December Sunrise Program

December 11, 2021 • Stonewall’s 45th Season, A Celebratory Return

Cynthia Powell, Artistic Director • Eric Sedgwick, Pianist

 
 

The Stonewall Chorale wishes you the most heartfelt "welcome back" as we open our 45th season with tonight's concert December Sunrise. It has been a full two years since December 2019 when we were only able to perform the first of our three scheduled concerts of our 43rd season before the pandemic put us on indefinite hold. Like musical organizations everywhere we struggled with maintaining rehearsals and performances through our distanced time as we could only rehearse and present concerts remotely for our entire 44th season. We have been aching to sing together in person and perform live once more, and due to vaccinations, masking, spacing, and proper ventilation we were able to rehearse in person starting in September, and at last we are here together again!

 

And how wonderful it is to be among our loving, supportive community. Our distanced time encompassed the exposure of our cultural failings in ways far beyond the intransigent resistance to and deliberate misinformation about epidemiology - it also (again and again) clearly exposed the biases against our BIPOC communities. In response GALA, the national LGBTQ choruses organization of which Stonewall is a founding member, produced a multi-part anti-bias discussion series which we undertook during last season's virtual rehearsal period on Zoom. After these discussions on ability and mobility, race and ethnicity, sexual orientation, gender identity, socioeconomic access, ageism, and community access we created our own Core Values document which states our ongoing commitment to diversity, inclusion, and equity reflected in our organizational culture, values, and behaviors. Our response to the ever-looming threat and presence of institutionalized inequities starts with a commitment to our own anti-bias initiatives as an ongoing practice.

 

In this time of darkness we find our light in each other, in our community of Chorale members and our audience: our friends, our families, our loved ones. In the face of our difficult times we find renewed strength in St. Francis' reminder of the "beautiful wild forces within us." Emerson tells us "In the darkest, meanest things, alway something sings." Frost observes "...when at times the mob is sway'd/To carry praise or blame too far,/We may choose something like a star/To stay our minds on and be staid." With Lauridsen we sing the Requiem text of a consoling, eternal light. Through Boulanger we sing the ancient Buddhist prayer for "in the East and in the West, of the North and the South, all those beings which exist - without enemies, without obstacles, overcoming their grief, and attaining happiness..." May we all find meaning and sustenance in and through the choral music we cherish and share with you.

 

Tonight is, first and foremost, a celebration of our coming together again after having to endure an extended period of separation from each other, in times when all of us could have used as much interpersonal, in-person support as possible. It is with a peculiar mix of personal caution and utter joy that we are seeing you here again tonight. Due to our ongoing epidemiological concerns we will not be having our usual reception with food and beverages afterwards tonight, a hallmark of our pre-pandemic concerts here at Holy Apostles, but we look forward to talking to you all afterwards. Thank you for spending this December evening with us, and we look forward to seeing you twice more in 2022!

 

Michael Conwill, Board President

Welcome to December Sunrise!
Texts & Translations
 
Sunrise (Walt Whitman) | Michael Hennagin 

Give me the sunrise when I can walk alone;

Give me the nights perfectly silent on high plateaus, and I looking up at the stars;

Take me away, take me back home again.

Give me a garden of flowers;

Give me an arbor, the trellised grape;

Give me an orchard, the bough rich with fruit;

Give me the field, the meadow;

Give me the sunrise, the sunset, give me the harvest moon;

Give me to sing my songs, give me to sing spontaneous songs.

— adapted from Leaves of Grass, by Walt Whitman (1819–1892)

Wild Forces (St. Francis of Assisi) from The Hope of Loving | Jake Runestad

There are beautiful, wild forces within us.

Let them turn millstones inside

filling bushels that reach to the sky.

Tundra (Charles Silvestri) | Ola Gjeilo | Sarah Rhoads, soprano

Wide, worn and weathered,

Sacred expanse

Of green and white and granite grey;

Snowy patches strewn,

Anchored to the craggy earth,

Unmoving;

While clouds dance

Across the vast, eternal sky.

Lux Aeterna (Eternal Light)  | Morten Lauridsen 

The Chorale dedicates this work to the memory of long-time Stonewall Chorale tenor Richard Froehlich (1963-2021) 

Introitus Requiem Aeternam 

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum 
in Jerusalem: 
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.

O Nata Lux

O nata lux de lumine, 
Jesu redemptor saeculi, 
dignare clemens supplicum 
laudes preces que sumere.
Qui carne quondam contegi 
dignatus es pro perditis.
Nos membra confer effici, 
tui beati corporis. 

Veni, Sancte Spiritus 

Veni, Sancte Spiritus
et emitte cœlitus 
lucis tuae radium.
Veni, pater pauperum,
veni, dator munerum,
veni, lumen cordium. 

 

Consolator optime,
dulcis hospes animae,
dulce refrigerium. 
In labore requies,
in aestu temperies,
in fletu solatium. 

 

O lux beatissima, 
reple cordis intima 
Tuorum fidelium.
Sine tuo numine,
nihil est in homine,
nihil est innoxium. 

 

Lava quod est sordidum,
riga quod est aridum, 
sana quod est saucium.
Flecte quod est rigidum,
fove quod est frigidum,
rege quod est devium. 

 

Da tuis fidelibus, 
in te confidentibus,
sacrum septenarium.
Da virtutis meritum, 
da salutis exitum,
da perenne gaudium. 

Agnus Dei – Lux Aeterna  

Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum,
quia pius es.
Requiem aeternum dona eis, Domine,
et lux perpetua luceat eis.
Alleluia. Amen. 

Grant Them Eternal Rest

Rest eternal grant them, O Lord,

and let perpetual light shine on them.
You are praised, God, in Zion,
And homage will be paid to you 
in Jerusalem:
Hear my prayer,
To you all flesh will come.
Rest eternal grant them, O Lord,
and let perpetual light shine on them.

O Light of Lights

O born light of light,
Jesus redeemer of the world,
mercifully deem worthy and accept
praises and prayers from your supplicants.
Who once was clothed in the flesh
for those who are lost.
Allow us to become members of
your holy body.

Come, Holy Spirt

Come, Holy Spirit,

And send from heaven
Your ray of light.
Come, Father of the poor,
Come, giver of gifts,
Come, light of hearts. 

 

The best of Consolers,
Sweet guest of the soul,
Sweet refreshment.
In labor, thou art rest,
In heat, thou art the tempering,
In grief, thou art the consolation. 

 

O light most blessed,
Fill the inmost heart
Of all thy faithful.
Without your grace,
There is nothing in us,
Nothing that is not harmful. 

 

Cleanse what is dirty,
Moisten what is dry,
Heal what is hurt.
Flex what is rigid,
Heat what is frigid,
Correct what goes astray. 

 

Grant to thy faithful,
Those that trust in thee,
Thy sacred seven-fold gifts.
Grant the reward of virtue,
Grant the deliverance of salvation,
Grant joy everlasting.

Lamb of God – Eternal Life

Lamb of God, who takes away the sins of the world, grant them rest.

Lamb of God, who takes away the sins of the world, grant them rest.
Lamb of God, who takes away the sins of the world, grant them rest forever.
May eternal light shine on them, Lord,
as with your saints in eternity,
because you are merciful.
Grant them eternal rest, Lord,
and let perpetual light shine on them,
Alleluia. Amen.

Choose Something Like a Star (Robert Frost) | Randall Thompson

O Star (the fairest one in sight),
We grant your loftiness the right
To some obscurity of cloud –
It will not do to say of night,
Since dark is what brings out your light.
Some mystery becomes the proud.
But to be wholly taciturn
In your reserve is not allowed.
Say something to us we can learn
By heart and when alone repeat.
Say something! And it says "I burn."
But say with what degree of heat.
Talk Fahrenheit, talk Centigrade.
Use language we can comprehend.
Tell us what elements you blend.
It gives us strangely little aid,
But does tell something in the end.
And steadfast as Keats' Eremite,
Not even stooping from its sphere,
It asks a little of us here.
It asks of us a certain height,
So when at times the mob is swayed
To carry praise or blame too far,
We may choose something like a star

To stay our minds on and be staid.

Vieille Prière Bouddhique (Ancient Buddhist Prayer) | Lili Boulanger | Donald Johnston, tenor 

Vieille Prière bouddhique

Que toute chose qui respire

-- que toutes les créatures et partout,

tous les esprits et tous ceux qui sont nés,

que toutes les femmes, que tous les hommes,

les Aryens, et les non-Aryens,

tous les dieux et tous les humains

et ceux qui sont déchus,

en orient et en Occident, au Nord et au Sud,

que tous les êtres qui existent --

sans ennemis, sans obstacles, surmontant la douleur

et atteignant le bonheur, puisse se mouvoir librement,

chacun dans la voie qui lui est destinée.

Ancient Buddhist Prayer

Let everything that breathes

-- let all creatures everywhere,

all the spirits and all those who are born,

all the women, all the men,

Aryans, and non-Aryans,

all the Gods and all the people

and those who are fallen

in the East and in the West, of the North and the South,

Let all those beings which exist --

without enemies, without obstacles, overcoming their grief

and attaining happiness, be able to move freely,

each in the path destined for them.

Alway Something Sings (Ralph Waldo Emerson) | Dan Forrest | Larissa Flint, Soloist

Let me go where’er I will
I hear a skyborn music still:
It sounds from all things old,
It sounds from all things young,
From all that’s fair, from all that’s foul,
Alway, alway something sings.

 

It is not only in the rose,
It is not only in the bird,
Not only where the rainbow glows,
Nor in the song of woman heard,
But in the darkest, meanest things
There alway, alway something sings.

 

‘Tis not in the high stars alone,
Nor in the cup of budding flowers,
Nor in the red-breast’s mellow tone,
Nor in the bow that smiles in showers.
But in the darkest, meanest things
There alway, alway something sings.

Program Notes
 

Michael Hennagin - Sunrise | notes by Gary D. Cannon

 

Michael Hennagin (1936–1993) was a student of Darius Milhaud and Aaron Copland at the Curtis Institute in Philadelphia. He began his professional career composing music for Hollywood, but eventually settled for twenty years (1972–92) as a faculty member at the University of Oklahoma. Hennagin composed for orchestra, ballet, choir, and chamber ensemble, and developed a close relationship with New York–based professional choir The Gregg Smith Singers. His cycle Give Me the Splendid Silent Sun, on texts by Walt Whitman, is melodic and gratifyingly written for the voices. The second movement, “Sunrise,” emphasizes the poet’s repeated plea: “Give me…”

Jake Runestad - Wild Forces | bio notes by Christopher M. Hathaway

 

Jake Runestad, born in 1986 in Rockford, Illinois, became interested in composition at a very young age, but did not join a choir until his first year at Winona State University in Winona, Minnesota. At WSU he studied under acclaimed composer Libby Larsen. He went on to attend graduate school at the Peabody Conservatory of Johns Hopkins University; he received his Masters of Music in Composition in 2011 and has since found his way into prominence in the choral community.

Runestad has since been regarded as “stirring and uplifting” by the Miami Herald and “highly imaginative” by the Baltimore Sun. He was awarded the 2016 Morton Gould Young Composer award by the ASCAP Foundation, and received the McKnight Fellowship in 2017.

Wild Forces is the second movement of Runestad's choral Cycle, The Hope of Loving. The piece, evoking a sound like stampeding horses, uses the words of St. Francis of Assisi, the Catholic saint associated with the natural environment and the patronage of animals. The composer writes, "I am a hoarder of poetry and one of my favorite collections is Love Poems From God — mystical poems by Daniel Ladinsky inspired by famous writers from around the world. This book is a composer’s dream with colorful, powerful, and succinct writings that talk of living fully, deep spirituality, self-contemplation, and love. When starting my work on this new composition, I opened Ladinsky’s book to find a treasure trove of quaint parables and sage advice for us all."

Ola Gjeilo - Tundra | notes by the composer

Norwegian composer Ola Gjeilo (b. 1978) began playing and composing when he was five years old. He studied at the Norwegian Academy of Music, Juilliard and the Royal College of Music in London. He writes primarily choral music, but has also written for piano and for wind symphony. He currently resides in New York.

The lyrics for Tundra were written by my frequent collaborator, poet Charles Anthony Silvestri. I asked Tony to write a text based on the title and photos of a part of my native Norway that is very dear to me, the Hardangervidda mountain plateau. It’s pretty close to where my father grew up, in the mountains between Oslo and Bergen. Hardangervidda is quite barren and intensely beautiful—it is easy to feel that you are treading on sacred land, which Tony describes so evocatively in his text.

Morten Lauridsen - Lux Aeterna | notes by the composer

 

Born in Colfax, Washington, Morten Lauridsen was designated “American Choral Master” by the National Endowment for the Arts in 2006, and he received the National Medal for the Arts in 2007. 
 

Each of the connected movements in this choral cycle contains references to “Light,” assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother’s final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels - spiritual, artistic, and intellectual.

The work opens and closes with the beginning and ending of the Requiem Mass... The instrumental introduction to the Introitus softly recalls motivic fragments from two pieces especially close to my heart (my settings of Rilke’s Contre Qui, Rose and O Magnum Mysterium) which recur throughout the work in various forms. Several new themes in the lntroitus are then introduced by the chorus, including an extended canon on et lux perpetua.

 

... O Nata Lux and Veni, Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet  setting  of the Agnus Dei precedes the final Lux Aeterna, which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia. — Morten Lauridsen

Randall Thompson - Choose Something Like a Star | notes by Mark Arnest

 

Like his illustrious colleagues John Rutter and Morten Lauridsen, Randall Thompson (1899-1984) is known almost entirely for his choral music.... Thompson’s life centered on academia. As a youth he attended the elite Lawrenceville School in New Jersey, where his father was an English teacher. His undergraduate studies were at Harvard, followed by a year studying with composer Ernest Bloch. He taught choir at Wellesley College; received a doctorate in music from the Eastman School of Music; and spent the rest of his career teaching music at the Curtis Institute of Music, the University of Virginia, and at Harvard University. His students included such illustrious figures as Leonard Bernstein and Frederic Rzewski, and he became known as “the dean of American choral composers.”

 

The plainness of Thompson’s life and art makes him an ideal person to set to music the poetry of Robert Frost (1874-1963), which is generally straightforward and devoid of fancy allusions. (The exception is the reference to “Keats’s “Eremite”: Here Frost makes explicit the relation between his poem and Keats’s Bright star, would I were stedfast as thou art, in which a star is compared to a sleepless hermit, watching the world “with eternal lids apart.”)

 

The sublime song "Choose Something Like a Star" is arguably the best number in Thompson's Frostiana. The text-setting is masterful, though sometimes awkward for the singers, with an especially cruel soprano part. Two examples are the musical ascent on the word “height,” and Thompson’s placing the climax on the the word “choose” in the penultimate line.

Thompson has never been a particularly popular composer; but neither has his music ever disappeared from programs. The secret of his quiet durability is the craftsmanship and sensitivity to words that he always brought to his music.

Lili Boulanger - Vieille Prière Bouddhique | notes by  Allison Sniffin & Cynthia Powell

 

Ill from the age of twelve, and fragile for the rest of her brief life (she died at age 25), Lili Boulanger's precocious musical career took off when her cantata Faust et Hélène won the Prix de Rome in 1913 at the age of 19. Her sister Nadia, who was to become the most influential composition teacher of the 20th-century, had tried for the much-coveted prize several times and lost. Lili’s triumph made her the darling of Parisian musical circles and the first woman to win first prize in the hugely influential contest. Curiously, in the eyes of an admiring public still uncomfortable with female success, she was the mythical persona of a sickly and suffering ingénue embued with divinely-inspired powers (an image stoked by the press, and nurtured by Nadia, which turned especially cultic after her death.) But the image was false. Lili was a hard-working composer whose flesh-and-blood intellect is evident on closer inspection of her work. 

 

The atmosphere of the opening ancient Buddhist prayer hovers between stark open-5ths and a Debussyian palette of altered 7th-chords. As the universe unfolds, the choir calls over this undulating sound-world with two melodies: one in cascading whole-tones and another in a two-note chant (which will become more and more urgent and impassioned as the piece goes on). 

 

Next, the flute illumines the way to an Eden-like paradise where a solo tenor portrays humanity’s presence in the prayer. The landscape of harmony that supports him is similar to that of the beginning but there has occurred a new element: rich, altered-7th chords supplant the open-5ths, introducing color and complexity. 

 

What follows is a remarkable orchestral effect under the chanted verse, “each in his own way,” in which each instrument diverges softly from a central chord to arrive at the opening sound-world of the beginning.

 

There is a moment of stillness before the worldly and divine collide on the words “let every being that exists” in a brilliant crash of color and mixed tonality heralded by the trumpet. Then the melodies come fast and furious, echoing each other in canon, converging in a grand unison. The choir, transformed, ecstatically cries its two-note chant, gradually gaining speed and momentum like the spinning prayer wheels of Buddhist temples. The trombone plummets chromatically, pulling the frenzied gyre down to the central key, coalescing and collapsing the prayer before it explodes in a final, delirious “Ah!”

Dan Forrest - Alway Something Sings

Dan Forrest (b. 1978) is an award-winning choral composer who earned his composition doctorate from the University of Kansas. Since his first publication in 2001, his pieces have become firmly established in the repertoire of choirs in the U.S. and abroad.

In "Alway Something Sings," the grandeur of Ralph Waldo Emerson's "skyborn music" text creates a canvas for Forrest's magnificent sonorities; the piece is breathtaking in its beauty and imagery.

Artist's Bios

CYNTHIA POWELL, Conductor and Artistic Director, celebrates her 19th season with the Stonewall Chorale.  A graduate of Westminster Choir College, she has worked with many musical groups in the NY metropolitan area and has conducted major works for chorus and orchestra. She has served on the guest faculty at Sarah Lawrence College, led the St. George's Choral Society in NYC, and was a guest conductor at the International Choral Festival in Havana, Cuba. She is also the Artistic Director of Melodia Women’s Choir, and currently serves as Organist/Choirmaster of Temple Sinai in Tenafly, NJ. Her passion for music and commitment to the choral art is coupled with a desire to generate awareness and funds for timely causes, and she has produced recitals, oratorios and concerts to benefit Bailey House, a homeless residence for people with AIDS, for Doctors Without Borders, the Pastors for Peace Cuba Caravan, and Water is Life, Kenya. 

ERIC SEDGWICK, Pianist, has performed with many of music’s top talents including Leona Mitchell, Sanford Sylvan and Marni Nixon, Broadway leading ladies Sarah Rice, Carole Demas and Debra Monk, and English hornist Thomas Stacy of the New York Philharmonic. A frequent performer and collaborator in the NYC area, he is also a vocal coach at the Manhattan School of Music and the faculty collaborative pianist for the Tanglewood Music Center. He has served as rehearsal pianist for the Boston Symphony Orchestra, under the batons of Michael Tilson Thomas, Bramwell Tovey, John Williams and Andris Nelsons. He is a regular pianist for events with the Metropolitan Opera Guild, and has worked for Carnegie Hall’s Music Education Workshops with Joyce DiDonato, as well as for the International Vocal Arts Institutes in New York and Montreal, and for Beth Morrison Projects. For ten years he was the music director for the Junior Opera Theater scenes program at Manhattan School of Music, directed by Catherine Malfitano. On the west coast, he has been a longtime coach and music director for the OperaWorks training program in Los Angeles.

 

Mr. Sedgwick is the official pianist for the Art Song Preservation Society in New York, a group whose regular masterclass series has included Dalton Baldwin, Thomas Grubb, Margaret Lattimore and Joan Dornemann. He performs regularly with local groups in New York including Opera Singers Initiatives, the Stonewall Chorale, La Forza dell’Opera, and the Halcyon chamber music series, and has been featured in the Center for Contemporary Opera concert series, the 2019 Ukranian Contemporary Music Festival and OmniARTS productions. He has appeared often with the Broadway Concerts Direct performances in upstate New York, in cabaret shows at 54 Below and the Metropolitan Room, and as music director/pianist for “The World According to Kurt Weill” and “Jarmila
Novotná: Her Life in Song” at UrbanStages. He can be heard in the PBS series “The Heart of Art” as well as on the soundtracks for the
prize-winning short films “Connection Lost (The Tinder Opera),” “Something Blue (The Bachelor Opera)” and “Someone Like Me (The Facebook Opera).” He was a winner of the Boston Steinway piano competition and has premiered new works by composers SeymourBarab, J. Mark Stambaugh, Joelle Wallach, and Louis Hardin. He is a graduate of Manhattan School of Music and Brown University.

 
 
 
The Stonewall Chorale

 

Soprano: Suzanne Cohen+, Julia Feikens, Larissa Flint*#, Kaila Galinat, Joan Gardner, Deb Reiner, Sarah Rhoads, Lyndsey Richardson, Ann Sweeney, Isabel Taswell, Joyce Weinstein, Deb Woolridge

Alto: Alva Bostick, Jenna Clemens, Nicola Pixie D’Alessandro+, Stephanie Heintzeler, Frank Hightower, Siobahn Hotaling, Grace Lazos, Elana Leifer, Shay Li, Emily McSpadden*, Julia Millison, Marina Mulé, Lisa Reeves, Katherine Silva, Gwendolyn Stegall*, Susan Strickler, Jan Thompson, Manon Valet, Janet Zaleon#

Tenor: Jose Cuevas, David Fanger#, Brian Hoffmeister+, Donald Johnston, John Kennedy, Debbie Mincer*, Manuel Ovando+, Gilbert Robinson, Jr., John Swedenburg, Taronté Venable*

Bass: Michael Conwill*, Marsh Drege, Myles Garret, John-Charles Kelley, Eric Manlapig, Kyle O’Connor, Steve Vasta

 

*Board of Directors, #section leader, +On leave

Orchestra

Flute: Francesca Ferrara

Clarinet: Benjamin Fingland

Oboe: Slava Znatchenii

Bassoon: Alexander Davis

Horns: Shelagh Abate, Nicolee Kuester

Trombone: Chris Olness

Percussion: Bill Hayes & Allison Sniffin

Violins: Emilie-Anne Gendron, Concertmaster, Gabriel Schaff, Doori Na, Alex Fortes, principal 2nd violin, Amelia Dietrich, Harriet Langley

Viola: William Hakim, Chieh-Fan Yiu

Cello: Serafim Smigelskiy, Yi Qun Xu

Bass: Bill Ellison

Contractor: Stephanie Griffin

 
Sponsorships & Dedications

Debbie Mincer, Vieille Prière Bouddhique

In memory of my Aunt Judy, who wished freedom for “tous les êtres qui existent”

Deb Reiner, Choose Something Like a Star

To us all in these times when the mob is swayed

The Soprano Section, Sunrise

To singing spontaneous songs

Eric Goldsborough, A cello

Dedicated to the Stonewall Chorale

Janet Zaleon, Alway Something Sings

This was one of the virtual choir pieces that sustained my well-being during the pandemic shutdown. I am delighted that we can bring it to you in person.

Ann Sweeney, Oboe

In memory of Marilynn Spanglet Dueker

John Kennedy, Piano

In memory of Joanne Kennedy Carroll

Lisa Reeves, Flute

Dad, you’re in my heart always

Lux Aeterna (Eternal Light) 

The Chorale dedicates this work to the memory of long-time Stonewall Chorale tenor Richard Froehlich (1963-2021) 

Our dear friend and Stonewall member Rich Froehlich passed away unexpectedly on September 24, 2021.

We are heartbroken by this sudden loss. Rich was one of our longest-serving members, having joined Stonewall in 1991. We had recently grieved with him over the death of his husband Joe DiVito earlier this year, and most of us saw him for the first time since our pandemic separation for one rehearsal earlier in the same week of his passing.

Rich was a tremendously supportive member of the Stonewall Chorale. He had served as a board member and helped draft our bylaws. In addition to his considerable vocal presence in our tenor section, he and his husband Joe not only contributed generously to the Chorale but always had numerous friends attending each concert - Rich was usually the Stonewall member who sold the most tickets, and often by a wide margin.

So many of us have years of warm memories of Rich. We appreciated not only his lovable personality and his singing presence in this group but also his opinions and perspectives on Stonewall as a long-term, supportive, dedicated member. He will be sorely missed.

Donors
 

Marianne Ardito

Susan Bargman

Alyson Ben-David

Jeanne Betancourt

Tom Bogdan

Angela Bucknell

Ann Cantwell-Sweeney

Fidelity Charitable

Samphas Chhea

Alan Cohn

Aaron Comins

John Cunningham

Diane Duckler

MacKenzie Fillow

Marshall Foster

George Eric Goldsborough

Roger Hirsch

John Kennedy

Pamela Knight

Beth Knobel

Aaron Koffman

Becky Kurtz

Jennie LaCovey

Virginia Lowery

Tondra and Jeff Lynford

Marjorie McCoy

Arthur McLean

Carolyn Mincer

Deborah Mincer

Deborah Monk

Manuel Ovando

Joyce Pyle

Janet Zaleon

Louis Fifer

Verene Grigoletto

John Kennedy

Andrea Newman

William Nye

Alan Pasternack

Deb Reiner

Ellen H. Reiner

Lisa Reeves

Sara Sloan

Susan Ullman

Jeffrey Whiting

Joyce Weinstein

Lee Warshavsky

Eric Weis

Janet Zaleon

Marilyn Zaleon

Ruthie Zaleon

Special Thanks
 

Deb Reiner, Program Proofreading and Program Notes

Michael Ottley, Holy Apostles

Intersections International, Grant Support

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December Sunrise is made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature and administered by LMCC. LMCC serves, connects, and makes space for artists and community.