Conducted by Gordon Stewart

A Philipstown

A special benefit for the The Episcopal Church of St. Mary-in-the-Highlands

and Philipstown Food Pantry–December 22, 2013

Very Special Thanks to the Supporters of Philipstown 2013 Messiah

BenefactorsChristopher BuckDebra & Jeffrey MamorskyFrank Vitello

SponsorsSuzanne & Jan BakerSarah & Douglas BankerHelen ButlerElizabeth Anderson & Joe MahonSheila & Ru RauchFred RichDiana & Jonathan RoseNancy Olnick & Giorgio Spanu

SupportersBill Burback & Peter HoffmannGayle Watkins & Andy ChmarMary Ann Myers & Kevin FoleyCarol Marquand & Stan FreilichBill Hicks & Bill SadlerIsabel LopatinEileen McCombJean & Claudio MarzolloSamantha Kappagoda & David MordecaiAllen & Penelope SmithNorman Sorensen

The Philipstown Messiah was dedicated to the life and memory of James Gere Lovell (1955-2013)

by George Frideric Handel Parts I and II (abridged)Performed on Period Instruments

MessiahA Philipstown

by George Frideric Handel

Performed onPeriod Instruments

Parts I and II (abridged)

Conducted by Gordon Stewart

CoverBack

On December 22, 2013 a balanced ensemble of exactly50 accomplished and dedicated players and singersbrought almost 600 people of Philipstown, NY togetherwith two performances of a special arrangement of Parts I& II of Handel’s Messiah in the beautiful historic church ofSt. Mary-in-the-Highlands on the Village Green of ColdSpring, the center of Philipstown whose own history longpre-dates but is vital to the outcome of the American Warof Independence. About ten percent of the adult population

experienced these Messiah concerts, for which the Putnam History Museum could find noprecedent in size or quality of the performances in the preceding centuries.

As it happened, the need for people in Philipstown to come together and the financial needof the church at this time set its own precedent. It had become impossible to deny that thelong-treasured sense of common purpose and comity of public conversation were deeplydisturbed by the arrival of national divisions in beliefs and discourse. The church’s own existence was in question. And only days before, a beloved citizen, husband, and father offour who embodied the Town’s best qualities was killed in a tragic wreck of the train thatruns along the Hudson River to New York from whence many of the first-rank musicianscame for these concerts.

In addition to its timeless greatness, perhaps the chief reason Messiah remains such a universal work is the unique way in which it has always been part of the life of the thousandsof places in which it has been performed, the millions of people in whose lives it will alwaysbe a part, and the musicians who bring Handel’s triumph of hope alive for them. This iswhat happened in Cold Spring, NY on December 22, 2013.

Messiahby George Frideric Handel

Parts I and II (abridged)Performed on Period Instruments

Conducted by Gordon Stewart

A Philipstown

Marka Young is Assistant Concertmaster of the Hudson Valley Philharmonic, amember of the Handel & Haydn Society (Boston), and the Concertmaster of theNorthern Dutchess Symphony Orchestra. She has taught at SUNY New Paltz, BardCollege, Marist College, Lafayette College and for the Manhattan School of MusicPreparatory Division. Her violin teachers were Camilla Wicks, Dorothy Delay andJoyce Robbins.

Clayton Zeller-Townson is quickly establishing himself as a leading performer ofearly bassoons. He performs regularly with Tafelmusik Baroque Orchestra, Mercuryand Trinity Baroque Orchestra and has appeared as a guest with Les Arts Florissants.During summers he is an instructor at the North Carolina Governors School. Claytonstudied at The Eastman School of Music and The Juilliard School.

Gordon Stewart, (Conductor) Publisher www.philpstown.info & The Paper; Pres.Mindinc; Founder/Moderator www.thenextdeal.org; Secretary, Judson Welliver Society of Presidential Speechwriters; Chair, Pension Plan for Ins. Orgs; Vice-chair,Int. Ins. Society; Dep Chief Speechwriter Jimmy Carter; Life Member, Council on Foreign Relations; Director, premiere of Sam Shepard & Patti Smith’s ‘CowboyMouth’; original Director, The Elephant Man; Conductor/Director, Beggar’s Opera;Member, Cold Spring Fire Co #1; see also Wikipedia.

Photography: Ross Corsair Design: Suzanne Ball Design

1st Spread, Inside Cover Left Inside Cover Back Right

A Conductor’s Note

To paraphrase Tolstoy’sAnna Karenina, “All perfectMessiahs are alike; eachimperfect Messiah isimperfect in its own way.”Handel himself wrotemultiple versions, each bydefinition “authentic”, sothere can be no perfectMessiah. He was still

seeking one when he died in 1759. As the composer and the “greatGod” with whom he wrote the work in only 24 days know so well, therehave been innumerable imperfect versions ever since.

This “Philipstown 2013 Messiah” seeks to connect sounds Handel heardon instruments he knew, tuned to the lower A used in his time, with thevast musical diversity of our neighbors today. We range from some whohave sung every note of the entire oratorio to others only familiar with theworld’s most famous chorus. While our version today proceeds from18th-century performance practice, something only possible with suchskilled and dedicated musicians, it is impossible not to hear in every Messiah the mingling echoes of countless impassioned church choirs,clustering miners singing through the coal on their Christmas faces,those massed Victorian choruses who so revolted George BernardShaw, and the insights of later period specialists.

Gregory Purnhagen enjoys an eclectic career that crosses eras and genres. He haspremiered numerous roles in projects for composer Philip Glass (La Belle et la Bete,Monsters of Grace, Galileo Galilei) and was a featured performer in both the 1992and 2012 revivals of Einstein on the Beach. He is also the conductor of the NewXavier Cugat Orchestra.

Glenn Rhian, Education: B.M. The San Francisco Conservatory of Music. M.M. The Juilliard School of Music. Orchestral experience includes: The San Francisco Opera,San Francisco Ballet, American Symphony, New York City Ballet, Little Orchestra Society,Jupiter Symphony, Stamford Symphony, and timpanist for The Greenwich Symphony.

Christopher Roselli: Robert Wilson’s Metropolitan Opera production of Lohengrin,Julie Taymor’s production of Grendel, Peter Sellars’ The Tristan Project, Sir JonathanMiller’s staged production of Bach’s St. Matthew Passion, Mark Morris’ production ofFour Saints in Three Acts; Voice and Music Department Chair at CAP21; Professorat The Mannes College The New School for Music, New School DistinguishedProfessor recipient.

Lisa Sabin recently created the shows “Shaken, Not Stirred, an Evening of JamesBond Songs” and “Come To The Cabaret” at The Depot Theatre in Garrison, NY,where she was also in “Simply Streisand,” World's End Theater’s “Way Of TheWorld,” and was Lucy in “The Beggar’s Opera.” She was recently seen at 54 Belowas part of “Sondheim Unplugged.”

Stephen Sands, “A tenor with a focused, powerful tone“, (New York Times), issought after as both a soloist and ensemble member. Often heard as the Evangelistand soloist in performances of Bach’s sacred oratorios, he is a founding member andartistic director of the Antioch Chamber Ensemble and founder/artistic director ofMusic in the Somerset Hills (New Jersey).

Vita Wallace is known as a powerful, sensitive, and versatile musician. She is currentlya member of the Orfeo Duo, which directs an unusual concert series called What aNeighborhood! and has made numerous recordings, the new-music group PRAXIS,and the period-instrument groups Anima, ARTEK, the Dryden Ensemble, the LyraConsort, and Opera Feroce.

Gabriela Mikova Johnson (solo soprano) is a graduate of theJanacek Conservatory in her native Czech Republic. Her Czechcareer includes six seasons as featured soloist at Plzen’s J.K. TylTheatre (including Eurydice in Orpheus in the Underworld and Mabelin Pirates of Penzance), Bernstein’s Mass with the State PhilharmonicOrchestra of Brno, concerts with both the Janacek and NorthBohemian Philharmonic orchestras, and three European tours. Sincemoving to New York she has performed concerts in Garrison, Cold

Spring, and Monroe, and in the fall of 2012 starred as Polly Peachum in Gordon Stewart’sproduction of The Beggar’s Opera at the Philipstown Depot Theatre.

Nicholas Tamagna (solo countertenor), an internationally emergingcountertenor, grew up in the Hudson Valley. He was 1st prizerecipient of the Nico Castel International Mastersinger Competition,of the Arkadi Foundation in its inaugural year, and the New YorkLyric Opera Competition between 2011-12. He is a regular soloistguest of the Metropolitan Opera Guild. In the 2012/13 seasonMr. Tamagna performed the title role in Philip Glass’ Akhnaten withIndianapolis Opera and Handel’s Rodrigo with operamission (NYC)in 2013. He will make his European debut in Riccardo Primo by Handel with Karlsruhe’sHändelfestspiele in January 2014, and will appear in the Münster Theater’s 2015 productionof Handel’s Ariodante. An active concert soloist, Mr. Tamagna made his Lincoln Centerdebut as the alto soloist with Distinguished Concerts International New York. He maintainsa private voice studio in New York City. www.nicholastamagna.com

Steven Brennfleck (solo tenor) has been consistently acknowledgedfor his consummate artistry, vocal flexibility, and moving interpretationson the operatic and concert stage. Praised by the New York Timesas “…dramatically astute” and a “…stand out” performer, he hasreceived recognition from some of the country’s top vocal competitions:The American Bach Society Vocal Competition, Classical SingerMagazine’s Auditions, and the Metropolitan Opera National Council.

Christine Gummere has been principal cellist for Concert Royal, where she workedclosely with James Richman and baroque dancer Catherine Turocy, both of whomdeeply influenced her understanding of baroque style; for String Fever, a string swingband; and for the Riverside Symphony, specializing in 20th century music. In 2007Ms. Gummere founded Sinfonia New York, a period instrument group.

Margrét Hjaltested, enjoys a diverse career as a performer and teacher in the NewYork area. Currently, she performs with the Albany Symphony, the American ClassicalOrchestra, the Bach Vespers Series, South Florida Symphony and Westchester Philharmonic. Margrét maintains a private teaching studio in Queens. She is a graduate of the Juilliard School and the Mannes College of Music.

Christine Howlett is Associate Professor of Music and Director of Choral Activitiesat Vassar College. She is the Artistic Director of Cappella Festiva and the Music Director for the Danbury Concert Chorus. She studied voice performance at the University of Toronto, and earned a Master’s Degree in Early Music Vocal Performance and a D.M.A. in Choral Conducting from Indiana University.

Steven Hrycelak, bass, has performed with the NY Virtuoso Singers, Toby TwiningMusic, ekmeles, Blue Heron, Early Music New York, Vox, TENET, Meridionalis, SeraphicFire, and the Yale Whiffenpoofs. He has also been a soloist with Trinity Church WallStreet, NYS Baroque, Pegasus, Musica Sacra, 4x4, the Waverly Consort, the AmericanSymphony Orchestra, Union Avenue Opera, and the Collegiate Chorale.

Dominic Inferrera: Benjamin Button (The Curious Case of Benjamin Button) Centerfor Contemporary Opera, The Son in Six Characters in Search of an Author (OperaFestival of New Jersey), Escamillo (Carmen), Silvio (Pagliacci), and Marco (GianniSchicchi) with OperaDelaware, Lescaut (Manon Lescaut) Opera Memphis, Guglielmo(Così fan Tutte) Capital City Opera, The Celebrant (Bernstein’s Mass) Cornell University.

Anna Levenstein began singing in a professional chorus as a child in Israel. She hasappeared as guest soloist with ensembles Chatham Baroque and Ciaramella andtoured with Medieval vocal ensembles Sequentia, and Elysium. Anna holds a DMA inHistorical Performance from Case Western Reserve University and can be heard onthe Decca, Auditorium, and Naxos recording labels.

Rachel Begley has been hailed for her virtuosic and sensitive playing on bothrecorders and historical bassoons. Recent engagements include Metropolitan Opera,The Play of Daniel, American Classical Orchestra, Boston Early Music Festival, andEarly Music New York. Rachel holds a DMA in recorder and early music from SUNYStony Brook, and teaches at festivals, workshops, universities, and conservatories.

Christine Bokhour: Broadway (Chicago, Dirty Rotten Scoundrels), National Tours(Chicago, DRS, Cats), and many other regional theater productions. Radio City Rockette.Locally at the Depot Theater, Mrs Marwood in World’s End Theater’s Way of theWorld and most recently in Phil Geoffrey Bond’s “Sondheim Unplugged”, Lisa Sabin'ssongs of James Bond cabaret, “Shaken Not Stirred”.

Nathan Botts, hailed by the New York Times as “superb” and “admirable”, enjoys adiverse career as a soloist, recording artist, composer, improviser, and specialist onthe historic valveless trumpet.

Diana Brewer has performed in period instrument ensembles for twenty years andcurrently sings with Tapestry (Boston), Arcadia Players (Western MA), and Cantabile,(Renaissance repertoire). She has performed in recitals with her parents Edward andVirginia Brewer. She received her BA in music from Smith College, and Master ofMusic in Early Music Performance from the Longy School of Music.

Edward Brewer has appeared for more than 40 years with diverse ensembles,including Mostly Mozart, the New York Philharmonic, Amor Artis, Orpheus, The NewYork Collegium, The Oratorio Society of New York, The Bronx Arts Ensemble, andPhilharmonia Virtuosi. He was founding music director of the Soclair Music Festival inNew Jersey, which ran for 30 seasons.

Virginia Brewer, has had a long career as a soloist and chamber musician whichincludes being a regular member of the Brewer Ensemble, and principal oboist withthe Bach Vespers series for over 30 years. Tours with the Bach Ensemble andAston Magna took Ms. Brewer to festivals in Germany, Italy, France and Poland.She can be heard on Centaur, Nonesuch, Vox and Newport Classics.

Julie Brye plays period oboes with the Trinity Wall Street Baroque Orchestra, Rebel,Tempesta di Mare (Philadelphia), American Classical Orchestra, Washington BachConsort, and Holy Trinity Lutheran Bach Vespers Orchestra (NYC), among others.Other highlights include playing regularly with Tafelmusik Baroque Orchestra andOpera Atelier (Toronto). She is heard on SONY Classical, Naxos, Newport Classics,CBC Records, and Chandos labels.

Eric Dudley sings, conducts and teaches in New York with numerous organizations,including Mannes College/The New School for Music, the Choir of Trinity Wall Streetand Ekmeles contemporary vocal ensemble. He is a founding member of the GrammyAward winning vocal octet Roomful of Teeth, and tours regularly with the grouparound the country and the world.

Bryan Dunlap, a practicing lawyer, began choral singing at an early age. He hassung lead roles in regional theater operetta and musical comedy, and has performedwith choirs in New York City and the Hudson Valley. His solo program of Elizabethansongs, accompanied by lute, has been heard in France, England and the U.S.

Rachel Evans, (BM, MM Juilliard), has performed across the globe with ensembleswhose repertoire spans medieval to contemporary. She was a principal player andrecitalist at the Carmel Bach Festival for many years and has appeared in ensemblesat the Boston, Berkeley, and Utrecht Early Music Festivals, the Victoria Festival inAustralia, and the Charles Ives and Leopold Mozart Festivals in Germany.

John Feeney, principal double bass of the Orchestra of St. Luke’s, American Classical Orchestra and Opera Lafayette is an internationally renowned chamber musician and soloist. First prize-winner of the Concert Artists Guild and Zimmerman-Mingus International Competitions, medalist-prizewinner in the Geneva and Isle ofMan Competitions, a founding member of The DNA Quintet, Serenade Orchestra andSerenade Quartet.

Krista Bennion Feeney is concertmaster of the Orchestra of St. Luke’s, and member of the St. Luke’s Chamber Ensemble. Her multifaceted career includeschamber music (the Ridge and Loma Mar Quartets, DNA Quintet), violin soloist withmajor orchestras including San Francisco and St. Louis Symphonies and music director of the New Century Chamber Orchestra.

Fay Gerbes got her start at a very young age as a soloist in the church choir. Shethen went on to be a prolific performer in choirs, lecture recitals, plays, and musicalsin Boston, New York City, and regionally. Fay has her Master's degree from NYU andis currently a performing arts teacher at South Middle School in Newburgh.

Boel Gidholm, Swedish violinist and violist, has devoted herself to period-instrumentperformance for over 20 years. In Germany, she performed with ensembles such asBarockorchester Bremen and Ensemble Aperto; since moving to the U.S. she hasperformed with early music groups across the country, and is the Co-Artistic Directorof Publick Musick, a chamber group based in Rochester, NY.

Jeffrey Girton studies at Oberlin with Marilyn McDonald. He has served as concert-master in the Oberlin Baroque Orchestra, Oberlin Chamber Orchestra and OberlinSinfonietta, has soloed with the Oberlin Baroque Orchestra and has played in BUTIYoung Artists Orchestra at Tanglewood. Jeffrey has performed in the KoussevitskyMusic Shed, Ozawa Hall, Carnegie Hall, Lincoln Center and Kodak Hall at Eastman.

Amy Goldin is a core member of Antioch Chamber Ensemble, a 12 voice chamberchoir with which she has performed in numerous festivals here and abroad. She hasperformed as soloist and with ensembles throughout the region, including FAPCChamber Choir, Kairos, Aeode Consort, Juneau Vocal Alliance, Prana, Cantori NewYork, Danbury Concert Choir, and Newburgh Symphonic Chorale.

Judson Griffin, has been a prominent period-instrument concertmaster, chambermusician, and soloist throughout the US and Europe for 35 years. He is first violinistof the New York Classical Quartet, long-time principal of the American Classical Orchestra, was Music Director of the Connecticut Early Music Festival from 2000 to2007, and holds a doctorate from Juilliard.

Auditions (District Winner ‘06, ‘09, & ’10). His operatic credits include the CaramoorFestival, Glimmerglass Opera, New York Lyric Opera Theatre, Portland Opera, SpoletoFestival USA, and The Tanglewood Festival. He made his Carnegie Hall debut inHandel’s Messiah with The Masterwork Chorus & Orchestra.

Dashon Burton (solo bass), A founding member of the Grammyaward-winning Roomful of Teeth, Mr. Burton has been cited for his“nobility and rich tone” (NY Times) and his “thrilling voice seeminglycapable of raising the dead” (Wall Street Journal). A native of Bronx,NY and prize winner of numerous prestigious vocal competitions, hehas appeared as a soloist in Carnegie Hall, Trinity Church, andLincoln Center, with artists and ensembles in the U.S., Cameroon,The Netherlands, Canada, Italy and Germany, such as the ClevelandOrchestra, Phiharmonia Baroque, and Boston’s Handel & Haydn

Society. He began his studies at Case Western Reserve University and graduated fromthe Oberlin Conservatory of Music. Upon graduation, he was invited to join Cantus, aprofessional men’s classical vocal ensemble. After his tenure with Cantus in 2009,Mr. Burton completed his Master of Music at Yale University’s Institute of Sacred Music.

Daniel Alexander recently sang in the International Baroque Festival in Mexico andwas Pistola in the New York Opera Society’s “Falstaff” in Castres, France. He has sungwith the Chicago Symphony, Orchestra of St. Luke’s, Israel Philharmonic, and LA Phil,and can be heard on the New York Philharmonic’s Grammy-winning CD 'On the Transmigration of Souls,’ by John Adams.

Roy Bean is a proud alumni of Oklahoma City University where he majored in OperaPerformance. Roy has been seen on Broadway in Chicago the Musical and the NationalTours of Man of La Mancha, Evita and Chicago the Musical as well as multiple regionaltheatre productions. Roy is thrilled to be a part of this performance of Handel's Messiah.

Kate Light, a graduate of Eastman, played with the NY City Opera for many years.She has appeared with the Brooklyn and Westchester Philharmonics, SmithsonianChamber Orchestra, La Bohéme on Broadway, and Dulcinea Piano Trio. Author ofthree books of poetry, librettist/lyricist of operas, works for narrator with music, andsongs for theater and film, she teaches at Hunter College.

Ron Madden was a semifinalist in the Met’s National Council auditions and performed with Lyric Opera of Chicago and with Baltimore, Virginia, Wolf Trap, andChautauqua opera companies. He played Escamillo in Peter Brook’s La Tragedie deCarmen at the Vivian Beaumont Theatre and has sung with Musica Sacra and theCathedral of St. John the Divine in NYC.

Rebecca Mariman, soprano, is a member of the ensemble Fuma Sacra, and theCarmel Bach Festival Chorale. She has appeared with Tempesta di Mare, BrandywineBaroque, The Dryden Ensemble, and Le Triomphe de L’Amour. She is a freelancesinger in New York and New Jersey and is a member of the choir at the Church of St.Thomas More, NYC.

Karen Marie Marmer is co-director of the internationally-acclaimed ensemble,REBEL, with which she concertizes worldwide as recitalist and chamber musician.She has been a principal player with NY Collegium, American Classical Orchestra,Grande Bande, Bach Vespers at Holy Trinity and co-concertmaster of BarockorchesterStuttgart from 1991-96. She records for Vox, Chesky, Koch, ATMA, Hänssler,Deutsche Harmonia Mundi, Dorian/SonoLuminus, Bridge and Naxos.

Drew Minter, well-known to international opera and early music audiences as acountertenor for four decades, now teaches voice, opera, and chamber choir atVassar College. He began his directing career fifteen years ago; he was director ofopera for Boston Midsummer Opera and at Göttingen Handel Festival.

Terry Platz began her career as a studio singer in New York City. Her commercial workranged from jingles to records and movies, recording background vocals with artistsranging from Patti Austin to Billy Joel, and for film directors the likes of Woody Allen andSidney Lumet. She currently sings with Motherlode Trio and the St. Philip’s Choir.

Of course there can be no fully satisfactory musical substitute fora complete Messiah drawn from Handel’s original versions, sounderstanding for the musical sincerity of this attempt to create a‘Philipstown version’ that would fit the realties of the community is begged. The performances and recording attempt a dramatically and musically coherent arc from Overture to Hallelujah Chorus, not a string of greatesthits. For example the longest aria in the work, “He Was Despised” is presented uncut to represent most of the Passion sections of Part II. Experts will recognize the measures taken so to speak in search of a performing version suitable for this time and place.

However, every performance of Messiah is a unique personal experience.Even the ones we fidgeted through as children or sleep through asseniors take their places in our memories, just as these memoriesbecome part of every Messiah we experience. It’s fine to let mind and heartgo where they will, feel what comes to them, see whoever comes to them.Much better than looking at program notes during the precious minuteswhen Handel’s notes are played so memorably.

– Gordon Stewart, Conductor

Joshua Wanger graduated from Westminster Choir College. While there, he performed with the Westminster Choir and Westminster Kantorei and was a memberof the choir-in-residence at the Spoleto Festival USA, where he sang in the operachoruses for Die Zauberflöte, Kepler, and Matsukaze. Joshua lives in New York Cityand sings regularly with choirs in the tri-state area.

Virginia Warnken, is becoming known throughout the musical community for herheartfelt interpretations of the works of Bach and Handel, as well as for her excitingand unique performances of avant-garde 20th and 21st century works. A Grammy©

Award winner, Ms. Warnken has been featured as a soloist with PhilharmoniaBaroque, Seraphic Fire, Trinity Wall Street Choir, and others.

Timothy Will, Timothy Will, a native of Minnesota, is currently pursuing a Master’sdegree at Yale University, studying trumpet with Alan Dean. Mr. Will received hisBachelor’s degree in music from The Juilliard School. As an avid baroque musician,Mr. Will has performed with acclaimed period instrument ensembles including Tafelmusik,Boston Early Music Festival Chamber Ensemble, and Trinity Baroque Orchestra.

Benjamin Wolff is Associate Professor of Music at Hofstra University. He is also thecreator of “Galileo’s Muse,” a concert program that introduces audiences to the scientist's elegant problem-solving methodology, bringing that process to life with areenactment of one of Galileo's most important experiments and performances of the17th century music that inspired his breakthrough insight.

ConductorGordon Stewart

SopranoGabriela Mikova Johnson

CountertenorNicholas Tamangna

TenorSteven Brennfleck

BassDashon Burton

Violin 1Rachel Evans, concertmasterVita WallaceJudson GriffinKate Light

Violin 2Karen Marie Marmer, principalMarka YoungJeffrey GirtonKrista Bennion Feeney

ViolaBoel Gidholm, principalMargrét Hjaltested

CelloChristine Gummere, principalBenjamin Wolff

BassJohn Feeney

OboeVirginia Brewer, principalJulie Brye

BassoonClay Zeller-Townson, principalRachel Begley

TrumpetNathan Botts, principalTimothy Will

TympaniGlenn Rhian

Harpsichord/Positiv OrganEdward Brewer

Soprano ChorusDiana Brewer Faye Gerbes Amy Goldin Christine Howlett Rebecca Mariman

Recording by Vladimir Muzesky of M-ONE STUDIOEdited and Mastered by Gilbert Hetherwick @ The Grouse House GROUSE-HOUSE.comThese Messiah Concerts were produced in cooperation with Philipstown Info Inc

Alto ChorusChristine Bokhour Anna Levenstein Terry Platz Lisa Sabin Virginia Warnken

Tenor ChorusRoy Bean Eric Dudley Bryan Dunlap Stephen Sands Joshua Michael Wagner

Bass ChorusDaniel Alexander Steven Hrycelak Dominic InferreraRon MaddenGregory Purnhagen Christopher Roselli

1st Spread, Right Side