music of remembranceensuring that the voices of musical witness be heard

2010-11 SeaSon annual RepoRt

The Green Violinist (1918) by Marc Chagall, courtesy The Jewish Museum, New York

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Mina Miller President & Artistic Director

music of remembranceensuring that the voices of musical witness be heard

2010-11BoardofDirectorsKatherine Hanson ChairGregory Wallace Vice ChairPamela Center SecretaryMargaret Griffiths Treasurer

Henry ButlerCarole EllisonDavid EpsteinThea FeferToni FreemanSaul GamoranAlice GreenwoodErika MichaelGloria MosesJoyce RivkinJon H. RosenTina RykerSandra SpearFrederick YudinStanley Zeitz

David Sabritt Executive Advisor

AdvisoryBoardLeon BotsteinSamuel BrylawskiJohn CoriglianoBob GoldfarbRichard GoodeSpeight JenkinsGary KarrKurt MasurThomas PasatieriMurray PerahiaSteve ReichToby SaksPaul SchoenfieldGerard SchwarzDavid ShifrinDavid StockBret WerbPinchas Zukerman

Mission

Music of Remembrance fills a unique spiritual and cultural role in Seattle and throughout the world by remembering Holocaust musicians and their art through musical performances, educational programs, musical recordings, and commissions of new works.

It is well known that the Nazi regime banned performances of music by living and historical Jewish composers, and by many others they deemed degenerate. Amid the horrors, there were courageous musicians who dared to create even in the ghettos and camps. It is a priceless gift that much of this music has survived as moral and artistic defiance in the face of catastrophe. We must ensure that these voices of musical witness be heard.

The Music of Remembrance (MOR) mission is not religious, nor is its scope limited to Jewish music. Although the Holocaust was primarily an assault on Jewish people and culture, others suffered as well in what was history’s most potent instance of totalitarian suppression of intellectual and creative work. Musicians’ resistance took many forms, and crossed many national and religious boundaries. This resistance cannot have been in vain. We remember these musicians by preserving and performing their music. From the depths of human suffering comes the healing beauty of hope and renewal.

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MusicwithaMission:TheVEDEMProjectA letter from the President and Artistic Director

Music of Remembrance’s 2010-11 season was a year of significant milestones, and you’ll read about many of those accomplishments in this Annual Report. I’d like to reflect on one of the moments that, for me, made the year especially memorable.

If you’ve been following Music of Remembrance, you know about our VEDEM project, launched in 2009 when we commissioned acclaimed composer Lori Laitman to write an oratorio. This exciting new work was to be based upon the story and inspiring words of a group of about 100 teenage boys who dared to create a secret magazine under the noses of their Nazi captors in the Terezín concentration camp.

The music was a major triumph in itself, but we also knew from the start that it should be the cornerstone of an extended project – MOR’s VEDEM Project – to bring the legacy of those boys in Terezín to people everywhere. While Lori and her librettist David Mason were crafting the oratorio, we also set admired filmmaker John Sharify to work on a documentary film, The Boys of Terezín. On May 7, 2011 – an evening I’ll never forget – we unveiled the film in a private screening for the friends and supporters at our annual gala event. Two of the six “boys” still alive – now men in their 80s – traveled to Seattle to honor us with their presence. One of them, Sidney Taussig, had the courage and foresight as a 14-year old in Terezín, to bury the VEDEM magazine’s 800 manuscript pages and retrieve them after the camp’s liberation. The other, George Brady, worked tirelessly for decades to ensure the publication of selected poems, stories and illustrations in an extraordinary book.

On that evening, we realized that we were sharing something remarkable: uniting generations to make history real and immediate. The music, the film, and witness of survivors who lived that experience; the profound words written nearly seventy years earlier by a group of idealistic teenagers, now sung and read by the young members of Seattle’s Northwest Boychoir. These young choristers were the same age as the “boys of Terezin” then. It was a reminder of something rare that MOR had accomplished: not only to make beautiful music, but to make beautiful music that matters for the world.

This is what Music of Remembrance is about, and why I know that our journey has been worth all of the effort. None of this would have been possible without the dedication of our board, our staff, our supporters, our musical colleagues and our other artistic partners. Thank you.

Mina Miller Artistic Director

Mina Miller

LookingAheadOur 2011-12 season includes What a Life!, the poignant cabaret-like musical revue that Jewish refugee composer Hans Gál wrote and produced for his fellow prisoners in the British internment camp on the Isle of Man where he was interned as an “enemy alien.” We’ll also premiere MOR’s newest commission: Jake Heggie’s Another Sunrise, based on the amazing story of the Polish survivor, resistance fighter, poet and hidden Jew, Krystyna Zywulska.

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David Stock A Vanished World 1999Paul Schoenfield Camp Songs 2002Thomas Pasatieri Letter to Warsaw 2003Lori Laitman The Seed of Dream 2004Gerard Schwarz In Memoriam 2005Jake Heggie For a Look or a Touch 2007Gerard Schwarz Rudolf & Jeanette 2007David Stock Mayn Shvester Chaya 2008Paul Schoenfield Ghetto Songs 2008

Aharon Harlap Pictures from the Private Collection of God 2009

Donald Byrd choreography to Franz Schreker’s The Wind 2009

Lori Laitman Vedem 2010Donald Byrd choreography to Joel Engel’s

The Dybbuk Suite 2010Betty Olivero Kolo’t 2011

MOR’s supporters have funded the creation of twelve new musical works by eight composers, and two dance choreographies.

MORCommissions

ALetterfromtheChairoftheBoard

MOR’s thirteenth season – with its theme centered around Jewish folklore — offered thrilling artistic achievements. In the fall, we showcased the avant garde art music of early 20th century Russian composer Joel Engel, which was itself rooted in the rich traditions of Jewish folklore. Just as Music of Remembrance looks to the past to inspire contemporary commissions, Engel’s Dybbuk Suite had been influenced by folk legends and melodies orally transmitted across generations by Hassidic Jews from the Pale of Settlement. MOR’s chamber players performed while Spectrum dancers presented a riveting new MOR commissioned work, by acclaimed choreographer and provocateur Donald Byrd. This extraordinary collaboration of talent resulted in a unique blending of genres that resonated through centuries and stretched across divergent cultures. We were treated to a multidimensional bold new arts experience

Forging artistic partnerships of this nature, and breaking new ground by doing so, is perhaps one of MOR’s greatest strengths. This was MOR’s second dance commission with Donald Byrd and Spectrum Dance Theater. Another frequent artistic partner, The Northwest Boychoir, joined MOR in May 2011 to sing at the private premiere screening of The Boys of Terezin, John Sharify’s outstanding documentary film, which is discussed in depth elsewhere in this report. As I see it, the members of our Sostenuto Society and Crescendo Circle – loyal supporters and patrons who make major financial commitments to MOR over three year periods – also serve as partners with MOR. It is through their generous spirit and deep-seated loyalty that we will continue to make exceptional music and art for decades to come.

These collaborations, and our commissions and recordings (our fifth CD under the prestigious Naxos label was released in May 2011) testify to the organization’s growth and expansion as Mina Miller’s innovative programming reaches out to new audiences, locally and around the world. MOR’s mission of ensuring that voices of musical witness from the Holocaust era be heard is being embraced by more and more people from all backgrounds.

Serving as Chair for Music of Remembrance’s Board of Directors is truly a privilege. I feel tremendous gratitude to all who breathe life into this unique organization: enthusiastic audiences and supporters, dedicated Board members and volunteers, a first-rate staff, extraordinary musicians and artists, and, not least, our visionary Artistic Director!

Katherine Hanson 2010-11 Board Chair

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John Sharify (right) interviews Donald Byrd. Pre-concert talk, November 8, 2010

AREPORTONMOR’S2010 -11SEASONMainstage Programming: Fall and Spring Concerts

Since its 1998-99 inaugural year, MOR has presented two major concerts annually at Seattle’s Benaroya Hall: a fall concert marking the anniversary of Kristallnacht (The Night of Broken Glass), and a spring concert marking Holocaust Remembrance Day. We present music from the time of the Holocaust and contemporary compositions inspired by the Holocaust.

Each season MOR’s programming has highlighted a central theme. In 2010-11, our thirteenth season, we illuminated Jewish folklore and its influence on composers of yesterday and today. At our November 2010 concert, we explored the complexity of Russian-Jewish identity in the first half of the 20th century. Our audience experienced the original music for S. Ansky’s iconic Yiddish play The Dybbuk, with the added dimension of a new dance score that we commissioned from acclaimed choreographer Donald Byrd. We also performed Dmitri Shostakovich’s stirring From Jewish Folk Poetry. In May 2011, we revisited Israeli composer Betty Olivero’s thrilling suite of dance music from her score to the classic silent film The Golem.

In addition to the Dybbuk dance premiere (our second partnership with Spectrum Dance Theater), it was a year of other firsts as well. Our spring concert featured the world premiere of another MOR commission: Israeli composer Betty Olivero’s Kolo’t (“Voices”). Sung in Ladino, this haunting work is a poignant evocation of the once-vibrant Sephardic Jewish community in Thessalonika and its tragic fate during the Nazi occupation of Greece. We also unveiled Lori Laitman’s Vedem song cycle, an intimate version of the poems that she set to unforgettable music in her Vedem oratorio.

Spectrum Dance Theater artists Joel Myers and Kylie Lewallen, November 8, 2010. (Left to right) Mikhail Shmidt, Leonid Keylin, Matthew Kocmieroski and Jonathan Green.

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AREPORTONMOR’S2010 -11SEASON

(Left to right) Mikhail Shmidt, Elisa Barston, Walter Gray, Matthew Kocmieroski and Susan Gulkis Assadi.

(Left to right) Mikhail Shmidt, Susan Gulkis Assadi, Walter Gray, Angela Niederloh, Matthew Kocmieroski, Valerie Muzzolini Gordon and Laura DeLuca.

As always, we honored the legacy of composers who perished at Nazi hands. Our spring program included the second string quartet by the Czech composer Pavel Haas, deported to Terezín in 1941 and murdered three years later in Auschwitz. And we continued to explore cultural and artistic heritages that are too little remembered. The fall program included works by Alexander Krein and Mikhail Gnessin, two influential composers of the early 20th-century St. Petersburg School who sought to integrate traditional Jewish elements with the period’s mainstream musical styles.

Audiences and critics admire our concerts for their varied and innovative programming, and for their consistent musical excellence. They also have discovered that we perform music that matters profoundly. How does our recent season’s focus on folklore – with works like The Dybbuk and The Golem – contribute to the Holocaust’s musical legacy that MOR commemorates? To be sure, they are poignant reminders of a culture and its idioms that the Nazi regime sought to destroy. But these legends are far more than objects of ethnic nostalgia. They are richly layered morality tales with universal resonance: the struggle between the mystical and the material; the ambiguous boundaries between the traditional and the modern; the dilemmas of invoking divine intervention for worldly ends. The song and dance of our recent season’s music recall a world made vivid by complex dreams and struggles with deep meaning for today.

“MOR continues to fill a cultural role unlike any other, with extraordinary performances of important composers.” –Audience member

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Guests Joseph Crnko and the Northwest Boychoir perform Lori Laitman’s Vedem, May 7, 2011.

TestimoniesForTomorrowCommissions and Recordings The commission of new music forms a cornerstone of MOR’s mission. Through significant new Holocaust-inspired works by major living composers, these new compositions cast fresh light on a timeless legacy, and they renew memory by sharing stories that are still being discovered more than 65 years after the Holocaust. Our CD releases ensure that this music will be permanently available to listeners around the word.

Music of Remembrance is the only organization in the world with a commitment to commissioning new Holocaust-inspired works by today’s leading composers. In just over a decade, our 12 musical commissions have included works by such noted composers as Jake Heggie, Thomas Pasatieri, Paul Schoenfield, Lori Laitman, Betty Olivero, David Stock and Gerard Schwarz.

Our recent season brought the world premieres of two new MOR commissions. The first, at our November 2010 concert, was a dance that we commissioned from choreographer Donald Byrd for our performance of composer Joel Engel’s 1922 suite of incidental music for the seminal Yiddish play The Dybbuk. At our May 2011 concert, we premiered Israeli composer Betty Olivero’s vocal chamber work Kolo’t (Voices). Kolo’t was an intensely personal creation for Olivero. She wrote: “As a granddaughter of Sephardic Jews from Thessalonika, who were exterminated in Auschwitz, I decided to quote from a poem written as a letter in Ladino (a Spanish-Jewish dialect), by an anonymous Sephardic Jew from Thessalonika, a survivor of Auschwitz. The poem is a hopeful prayer for salvation.”

With our May 2011 release of Vedem, MOR now has five CDs on Naxos, the world’s leading classical music label. American Record Guide praised Vedem as an “important release,” saying “Laitman’s music is smooth as a glove and suits the material to a T. It is warmly and simply romantic in idiom and lets the text do the talking.” Fanfare’s review noted: “A most touching experience, and one that further confirms Laitman's status as one of the most talented and intriguing of living composers.”

TheVEDEMProjectEvery Friday night for nearly two years between 1942 and 1944, boy prisoners in the Terezín concentration camp published their secret poetry, essays and illustrations in a clandestine journal that they called VEDEM (Czech for “In the Lead”). Fourteen-year-old Petr Ginz, an exceptionally gifted writer, was the editor-in-chief; at sixteen he perished at Auschwitz. About 800 pages of the journal have been preserved, and these pages reveal inspirational courage, passionate idealism, and wisdom beyond the years of their young authors.

Telling these boys’ story, through their own words, has been a continuing project for MOR, beginning with the commissioning of Lori Laitman’s masterful Vedem oratorio. We premiered the oratorio in May 2010 in an unforgettable performance at Benaroya Hall. Four of the six living survivors from the group of teenage boys – now men in their 80s – traveled to Seattle from around the world to be part of the premiere, and while there they met with the young choristers of the Northwest Boychoir who were learning and rehearsing the music.

The VEDEM Project has continued over the recent year. Shortly after the oratorio’s premiere we recorded it, and in May 2011 the CD recording was released. At that month’s concert we also unveiled Laitman’s Vedem song cycle. It is a work of poetic beauty, and its intimate scoring –

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for two singers, clarinet and piano – allows us to bring it to school and recital settings.

With the completion of filmmaker John Sharify’s 52-minute documentary The Boys of Terezín, we have yet another way of sharing VEDEM’s remarkable story with the world. Following a May 2011 private screening for MOR friends and supporters, and the public world premiere at the Seattle Art Museum in late October, The Boys of Terezín has already been selected for important film festivals: Sydney and Melbourne, Australia; Palm Beach and Miami, Florida; the Seattle Jewish Film Festival, where it will be featured as the closing night centerpiece.

We expect many other screenings across North America and in Europe.

While VEDEM’s story is important for all generations, its moral and historical lessons are especially important for young people today. John Sharify has created a shorter fifteen-minute documentary, The Boys of Home One, for educational use, and we have begun working with educators to bring it to classrooms. With support from Humanities Washington, we have produced an online educators’ resource guide that will help teachers introduce VEDEM to their students.

Education&OutreachReport:ServingourCommunitiesIn everything we do, we hope audiences will explore both personal and universal meanings of the Holocaust, and examine their understanding of the Holocaust in light of the evocative music they hear.

SparksofGlory:FreetothePublicConcerts-with-CommentaryThe Sparks of Glory series and educational outreach program has become a core element of MOR’s service to the community. In 2010-11, our sixth year of free public concerts-with-commentary offered two events at the downtown Seattle Art Museum (SAM) and one at the Good Shepherd Center in Seattle’s Wallingford neighborhood. These events attract a diverse audience, many of whom would be unlikely to attend ticketed chamber music concerts — particularly students and fixed-income senior citizens. This season’s Sparks of Glory programs were made possible, in part, by support from the National Endowment for the Arts, and by the generosity of individual donors.

At each event, MOR Artistic Director Mina Miller introduces the works and their composers, and offers valuable perspectives. For MOR’s October Art & Defiance program, her commentary included examples from SAM’s Picasso exhibition to examine the power of both art and music to speak against oppression. In Voices of Witness she illustrated the genre-spanning musical legacy of Terezín with examples from SAM’s galleries of visual artists who engage with forces shaping the world.

IntheSchoolsThe Sparks of Glory program also provides the framework for our in-school educational outreach. In 2010-11, we brought performances to educational partners at the high school and college levels, reaching over 800 students. These visits always include a multimedia presentation examining the history of the Holocaust era and its music, and a discussion that includes students and musicians. Most students have not been exposed to this material before, and teachers often tell us how our presentations offer young minds a broader perspective on questions of human dignity. Students frequently become motivated to attend our free Sparks of Glory concerts in Seattle, and even our ticketed concerts. When possible, we try to subsidize travel for students from outside the immediate Seattle area.

“It is such a gift that MOR performs these concerts on an afternoon and that they are free for those who otherwise would not be able to enjoy these inspiring concerts.” – SOG audience member

“Thank you for increasing my knowledge about and appreciation of Picasso

and his art, and for a fine musical program.”

“Mina Miller’s explanation and elocution were events by themselves.”

– SOG audience member

“It moved me to the core of my being.” – Film audience member

Emil Kopel, Sidney Taussig and George Brady meet with members of the Northwest Boychoir.

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FinancialSummary

Over the past thirteen years, Music of Remembrance has evolved from a startup concert producer to a firmly established arts organization, whose unique mission and musical excellence are admired not only in Seattle but, increasingly, across the nation and throughout the world. This continuing growth has been maintained within a framework of careful management. Even in face of the country’s continuing economic uncertainty, MOR’s FY 2010-11 total income was about equal to its expenses.

MOR’s 1998-99 inaugural season consisted of two major concerts at Seattle’s Benaroya Hall, with total expenses of about $16,000. By the end of the 2010-11 season, MOR’s accomplishments have grown to include the commissioning and premiere of 14 important new Holocaust-inspired works, 18 world premieres, six CDs (five released on the world-leading Naxos label), an annual series of free-to-the-public concerts-with-commentary in partnership with the Seattle Art Museum and the Good Shepherd Center, an extensive educational outreach program in local schools and colleges, and two documentary films. With its expanded scope, the organization’s total expenses (including in-kind equivalents) for the 2010-11 season were $494,609 (Figure 1).

MOR’s supporters have continued to embrace the organization’s mission, and its musical and educational programming. From its inception, the organization’s revenues (including in-kind contributed services) have grown from about $20,000 for MOR’s first season to $493,739 in 2010-11 (Figure 2). Throughout these years of rapid growth, and response to new opportunities, MOR has remained a careful steward of its resources. At the end of FY 2010-11, it held cash reserves of $318,246 and total assets of $405,098 (Figure 3).

Ticket sales can never account for a major portion of MOR’s budget (Figure 4), and the organization depends on the support of donors

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Figure 4: FY 2010-11 Revenue(excluding in-kind and net receivables)

Total $263,936

who believe in its mission. In FY 2010-11, individual donations and foundations together generated $172,294, or about 65% of MOR’s revenue excluding in-kind contributed services and receivables. Of the $111,759 contributed by individual donors, about 58% ($64,800) was generated by MOR’s Sostenuto Society, whose members pledge a minimum annual gift of $1,000 for three years, and the Crescendo Circle, whose members pledge at least $5,000 annually for three years. These sustained donors have had a lasting impact for MOR, adding to the organization’s ability to anticipate resources that will be available for long-term projects. This ability is especially important as MOR plans future commissions, recordings, and other projects that require proactive funding.

MOR takes very seriously its responsibility to control its costs, and to focus its resources on its musical programming. In FY 2010-11, about 37% of cash expenditures were directly for artist fees and other artistic production expenses (Figure 5). MOR’s personnel includes the Artistic Director (compensated at 30% of a normal professional salary) whose artistic work and vision form the core of MOR, a full-time Development Director whose role is essential for addressing the organization’s immediate and long-term needs, and a highly-valued Administrative Assistant. The Development Director position was vacant for much of 2010-11, but now has been filled by a strongly motivated and exceptionally capable professional.

The approved FY 2011-12 budget of $354,820 (excluding in-kind contributed services) allows us to continue offering the innovative programming, superior performances and meaningful community involvement that have distinguished Music of Remembrance. In building for the future, we are focused on MOR’s long-term sustainability, and to extending our reach to all sectors of the community and to all generations everywhere. MOR and its growing family of supporters continue to create and preserve memories for the future.

Music of Remembrance enters its fourteenth season in excellent financial health, and with exciting plans.

Figure 5: FY 2010-11 CashExpenses (Total $264,806)

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FinancialSummary

Pillar($10,000andabove)Carole EllisonHumanities WashingtonDavid Sabritt & Mina MillerAbbe RubinSaul & Beth Ann SegalAnonymous (2)

Founder($5,000to$9,999)4CultureRebecca CrownNational Endowment for the ArtsHerb & Lucy PruzanLori Laitman & Bruce RosenblumAnonymous

Benefactor($2,500to$4,999)Kenneth & Jan BlockJudy & Krijn DeJongeToni FreemanSaul GamoranDrs. Michael Schick & Katherine HansonThe Purple Lady/Barbara J. MeislinDrs. Ernest & Erika MichaelJon & Pat RosenSeattle Office of Arts & Cultural AffairsGregory Wallace & Craig SheppardAnonymous

Sponsor($1,000to$2,499)Bob AlexanderHoward & Lynn BeharHenry & Olga Butler

Dr. Robert & Pamela CenterClovis FoundationArlene B. EhrlichDavid EpsteinThe Honorable John ErlickThea FeferMarilyn Brockman & David Friedt Natalie GendlerEileen GilmanHoward & Alice GreenwoodMargaret Griffiths Dr. M. Elizabeth HalloranSteve & Diane HeimanPeter Goldman & Martha KongsgaardBenjamin & Lois MayersFrederick McDonaldRabbi James & Julie Mirel

TheCrescendoCircleandSostenutoSociety

The Music of Remembrance Crescendo* Circle honors those who have become partners in our mission to remember by making a three-year commitment of at least $5,000 each

year; Sostenuto** Society members make a three-year commitment of at least $1,000 each year. We express our sincere gratitude to our members who help MOR:

Preserve a precious cultural legacy Create new music through commissions Educate our children and grandchildren

We express our sincere gratitude to our Crescendo members:Carole Ellison

Lori Laitman & Bruce RosenblumAbbe Rubin

Mina Miller & David SabrittBeth Ann & Saul Segal

Anonymous

We express our sincere gratitude to our Sostenuto members:

Bob AlexanderHoward & Lynn BeharKenneth & Jan BlockHenry & Olga ButlerDr. Robert & Pamela CenterKrijn & Judy DeJongeArlene EhrlichDavid EpsteinThe Honorable John ErlickThea FeferToni FreemanNatalie GendlerEileen Gilman

Howard & Alice GreenwoodMargaret GriffithsDr. M. Elizabeth HalloranDrs. Michael Schick & Katherine

HansonRobert Gold & Dr. Cynthia HoldrenPeter Goldman & Martha KongsgaardBenjamin & Lois MayersThe Purple Lady/Barbara J. Meislin

FundDrs. Ernest & Erika MichaelRabbi James & Julie MirelDavid & Gloria Moses

Herb & Lucy PruzanDr. Saul & Joyce RivkinDr. Murray & Lin RobinovitchJon & Pat RosenTina RykerAndrea SeligSonia SpearCraig Sheppard & Gregory WallaceMark Wesley & Eileen Glasser WesleyFrederick YudinDr. Stanley & Nancy Zeitz

DONORS2010-11SEASON

*Crescendoa musical term meaning

“to intensify”

**Sostenutoa musical term meaning

“to sustain”

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Nickolas NewcombeJames & Sherry RaisbeckDr. Saul & Joyce RivkinDr. Murray & Lin RobinovitchTina RykerAndrea SeligArthur & Alice Siegal Sonia SpearDr. Leo SreebnyMark Wesley & Eileen Glasser WesleyFrederick Yudin Dr. Stanley & Nancy Zeitz

Patron($500to$999)Rosalie Alhadeff Amgen Foundation Matching Gifts Program Donna Benaroya George BradyEdward & Pam Bridge Consulate General of IsraelTed & Barbara Daniels Lorraine del Prado & Thomas DonahueCarl Applebaum & Mara Finkelstein Marcia Wagoner & David Hewitt Robert Gold & Dr. Cynthia Holdren Drs. Ronald Louie & Irene Japha Glen Gould & Bernice LadenDr. James & Marianne Logerfo Drs. Patricia Shuster & Eugene May

Lauri McNealDr. Stafford & C. Louise MillerJames Montgomery Ursula RychterDr. Richard & Pauline Saxon Dr. Richard & Barbara Shikiar Florence SilvertonThomas & Helen Spiro Doris Stiefel Herb & Isabel Stusser Sidney & Marion TaussigMoya Vazquez

Donor($250to$499)Ruth Hachenburg Adelman Miroslav & Helena BendaSharon BoguchSoo Borson Dr. John & Anne Cahn Dr. Richard Feinbloom and Lois Charles Wayne Parker & Helene Ellenbogen Eddie Fisher Martin Floe Margaret Fogde Henry & Sandra Friedman Brenda Majercin & Joanna GlicklerDr. Deborah Hammond Bernard & Laura Jacobson Anthony & Joan Japha

David & Camille Jassny Jon & Eva LaFolletteDr. Richard & Marilyn LaytonDr. Leslie Mackoff David Mason Carol PruzanDr. Martin Greene & Toby Saks Dr. Web & Leslie SandbulteGlenn Amster & Shelly Shapiro Robert & Delila Soury SimonRosalind SingerMary Helen Smith David & Marci StoneEllen Taussig Temple Beth Am

In-kindSupportersPamela CenterCrowne Plaza HotelScott GarrepyLocation RecordingMina MillerPerkins Coie, LLPSabritt Solutions, LLCLeo V. Santiago Photography, LLCSeattle Art MuseumSorrento HotelSpear Studios

SupportMusicofRemembrance

By supporting Music of Remembrance, you become a partner in our mission to remember. With our concerts, educational and outreach programs, and through our recordings – which reach listeners worldwide — MOR spans generations to touch the hearts and minds of thousands. Each donation makes our unique and compelling programs possible. MOR is a 501(c)3 non-profit organization.

MOR’s success is founded upon the support of donors to the Sostenuto Society (sostenuto: a musical term meaning sustained) and the Crescendo Circle. These visionary, generous individuals make three-year commitments, pledging at the $1,000 (Sostenuto) or $5,000 (Crescendo) level each year. Their dedication to MOR’s mission provides sustained support for programming, and enables us to plan and undertake long-range efforts—notably, MOR’s commissioning and recording projects. If you’d like more information about our Sostenuto Society or Crescendo Circle, or additional ways to help advance MOR’s ground-breaking work, please contact Celia Y. Weisman, MOR’s Development Director at Celia@musicofremembrance.org or call her at (206) 365-7770.

Contributions can be mailed to us at:Music of Remembrance PO Box 27500 Seattle, WA 98165-2500You may also contribute online through our website: www.musicofremembrance.org

LearnmoreaboutMusicofRemembrance

Visit our website www.musicofremembrance.org, which has extensive information about our concert programs, artists, educational activities, community outreach, recordings and commissions. Please add your name to our mailing list. Contact us by e-mail at info@musicofremembrance.org, or by phone at (206) 365-7770.