2012-13 season annual report
Transcription
2012-13 season annual report
® 2012-13 SEASON ANNUAL REPORT Detail: Stage design for cabaret Karussell, 1944, by Terezín artist František Zelenka. (Courtesy: National Museum, Theatre History Dept. Prague) ® Mina Miller President & Artistic Director 2012-13 Board of Directors Pamela Center Chair David Epstein Vice Chair Nickolas Newcombe Secretary Thea Fefer Treasurer Henry Butler Carole Ellison Toni Freeman Saul Gamoran Alice Greenwood Margaret Griffiths Priscilla Lavry Joyce Rivkin Leo Sreebny Sandra Spear Gregory Wallace Frederick Yudin Stanley Zeitz Morgan Smith Artistic Advisor David Sabritt Executive Advisor Advisory Board Leon Botstein Samuel Brylawski John Corigliano Bob Goldfarb Richard Goode Speight Jenkins Gary Karr Kurt Masur Thomas Pasatieri Murray Perahia Steve Reich Toby Saks* Paul Schoenfield Gerard Schwarz David Shifrin David Stock Bret Werb Pinchas Zukerman * Music of Remembrance mourns the loss of beloved Advisory Board member and friend, Toby Saks (MOR Advisory Board, 1998-2013). 2 Mission Music of Remembrance fills a unique 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. A Letter from the Chair of the Board I am pleased to report that Music of Remembrance, as we enter our 16th season, is more vital and vibrant than ever. Coming off our landmark 15th birthday celebratory year, our creative team, led by the incomparable Mina Miller — the ‘giver of life’ and guiding visionary of MOR — is fully energized. This season MOR will present more concerts, at more venues, David Epstein with more people in the audience, than in any prior season. Additionally, we continue to expand our audience beyond the Seattle area. John Sharify’s incredible documentary, The Boys of Terezín, continues to be screened at film festivals worldwide. No longer limited to the performance hall or classroom, MOR is also going where our future audiences are — online. With an expanding presence on social media and electronic media, we are embracing the future as we continue to honor the past. Mindful of the challenges facing arts organizations, MOR’s Board of Directors and staff are fully engaged, not only in overseeing day-to-day operations, but in executing our strategic plan to ensure a sustainable future. None of this would be possible without you, our audience and supporters. Your enthusiastic support enables us to continue our journey. With each new season, with each new performance, and with every visit to the classroom, you make it possible for Music of Remembrance to carry out our common mission: ensuring that the voices of musical witness be heard. Thank you so much for your continued interest and support. We look forward to a bright future for MOR with you at our side. David Epstein, 2013-14 Board Chair MOR 2012-13 Season Annual Report A Letter from the President and Artistic Director Reflections on a Journey On October 27, 2013, Music of Remembrance celebrated its 15th anniversary with a party that I will remember always. Fifteen years ago, in 1998, I introduced myself and MOR to Seattle, my new home and adopted city. Since then MOR has grown in ways that I could scarcely imagine at the time. It’s been a journey in both “miles” and “tones,” and I feel proud and privileged to reflect back on them. What do we remember? Why? And how do we remember a tragedy like the Holocaust that so many would rather forget? I still have no easy answers, but MOR’s fifteen years leave me more strongly convinced than ever that music can help in unique ways to deepen people’s understanding of the Holocaust’s many dimensions. There have been special highlights, of course. Who could ever forget our 2006 production of Hans Krása’s Brundibár, when Ela Stein Weissberger joined our cast in the final Victory Chorus? As a child prisoner in Terezín, Ela sang the role of the Cat in all 55 performances of Brundibár. When she crossed the Benaroya Hall stage and clasped hands with our “cat,” it was a transcendent moment that brought generations together across time and history. And then there was our 2012 realization of Viktor Ullmann’s The Emperor of Atlantis. Ullmann created this daring opera in Terezín, where it could never be performed because its mocking allegory of Hitler and his war machine was far too dangerous. When we began fifteen years ago, we were among a small group of pioneers performing music of Terezín-imprisoned composers such as Krása, Ullmann and Gideon Klein, and we were among the first to illuminate the extraordinary chamber works of the innovative Erwin Schulhoff. Since then, our commissioning program has become a core part of our mission. It is unique in the world, having produced 17 new Holocaust-inspired works by today’s leading composers. Who could forget Jake Heggie’s musical drama For a Look or a Touch, depicting the Nazi persecution of homosexuals, or his Another Sunrise and Farewell, Auschwitz, about Polish resister and poet Krystyna Zywulska and the unimaginable decisions she was forced to make in order to remain alive? And who could forget Lori Laitman’s oratorio Vedem, based on the words and lives of a group of about 100 teenaged boys and the secret magazine they created every week for almost two years in Terezín’s “Home One”? Six of those boys are still alive, and four of them — now men in their 80s — traveled to our 2010 premiere in Seattle, where they were reunited after almost 70 years. Survivor George Brady remarked: “Who would have thought in Auschwitz 65 years ago that we would be sitting together in Seattle? We would have thought we had died and gone to heaven. But the good thing is that we didn’t have to die to go to heaven.” It would be easy to bask in the glow of headline events like these, but what makes me proudest of all is our dedication over the last fifteen years to exploring the full scope of a precious legacy. We’ve brought new life to music created amid the horrific circumstances of ghettos and camps across Europe: Warsaw, Vilna, Kovno, Lodz, Sachsenhausen and others. We’ve performed daring works of protest and satire. We’ve featured the music of composers whose lives were extinguished and whose potential we’ll never know, and the works of artists who escaped and built creative careers in exile. We’ve discovered and told new stories that the whole world needs to hear, and featured works reflecting the diversity of the Holocaust’s victims, non-Jewish as well as Jewish. As you’ll see in this report, MOR has performed over 120 works by 62 composers. Some of these works were already known, but many others MOR 2012-13 Season Annual Report Mina Miller 3 awaited rescue from undeserved neglect. Without exception, though, all of these works are far more than history lessons, but musical creations with beauty that speaks for itself. MOR is not music about death. It’s music about courage and heroism, about celebrating life. It’s about everybody who has faced oppression and stood up to it. We’ve played music about courageous free-thinking people who dared to stand up for what’s right. About the experience of gay people who endured persecution. About gypsies. About women. About children. About people who made a difference with their lives. And about how all of this matters for us today. As we embark on new journeys with our MOR friends and family, I thank you for helping MOR to reach this point, for helping us to make a difference. Your belief in our mission remains an inspiration to me, and you have my gratitude, always. Mina Miller Artistic Director A REPORT ON MOR’S 2012-13 SEASON Mainstage Programming: Fall and Spring Concerts “Ludovic Morlot, in his first appearance for MOR, conducted a 13-piece chamber orchestra drawn from the ranks of his Seattle Symphony with obvious enthusiasm. The singing, too, was excellent, with strong performances by Victor Benedetti as the Emperor, Ross Hauck as Harlequin/Pierrot, and especially Jonathan Silvia as Death.” –Bernard Jacobson The Seattle Times Every year, MOR presents two major programs at Seattle’s Benaroya Hall: a fall concert near the anniversary of Kristallnacht (The Night of Broken Glass), and a spring concert commemorating Holocaust Remembrance Day. Programming these concerts is a more complex task than many might imagine. We always strive for a balance between Holocaust-era music and contemporary compositions inspired by those events. We also try to combine music that engages serious chamber music followers with works having appeal for general audiences. The responses of concertgoers and critics alike point to our success in meeting this challenge. November 16 & 18, 2012: The Emperor of Atlantis Opera is an ambitious undertaking for MOR, but Viktor Ullmann’s The Emperor of Atlantis is a unique work that our audiences deserved to experience. It is hauntingly beautiful, and rich with paradox and irony in both its music and its origins. A stinging mockery of war and passionate affirmation of life, the opera was created in a Nazi concentration camp where it couldn’t be performed because its mocking allegory of Hitler and his war machine made it far too dangerous. Our new fullystaged and costumed production was directed by the gifted Erich Parce, and conducted by Seattle Symphony Music Director Ludovic Morlot. The program also included works by two composers who left Europe in the 1930s to escape 4 MOR 2012-13 Season Annual Report the Nazi threat. Swiss-born Ernest Bloch settled in the United States, and Latvianborn Marc Lavry immigrated to Palestine. Both were deeply influenced by their roots in Jewish musical traditions that, Bloch said, give voice to a “complex, glowing, agitated soul.” Bloch’s Prayer was performed by young cellist Benjamin Shmidt, recipient of the 2012 David Tonkonogui Memorial Award. Lavry had a central influence on the development of distinctively Israeli musical styles, showcased in his Three Jewish Dances. As a composer and conductor, Lavry went on to become one of the most important figures in Israel’s musical life. May 14, 2013: Farewell, Auschwitz Our spring concert featured the world premiere of our third commission from composer Jake Heggie and librettist Gene Scheer: Farewell, Auschwitz. A companion piece to Heggie & Scheer’s Another Sunrise (2012), Farewell, Auschwitz returns to the incredible-but-true life of Polish resistance member and poet Krystyna Zywulska, putting music to her poems and offering a kaleidoscopic view of existence in Auschwitz through the eyes of someone whose survival depended on making unimaginable choices. In their program notes, Heggie and Scheer described Zywulska’s writing: “Her subjects range from whimsical gossip in the barracks to profound fears as well as dreams of rescue, survival and triumph. These lyrics are a window into the torturous psychological strain the prisoners faced as they tried desperately to hold onto their humanity while being forced to live in a place that defined the most inhuman behavior. Mostly, Krystyna’s songs speak to the power of music and the imagination to liberate one from even the darkest despair.” The piece featured a brilliant trio of singers: soprano Caitlin Lynch, mezzo soprano Sarah Larsen, and baritone Morgan Smith. The program also included a new a song cycle version that Heggie and Scheer created from their pathbreaking musical drama For a Look or a Touch (MOR commission, 2007), featuring baritone Morgan Smith. Drawing on the diary of the young Manfred Lewin, murdered in Auschwitz, the song cycle speaks with beauty and eloquence to profound questions of love, loss and remembrance. We also presented a suite from Kurt Weill’s Three Penny Opera and a string trio by László Weiner. The Three Penny Opera premiered in Berlin in August 1928 and took Europe by storm. In its first year alone, it was performed about 4,200 times in 46 productions. Banned by the Nazis as “degenerate,” the piece was seen as an ideological statement that directly challenged the regime’s legitimacy. Weiner, a Hungarian composer, died at age 28 in a concentration camp. The lyrical String Trio – Serenade is thought to be Weiner’s earliest surviving composition. MOR 2012-13 Season Annual Report “Erich Parce directs MOR’s production with skill and imagination. With a minimal set and brilliant costume choices—notably the all-in-one white satin corset and suspenderhung clocked stockings worn under her plain wraparound dress by the Drummer, voice and girlfriend of the Emperor (aka Hitler’s girlfriend Eva Braun); and the uniform worn by Death under his long black cloak which outdoes in splendor the Emperor’s—and a fine cast of voices, Parce has made a considerable achievement.” – Philippa Kiraly The Sun Break “Farewell, Auschwitz,' the third work to have been commissioned from Jake Heggie and Gene Scheer by Mina Miller’s remarkable Seattle organization, is surely the finest thing the composer-librettist team — or anyone, for that matter — has created for MOR in the eight seasons of my acquaintance with its Holocaust-related programs.” – Bernard Jacobson The Seattle Times 5 Our first fifteen years – Do you remember? “The entire concert was worth hearing on two levels: for its artistic content and for its capacity to make us remember what must never be forgotten.” -Melinda Bargreen, The Seattle Times (Inaugural concert,November 1998) “Now in its fourth year, the Music of Remembrance concert series has amassed an impressive record of performances with some of the region’s finest musicians and repertoire that is always thoughtprovoking.” 2004: Thomas Pasatieri, Letter to Warsaw, world premiere Composers Performed - Melinda Bargreen The Seattle Times (April 2002) 2007: Jake Heggie, For a Look or a Touch, world premiere “The organization unearths old works from the period, commissions new ones, records as much as it can (four CDs are out) and, perhaps most significant, doesn't confine itself to any one victimized group's experience. – Richard Ginell Los Angeles Times (December 2008) Music of Rembrance California debut 2009: Paul Schoenfield, Sparks of Glory 2008: The Golem, silent film screening “After 10 years, the group continues to remind us of one of the most severe lessons in human history, preserving vital works of music while sparking new ones.” -John Sutherland The Seattle Times (November 2008) 6 Joseph Achron Daniel Asia Ofer Ben-Amots David Beigelman Herman Berlinski Allan Blank Ernest Bloch Mario CastelnuovoTedesco Robert Dauber Frantisek Domazlicky Joel Engel Hans Gál Edwin Geist Mikhail Gnessin Osvaldo Golijov David Grünfeld Pavel Haas Fromenthal Halévy Aharon Harlap Jake Heggie Friedrich Hollaender Gideon Klein Erich Korngold Jonathan D. Kramer Alexander Krein Hans Krása Lori Laitman Szymon Laks Marc Lavry Egon Ledecˇ Eugene Levitas Documentary of MOR’s first decade 2010: Donald Byrd, The Dybbuk, dance world premiere 2011: Betty Olivero: Kolo’t, world premiere MOR 2012-13 Season Annual Report 2001: Steve Reich Different Trains 2000: David Stock, A Vanished World, world premiere Lior Navok Marc Neikrug Betty Olivero Thomas Pasatieri Steve Reich Sid Robinovitch Solomon Rosowsky Simon Sargon David Schiff Paul Schoenfield Franz Schreker Zikmund Schul Erwin Schulhoff Gerard Schwarz Dmitri Shostakovich Robert Stern David Stock Karel Svenk Carlo S. Taube Vilem Tausky Marcel Tyberg Viktor Ullmann Sándor Vándor Franz Waxman Ilse Weber Lazar Weiner Lázló Weiner Kurt Weill Leo Zeitlin Alexander Zemlinsky Vilem Zrzavy 2005: Lori Laitman, The Seed of Dream, world premiere “When ‘Brundibár’ cast members led Ela Stein Weissberger out of the Nordstrom Recital Hall audience to join in the joyous onstage finale of the children's opera, it was impossible not to feel moved by this brush with history.” -Melinda Bargreen The Seattle Times (May 2006) 2006: Brundibár 2007: Gerard Schwarz, Rudolf & Jeanette, world premiere 2007: Guest artist Gary Karr “This brief work [Another Sunrise] goes to the essence of what it takes to survive. Heggie’s music is transparent, often luminous, and at the climax, shockingly intense, but not doom-laden.” -Philippa Kiraly (May 2012) 2012: Jake Heggie, Another Sunrise, world premiere MOR 2012-13 Season Annual Report 2010: Lori Laitman, Vedem, world premiere 2012: Gene Sheer and Jake Heggie pre-concert talk 7 Financial Summary $600,000 Figure 1: Total Expenses by Year $500,000 n Cash n In-kind $400,000 $300,000 $200,000 FY201 2-13 FY201 1-12 FY 201 0-11 FY 200 9-10 FY 200 8-09 FY 200 7-08 FY 200 6-07 FY 200 5-06 FY 200 4-05 FY 200 3-04 FY 200 2-03 FY 200 1-02 FY 200 0-01 FY 199 9-200 0 $0 FY 199 8-99 $100,000 $700,000 $600,000 $500,000 Figure 2: Total Revenues by Year Figure 2: Total Revenue by Year n Income n In-kind contributions n Income n In-kind contributions $400,000 $300,000 $200,000 FY201 2-13 FY201 1-12 FY 201 0-11 FY 200 9-10 FY 200 8-09 FY 200 7-08 FY 200 6-07 FY 200 5-06 FY 200 4-05 FY 200 3-04 FY 200 2-03 FY 200 1-02 FY 200 0-01 $0 FY 199 8-99 FY 199 9-200 0 $100,000 Figure 3 : Cash Reserves and Total Net Assets by Year $500,000 $450,000 Total net assets $400,000 Cash reserves $350,000 $300,000 $250,000 $200,000 $150,000 $100,000 FY201 2-13 FY201 1-12 FY 201 0-11 FY 200 9-10 FY 200 8-09 FY 200 7-08 FY 200 6-07 FY 200 5-06 FY 200 4-05 FY 200 3-04 FY 200 2-03 FY 200 1-02 FY 200 0-01 FY 199 8-99 FY 199 9-200 0 $50,000 $0 Music of Remembrance’s fifteen-year history of growth from a start-up concert producer to an established professional arts organization has been nothing short of remarkable. The organization’s unique mission and musical excellence are admired not only in Seattle but, increasingly, across the nation and throughout the world. MOR’s 1998-99 inaugural season consisted of two major concerts at Seattle’s Illsley Ball Nordstrom Recital Hall at Benaroya Hall, with total expenses of about $16,000 (excluding in-kind contributions of professional services). By the end of the 2012-13 season, MOR’s accomplishments have grown to include the commissioning and premiere of sixteen important new Holocaust-inspired works, 20 world premieres, six CDs (five released on the world-leading Naxos label), an annual series of free concerts-with-commentary in partnership with the Seattle Art Museum and other community organizations, an extensive educational outreach program in local schools and colleges, and two documentary films. With this expanded scope, the organization’s total expenses (excluding in-kind equivalents) for FY 2012-13 were $305,913 (Figure 1). MOR’s base of supporters continues to grow, and to embrace the organization’s mission and its musical and educational programming. From its inception, the organization’s revenues (excluding in-kind contributed services) grew from about $20,000 for MOR’s first season to $282,950 in FY 2012-13 (Figure 2). Knowing that MOR entered the recent 2012-13 fiscal year facing the end of a major multi-year award from an anonymous trust, its Board approved a deficit of $45,250 for the recent fiscal year, with the requirement that the organization find ways of replacing that source of funding. With careful management that held costs under budget, the actual end-of-year shortfall was contained by about half to $22,963. Recent funding initiatives, such as the successful launch of a campaign to secure restricted gifts to underwrite future commissions and recordings, have given the board confidence to approve a non-deficit budget of $393,580 for FY 2013-14. Throughout these years of growth, and response to new opportunities, MOR has remained a careful steward of its resources. At the end of FY 2012-13, it held cash reserves of $285,064 and total net assets of $336,060 (Figure 3). Figure 4 illustrates the diversity of MOR’s revenue 8 MOR 2012-13 Season Annual Report sources. Ticket sales can never account for a major portion of MOR’s budget, and the organization depends on the support of donors who believe in its mission. MOR’s Sostenuto Society, whose members pledge a minimum annual gift of at least $1,200 for three years, adds to the organization’s ability to anticipate resources that will be available for long-term projects. From FY 2011-12 to FY 2012-13, Sostenuto Society contributions increased by 83% to $75,200. Sostenuto contributions, combined with restricted individual gifts to the new Commissioning and Recording Circle ($41,600) and other individual donations ($38,497), together accounted for about 56% of MOR’s revenue excluding in-kind contributed services and receivables. Although government funding provides a small fraction of the organization’s total cash revenue, it is an important reflection of the role that MOR plays in the cultural life of our city, our state and our nation. At a time of sharply reduced government spending, MOR maintained its levels of support from the Seattle Office of Arts and Cultural Affairs, 4Culture, and the Washington State Arts Commission. We were also awarded an Art Works grant of $15,000 from the National Endowment of the Arts to help support our Sparks of Glory outreach series. MOR takes very seriously its responsibility to control its costs, and to focus its resources on its musical programming. In FY 2012-13, about a third of cash expenditures went for artist fees, commissions and other artistic production expenses (Figure 5). This number does not include the considerable portion of the Artistic Director’s effort devoted directly to the programming and management of performance events, and it does not reflect her involvement as a performer without receiving a separate artist fee. MOR’s personnel includes the Artistic Director (compensated at 40% of a normal professional salary) whose creative vision forms the core of MOR, a full-time Director of Advancement whose role is essential for addressing the organization’s immediate and long-term needs, and a highly-valued Administrative Specialist. The approved FY 2013-14 budget of $393,580 (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. MOR 2012-13 Season Annual Report Figure 4: FY 2012-13 Revenue, Excluding in-kind and net receivables (Total $282,950) Foundations 1% Corporate donations 1% Other individual donations 14% Government 9% Commissioning/ Recording Circle 15% Ticket Sales 10% Fundraising events 23% CD Sales <1% Film license fees <1% Sostenuto Society 27% Interest <1% Figure 5: FY 2012-13 Cash Expenses (Total $305,913) Fundraising Contracted professional expenses 4% services 5% Facilities and equipment 6% Personnel 48% Other operating expenses 6% Artistic production 14% Artist fees 12% Commissions 6% 9 The Sostenuto Society Sostenuto a musical term meaning “to sustain” Preserve a precious cultural legacy • Create new music through commissions • Educate our children and grandchildren Since its inception in 2002, the Sostenuto* Society has formed the core of MOR’s fiscal stability. The Sostenuto Society welcomes as members those farsighted and generous donors who make a three-year gift commitment to Music of Remembrance. Through their dedication to MOR’s mission, Sostenuto Society members provide sustained support for MOR programming. This enables us to plan and undertake long-range projects such as the commission of new works by some of today’s most important composers, our educational programs, and special initiatives like our documentary film The Boys of Terezín. Crescendo ($7,500 and above) Carole Ellison Pat & Marcus Meier Lori Laitman & Bruce Rosenblum Mina Miller & David Sabritt Beth Ann Segal Lynn & Howard Behar Jan & Kenneth Block Barbara & Dr. Joseph Buchman Olga & Henry Butler Pamela & Dr. Robert Center David Epstein The Honorable John Erlick Thea Fefer Toni Freeman Devorah & Saul Gamoran Eileen Gilman 2012–13 Season Sostenuto Platinum Sostenuto Gold ($2,500 to $4,999) Kathleen Devon & Bob Alexander Judy & Krijn DeJonge Priscilla & Dan Lavry The Purple Lady/Barbara J. Meislin Fund ($5,000 to $7,499) Rickie Crown Sostenuto Silver ($1,200 to $2,499) Martha Kongsgaard & Peter Goldman Alice & Howard Greenwood Dr. M. Elizabeth Halloran H. David Kaplan Julie & Rabbi James Mirel Nickolas Newcombe Lucy & Herb Pruzan Joyce & Dr. Saul Rivkin Lin & Dr. Murray Robinovitch Pat & Jon Rosen Drs. Katherine Hanson & Michael Schick Andrea Selig Sonia Spear Craig Sheppard & Gregory Wallace Dr. Leo Sreebny Lauren Ward Frederick Yudin Nancy & Dr. Stanley Zeitz Education & Outreach Report: Serving our Communities “By presenting pieces written by composers who perished in the Holocaust, as well as new pieces commissioned to reinforce its moral complexities, MOR honors the past while instilling hope for the future.” –SOG audience member 10 MOR’s constant challenge is to help people explore both personal and universal meanings of the Holocaust, and examine their understanding of the Holocaust in light of the evocative music they hear. Only a limited number of people are able to come to the concert hall, however, and our outreach program is designed to bring MOR’s music and mission to people of all ages and backgrounds across our community and beyond. Sparks of Glory: Our Eighth Season of Free Performances Beyond the Concert Hall The Sparks of Glory series continues to be a core element of MOR’s service to the community. In 2012-13, we continued this series of free public concerts-with-commentary with three programs at the downtown Seattle Art Museum (SAM). MOR also made its debut on Bainbridge Island with a concert at the Waterfront Park Community Center. These concerts were attended by nearly a thousand people. Internationally recognized as an authority on the music of the Holocaust, MOR Artistic Director Mina Miller discusses the works and the composers behind them. Describing the social and historical context, Miller builds a framework for pieces that express deep and often complex emotions. The concerts at SAM also give Miller the opportunity to link the musical program with the museum’s current exhibits. For example, the October 2012 concert complemented SAM’s “Elles” exhibit—a landmark exhibition organized by the MOR 2012-13 Season Annual Report Centre Pompidou in Paris to explore how pioneering women artists have helped shape the major movements of modern and contemporary art. Our musical program featured Thomas Pasatieri’s Letter to Warsaw, a musical portrait commissioned by MOR to depict one woman’s intimate first-hand account of life in the grip of the Holocaust. January’s concert coincided with SAM’s exhibit “Morality Tales,” featuring works by socially-engaged American artists who channeled their moral outrage into artistic protests against cruelty, suffering and war. MOR presented Steve Reich’s acclaimed Different Trains and Lori Laitman’s The Seed of Dream—music from two important contemporary American composers addressing the same challenge. Our June concert featured Jake Heggie’s Another Sunrise. Our Sparks of Glory programs were made possible, in part, by support from the National Endowment for the Arts and the generosity of our individual donors. In the Schools The Sparks of Glory program is also adapted for our in-school educational outreach. MOR brings performances to our educational partners at the high school, community college and university levels. These visits typically include a multimedia presentation examining the history of the Holocaust era and its music and a Q&A session connecting the students and musicians. Many students become motivated to attend our Sparks of Glory concerts in Seattle, and, when possible, we subsidize travel for students from outlying areas. In 2012-13, Sparks of Glory reached nearly 1,000 people. DONORS 2012-13 SEASON Pillar ($10,000 and above) Sponsor ($1,000 to $2,499) Adina & Jack Almo Boeing Company Charitable Trust Matching Gift Program Barbara & Dr. Joseph Buchman Olga & Henry Butler Pamela & Dr. Robert Center David Epstein The Honorable John Erlick Thea Fefer Founder ($5,000 to $9,999) Toni Freeman 4Culture Eileen Gilman Clovis Foundation Martha Kongsgaard & Peter Goldman Janet & Lloyd Cluff H. David Kaplan Rebecca Crown Eva & Jon LaFollette Lavry Engineering /Priscilla & Dan Frederick McDonald Lavry Julie & Rabbi James Mirel Bernice & John Lindstrom Nickolas Newcombe Sherry & James Raisbeck Lucy & Herb Pruzan Seattle Office of Arts & Cultural Quil Ceda Village Affairs Joyce & Dr. Saul Rivkin Washington State Arts Commission Lin & Dr. Murray Robinovitch Pat & Jon Rosen Benefactor ($2,500 to $4,999) Lars Saetre Kathleen Devon & Bob Alexander Samis Foundation Ike Alhadeff Foundation The Seattle Foundation Andrea Selig Jan & Kenneth Block Sonia Spear Judy & Krijn DeJonge Dr. Leo Sreebny Alice & Howard Greenwood Moya Vazquez Dr. M. Elizabeth Halloran Lauren Ward The Purple Lady/Barbara J. Meislin Nancy & Dr. Stanley Zeitz Ursula Rychter Craig Sheppard & Gregory Wallace Frederick Yudin Patron ($500 to $999) Rosalie Alhadeff Anonymous Carole Ellison Brenda Berry & Jonathan Green Pat & Marcus Meier National Endowment for the Arts Lori Laitman & Bruce Rosenblum Mina Miller & David Sabritt Beth Ann Segal MOR 2012-13 Season Annual Report Mara Finkelstein & Carl Applebaum Barbara & Jim Barnyak Lynn & Howard Behar Anne & Dr. John Cahn Wendee & Joseph Crnko Helene Behar & Noah Friedland Marilyn Brockman & David Friedt Ann Frothingham Marcia Wagoner & David Hewitt Laura & Bernard Jacobson Camille & David Jassny Paris Kallas Dr. Erika Michael C. Louise & Stafford Miller Nancy Nickles Heidi Sachs Barbara & Dr. Richard Shikiar Rosalind Singer Sandra Spear Helen & Thomas Spiro Petra Walker, Honorary Consul of Germany In-kind Supporters Jan & Kenneth Block Carole Ellison Jon LaFollette Mayflower Park Hotel Maestro Ludovic Morlot Mina Miller Perkins Coie, LLP Sabritt Solutions, LLC Leo V. Santiago Photography, LLC Seattle Art Museum Spear Studios 11 Testimonies For Tomorrow Commissions and Recordings The commissioning of new music forms a cornerstone of MOR’s mission. Through significant new Holocaust-inspired works by major living composers, MOR’s commissioning program builds a living bridge between Holocaust musicians and a new generation of artists and audiences. The 2012-13 season brought two major new works by composer Jake Heggie and librettist Gene Scheer. Farewell, Auschwitz continued their exploration of Polish resistance member Krystyna Zywulska’s legacy with a set of powerful songs based on the poems she created as a prisoner in the camp. We also unveiled an intimate new song-cycle version of Heggie and Scheer’s For a Look or a Touch, depicting the fate of homosexuals under Nazi rule. Our CD releases are essential for making this music permanently available to listeners around the world. We anticipate a May 2014 CD release of Out of Darkness, a triptych of our three commissioned works from Heggie and Scheer. This will be MOR’s sixth CD on Naxos, the world’s leading classical music label. Music of Remembrance Commissioning & Recording Circle Launched in August 2013, MOR’s Commissioning and Recording Circle consists of visionary donors who enthusiastically embrace MOR’s unique Testimonies for Tomorrow — the commissioning and recording of new works by leading contemporary composers based on Holocaust themes and stories. Through their generosity, members of the Commissioning and Recording Circle are committed to providing MOR the resources necessary to continue these uniquely important projects. We express our sincere thanks to charter members: Bernice & John Lindstrom Janet & Lloyd Cluff Brenda Berry & Jonathan Green Sherry & James Raisbeck Carole Ellison Dr. M. Elizabeth Halloran Mina Miller & David Sabritt Mary Winton Green Diane & Stephen Heiman H. David Kaplan Beth Ann Segal MOR Commissions MOR’s supporters have funded the creation of sixteen new musical works and two dance choreographies Jake Heggie Farewell, Auschwitz 2013 Jake Heggie For a Look or a Touch (song cycle) 2013 Jake Heggie Another Sunrise 2012 Betty Olivero Kolo’t 2011 Lori Laitman Vedem (song cycle) 2011 Donald Byrd choreography to Joel Engel’s The Dybbuk Suite 2010 Lori Laitman Vedem (oratorio) 2010 Donald Byrd choreography to Franz Schreker’s The Wind 2009 Aharon Harlap Pictures from the Private Collection of God 2009 Paul Schoenfield Ghetto Songs 2008 David Stock Mayn Shvester Chaya 2008 Gerard Schwarz Rudolf & Jeanette 2007 Jake Heggie For a Look or a Touch 2007 Gerard Schwarz In Memoriam 2005 Lori Laitman The Seed of Dream 2004 Thomas Pasatieri Letter to Warsaw 2003 Paul Schoenfield Camp Songs 2002 David Stock A Vanished World 1999 Support Music of Remembrance Music of Remembrance depends on donors who, through their generosity, become partners in our mission to remember. Every gift directly supports our concerts, education and outreach activities, allowing us to serve the community and beyond through our unique and compelling programs. MOR is a 501(c)(3) non-profit organization. For more information on giving, call (206) 365-7770, or email: [email protected]. Contributions can be mailed to us at: Music of Remembrance, PO Box 27500, Seattle, WA 98165-2500 You may also contribute online through our website: www.musicofremembrance.org