Hosanna in the highest!
Benedictus
Benedictus Blessed is Hequi venit Who comesin nomine Domini. in the Name of the Lord.
Osanna
Osanna in excelsis. Hosanna in the highest.
Agnus Dei
Agnus Dei, Lamb of God, qui tollis peccata mundi, Who take away the sins of the world,miserere nobis. have mercy on us. Agnus Dei, Lamb of God, qui tollis peccata mundi, Who take away the sins of the world,dona nobis pacem. grant us peace.
Dona nobis
Dona nobis pacem! Grant us peace!
Requiem Arnesen
Kim André Arnesen is a contemporary Norwegian composer. He began studying the piano at age 6 at the music school in Trondheim, and singing in the Nidaros Cathedral Boys Choir at age 10. He later attended the Trondheim Music Conservatory. His first composition was performed in 1999. Since then, his music has been performed by choirs around the world. His first large scale work was a Magnificat, commissioned and premiered by the Nidaros Cathedral Girls Choir in 2010. His Requiem was premiered by the Nidaros Cathedral Boys Choir in 2014, and the work had its U.S. premier in April 2015 in West Virginia. It will be premiered in New York, in January 2017, at Carnegie Hall. In the Requiem, Arnesen’s writing is boldly fresh yet accessible. Neo-Romantic in flavor, the music is by turns tender and dramatic. Arnesen masterfully weaves together texts from different sources in a way that speaks directly to the listener, regardless of religious tradition.
Texts from the Roman Catholic “Mass for the Dead,” Emily Dickinson poetry, and a Hebrew prayer.
Requiem Aeternam
Requiem aeternam dona eis, Domine. Eternal rest grant them, Lord.et lux perpetua luceat eis. And let perpetual light shine on them.Te decet hymnus in Sion Sung praise honors you in Zionet tibi reddetur votum And a votive offering will be given you in Jerusalem. in Jerusalem.Exaudi orationem meam. Hear my prayer.Ad te omnis caro veniet. To you all flesh will come.
Dies Irae
Dies irae, dies illa, The day of wrath, that day,solvet saeclum in favilla, will dissolve the world in ashes,teste David cum Sybilla. As witness David and the Sybil.Quantus tremor est futurus What a great trembling there will be
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Quando judex est venturus. When the judge will come.Liber scriptus proferetur. A written book will be brought forth.In quo totum continetur, In which all is contained,Judex ergo cum sedebit, Therefore when the judge will sit,Quidquid latet apparebit, Whatever is hidden will appear,
Tuba mirum The trumpetspargens sonum streaming out its wondrous soundPer sepulcra regionum, Through the sepulchers of all regions,Coget omnes ante thronum. Compels all before the throne.Mors stupebit et natura, Death and nature alike will be astounded, Cum resurget creatura, When all creation rises again,Judicanti responsura. To answer to the judge. Quid sum miser tunc dicturus? What then am I, a wretch, to say?Quem patronum rogaturus? What legal patron shall I ask for?
Not in Vain(Emily Dickinson, 1830-1886)
If I can stop one heart from breaking,I shall not live in vain;
If I can ease one life the aching,Or cool one pain,
Or help one fainting robinUnto his nest again,
I shall not live in vain.
Kyrie eleison, Lord have mercy, Christe eleison. Christ have mercy.
Lacrimosa
Lacrimosa dies illa, Tearful that day will be,Qua resurget ex favilla When man will rise from the ashesJudicandus homo reus. To be judged as a defendant. Huic ergo parce, Deus. So spare him, God.
Rex tremendae
Rex tremendae majestatis King of awesome majesty, Qui salvandos salvas gratis. Those who are to be saved you save for free.Salvame, fons pietatis. Save me, fount of piety. Recordare, Jesu pie, Remember, pious Jesus,Quod sum causa tuae viae; That I am the reason for your path; Ne me perdas illa die. Do not forsake me on that day.Quaerens me, sedisti lassus, In seeking me, you sat down exhausted,Redemisti crucem passus; You redeemed me by suffering the cross;Tantus labor non sit cassus. Do not let such great labor be in vain. Juste Judex ultionis, Just Judge of retribution,Donum fac remissionis Grant the gift of remissionAnte diem rationis. Before the day of reckoning.Ingemisco tamquam reus; I groan as a guilty man;Culpa rubet vultus meus; Guilt reddens my face;Supplicanti parce, Deus. Spare your suppliant, God. Qui Mariam absolvisti You who absolved MaryEt latronem exaudisti, And listened to the thief, Mihi quoque spem dedisti. To me also you have given hope.Preces meae non sunt dignae, My prayers are not worthy,Sed tu, bonus, fac benigne, But you, who are good, be gracious,Ne perenni cremer igne. Lest I be consumed in the eternal fire.Inter oves locum praesta, Make a place for me among the sheep, Et ab haedis me sequestra, And keep me apart from the goats,Statuens in parte dextra. Standing at your right hand.Confutatis maledictis, When the damned are utterly confounded, Flammis acribus addictis, Enslaved to the bitter flames,Voca me cum benedictis. Summon me with the blessed.Oro supplex et acclinis, Supplicating I pray on bent knees,Cor contritum quasi cinis. My heart contrite as ashes.Gere curam mei finis. Take care of my end.
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Soprano
Jan GradyAmy JervisElena KozakSara McNinchPamela Nissley *Lynda SilvaPatricia Velarde
Tenor
Terri Cook *Alison NybergJames Pintner
* Section Leader
Alto
Therese CurottoBetsy Daly-CaffellJosie De MarcoJane Goold CaulfieldGrace HuangBarbara KelseyCarol Meyer *Robyn PetersAnn RitterBecky SnedigarJanet WilsonJoyce Wright
Bass
Michel ConradElliot FranksDonald Lowmiller Dave PetersNate PetersMatthew Reeve *Howard RobertsTom Weaver
ChoirPie Jesu
Pie Jesu, Jesu Domine, Pious Jesus, Jesus Lord,Dona eis requiem sempiternam. Grant them eternal rest.
Sanctus
Sanctus, sanctus, sanctus, Holy, holy, holy,Dominus Deus Sabaoth! Lord God of Hosts!Pleni sunt caeli et terra The heavens and earth are filledgloria tua. with your glory.Hosanna in excelsis. Hosanna in the highest. Benedictus Blessed is hequi venit in nomine Domini. who comes in the name of the Lord.
We Remember Them(based on text from a Hebrew prayer)
In the rising of the sun,in the blowing of the wind,in the blueness of the skies,in the rustling of the leaves,
We remember them.
In the beginning of the yearAnd when it ends,
When we are weary and lostAnd in need of strength,
We remember them.
So long as we live, they too shall live.We remember them. Amen.
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Orchestra
Violin I
Virginia Smedberg, concertmaster
Rachel Magnus-HartmannCathie LowmillerSergi Goldman-Hull
Violin II
Lisa ZadekMargaret HallBe’eri MoalemPierre Dazin
Viola
Ivo BokulicSarah Lee
Cello
Lucinda Breed LenicheckRobin Snyder
Bass
Kelly Beecher
Trumpet
Guy ClarkLaura Shea-Clark
Piano and Keyboard
Anna Khaydarova
Timpani
Doug Chin
Percussion
Christian Foster HowesMichael Veizades
Artistic DirectorShulamit Hoffmann founded Viva la Musica in 2001 and has since served as the organization’s artistic and executive director. She recently earned her doctorate from Teachers College, Columbia University, where her research focused on choral performance and adult learning. Her dissertation is entitled Expression in Live Choral Performance: Meanings, Modalities, Processes, Synergies. Dr. Hoffmann made her Carnegie Hall conducting debut in 2009. Previously, she was
a recording artist for the South African Broadcasting Corporation. She has taught at the College of San Mateo since 2002, and at Idaho State University, Brigham Young University Extension, University of Cape Town, and the University of Witwatersrand. She is gratified that several of her former students are now college professors of music.She has received Congressional Recognition Awards for service to her community (2013 and 2002), and her biography is entered into the Congressional Record of the United States. She was the Foster City honoree for the San Mateo County Mayors’ Diversity Award in 2013.Named Outstanding Graduate Student in the School of Music and Dance at San Jose State University, she is the recipient of scholarships from Columbia University, San Jose State University, University of South Africa, and national scholarships from her native South Africa. She holds degrees in choral conducting, piano performance, general music, and English literature, and licentiate teaching diplomas from the Royal Schools of Music, London, and from the University of South Africa. She has served as program chair and as president for local chapters of the National Federation of Music Clubs and the California Music Teachers’ Association.Dr. Hoffmann is particularly proud of Viva la Musica’s history of performances of major works for choir and orchestra, from Bach and Beethoven to Britten, Bernstein, and beyond, and especially its twinned focus on traditional repertoire and the music of living composers.
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Anna Khaydarova has served as Viva la Musica’s collaborative pianist since 2005. She is a beloved and valued member of the ensemble. Ms. Khaydarova received her bachelor’s degree with honors from Tashkent University, Uzbekistan, and her master’s degree from Notre Dame de Namur University, California. She was a prizewinner in the Bartok-Prokofiev-Kabalevsky International Competition in Redford, Virginia, and in an NDNU Concert Competition, soloing with the Redwood Symphony. She is music
director at Island United Church in Foster City, teaches in San Mateo, and accompanies at the Mozart School in Palo Alto. Ms. Khaydarova was the featured soloist in Beethoven’s Choral Fantasy in Viva la Musica’s December 2013 performances.
Viva la Musica Board
Shulamit Hoffmann, PresidentCheryl Allen, Secretary
Stanley Hutchinson, Treasurer Josie De Marco Grace Huang
Amy JervisMatthew Reeve
Christina Roman
Viva la Musica welcomes new board memhers. Should you be interested in serving on the Viva board,
please contact us.650-346-5084
Teressa Foss, Coloratura Soprano, recently sang with Opera San Jose as Marcellina (Le Nozze di Figaro) and will sing Berta in 2016’s Il Barbiere di Siviglia. Companies performed for include: Opera San Jose, Verismo Opera, West Bay Opera, Lyric Theatre San Jose, West Edge Opera, 42nd Street Moon, Indra’s Net Theatre, Lambs Players, Willows Theatre, Phoenix Theatre, Fullerton Civic Light Opera, Cabrillo Stage, Hollywood Bowl, GeVa Theatre, PCPA
Theaterfest, Reprise!, Berkeley Rep, Ensemble Theater Santa Barbara. Opera roles performed include Lucia di Lammermoor, Norma, Madama Butterfly, Micaela (Carmen), Nedda (I Pagliacci), Fiordiligi (Cosi fan Tutte). She has been nominated for acting awards by Theatre Bay Area, Bay Area Theatre Critics Circle, AriZoni Theatre Awards, BroadwayWorld.com and Backstage West. Proud member of AEA, AGMA, SAG-AFTRA. Visit TeressaFoss.net for more information. This is her fourth appearance with Viva.
Solmaaz Adeli, Mezzo-Soprano, has performed for the Special Olympics World Games Los Angeles, Asheville Lyric Opera, the U.S. Embassy of Vienna The Sound of Music 50th Anniversary and 9/11 Commemoration, and Austria’s Licht ins Dunkel campaign with members of the Vienna Philharmonic Orchestra, broadcast in Austria. Concert appearances include the Palais Belvedere, British Embassy of Vienna, Brahms-Saal at the Wiener Musikverein, Vienna State
Opera’s Marmorsaal, and New York Metropolitan Museum of Art, and as soloist with the Santa Cruz Chorale. Her European debut was with the Vienna Chamber Opera as Flora in Albinoni’s Il Nascimento dell’Aurora and she debuted the title role in François Pierre Descamp’s Zumurrud and Subaida in Rene Clemncic’s opera Harun und Djafar in Vienna. She recently debuted a work by Grammy award-winning Barry Phillips with the Santa Cruz Chamber Players. She studied at the Konservatorium für Musik und Dramatische Kunst Wien.
SoloistsPianist
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Corey Head, Tenor, specializes in Baroque and Classic period music. Solo concert performances include The Evangelist in Bach’s St. John Passion, soloist in Bach’s Magnificat, Christmas Oratorio and many of his cantatas; the title role in Carissimi’s Jepthe; Ahasuereus in Handel’s Esther; and “The Evening” in Telemann’s Die Tageszeiten. Operatic roles include Ferrando in Così fan Tutte, Don Curzio and Don Basilio in Le Nozze di Figaro, Goro in Madama Butterfly, Frantz in Les Contes
D’Hoffmann, Lucano in L’Incoronazione di Poppea and Cecco in Haydn’s World on the Moon. Recent solo appearances include “He” in Boyce’s Solomon; Jean Gilles’ Requiem; Mozart’s Requiem; Carmina Burana; Bach’s Magnificat; Beethoven’s Mass in C; Mordocai in Lidarti’s Esther; Handel’s Messiah; Vivaldi’s Dixit Dominus (RV 807); Damon in Handel’s Acis and Galatea; Uriel in Haydn’s Creation; and Mozart’s C Minor Mass. Notable solo appearances include the San Francisco Symphony, Marin Symphony, San Francisco Choral Society, Marin Oratorio, Viva la Musica (x5), Stanford University, San Francisco Renaissance Voices and Bay Choral Guild.
Jeffrey Fields, Baritone, hails from the San Francisco area, and sings regularly as soloist and ensemble member with Philharmonia Baroque Orchestra (since 1999), American Bach Soloists (since 2002), Bach Collegium San Diego (since 2011), and Carmel Bach Festival (since 1998). Jeffrey made his Carnegie Hall solo debut in Handel’s Messiah in 2007, under Andrew Megill and returned to Carnegie in 2012 with Aoede Consort. Solo engagements last season included Handel’s
Teseo at with Philharmonia Baroque Orchestra at Lincoln Center (Mostly Mozart Festival) and Tanglewood, Rossini’s Petite Messe Solenelle and Haydn Masses at Stanford, and Bach’s St. John Passion in Berkeley.
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