Philip Glass Ensemble | Music in Twelve Parts

THE TOWN HALL PRESENTS

MUSIC IN TWELVE PARTS

COMPOSED BY PHILIP GLASS PERFORMED BY THE PHILIP GLASS ENSEMBLE

Conducted by Michael Riesman

TONIGHT’S PROGRAM

Parts One, Two, Three Pause (15 minutes)

Parts Four, Five, Six Dinner Break (1 hour)

Parts Seven, Eight, Nine Pause (15 minutes)

Parts Ten, Eleven, Twelve

THE PHILIP GLASS ENSEMBLE

Michael Riesman, music director, keyboard

Lisa Bielawa, voice, keyboard

Dan Bora, sound

Peter Hess, alto and tenor saxophone

Ryan Kelly, onstage sound

Mick Rossi, keyboard

Sam Sadigursky, soprano saxophone, flute

Andrew Sterman, flute, piccolo, soprano saxophone

Production Manager, Michael Amacio PGE manager, Andrew Sterman

The Philip Glass Ensemble is represented by Devi Reddy of Park Avenue Artists, NYC.

The Philip Glass Ensemble is the authoritative performer of its repertoire. By special arrangement with Philip Glass and Dunvagen Music Publishers, Inc. Please note that Philip Glass will not be performing as part of this concert.

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As president of the non-profit organization that preserves our landmarked auditorium and produces the Town Hall Presents events like the one you are attending tonight, I thank you for coming to The Town Hall. On behalf of the Board of Trustees, and our incredible staff of professionals, I echo the sentiment of our founders and assure you that you are always welcome here.

Nevin Steinberg

“It was risky, in 1974, hiring Town Hall on my own. We were downtown artists, going to midtown .... I never doubted that people would come, but I didn’t know who they would be. I think we put up flyers, did our own advertising that way. Then, the place was full, packed, and in the Ensemble we looked around at each other, and I said, “Do you know these people?” Nobody did. In the galleries, we knew everyone, we performed for a circle of artist friends. Then, at Town Hall, the place was full, we didn’t know who they were or why they came, the circle expanded ....”

~ Philip Glass

First page of Part 1 from the original manuscript.

Photo courtesy of The Philip Glass Ensemble and Dunvagen Music Publishers.

ABOUT THE PROGRAM

Composer Philip Glass booked The Town Hall for the evening of June 1, 1974 to premiere Music in Twelve Parts, a piece he had been developing since 1971. Fifty years later, nearly to the day, The Philip Glass Ensemble returns Music in Twelve Parts to The Town Hall for a celebration performance on Saturday, May 25, 2024, at 6:00 pm.

Over four hours long (the performance includes a one-hour intermission at 8 pm and one 15-minute break in each half), Music in Twelve Parts is a one-of-a-kind listening experience. With its slow-developing musical architecture built over repetitive structures and patterns, “Music in Twelve Parts” has been described as both a theoretical study, a systematic exploration of the foundational elements of music, and a gripping work of art.

“Music in Twelve Parts is Philip’s first grand masterpiece,” says multiinstrumentalist Andrew Sterman, a performing member of the six-piece Philip Glass Ensemble since 1992 and the group’s manager for the past two years. “It sums up his creative work to that time, from 1971 to 1974. He was developing his new language and began writing a piece in a 12-line counterpoint. That was the original ‘Music in Twelve Parts,’ and it lasted about 20 minutes.”

Then, out of a misunderstanding, the piece evolved.

Glass has recounted how he played it for a friend, and “when it was through, she said, ‘That’s very beautiful; what are the other eleven parts going to be like?’ And I thought that was an interesting misunderstanding and decided to take it as a challenge and go ahead and compose eleven more parts.”

“This is part of Philip’s brilliance. Rather than correct her and say, ‘Oh, no, my friend, this is the piece. There are 12 contrapuntal parts,’ he ran with it, saying ‘Yes, I’m working on it,’” explains Sterman. “Now multiply those 20-25 minutes by 12, and it makes for quite a long piece. And frankly, he didn’t know where he was going when he began. He was well trained in what was available for composers then, but it’s as if he said: there’s nothing here I want to use going forward. Nothing. So now you’ve got a blank canvas. What do you do? In Music in Twelve Parts he’s building the language for his art.”

“The piece is gentle and ferocious, methodical and playful. There’s a sense of humor in it and so much energy,” offers Sterman. “What we say in the Ensemble is that it’s like a Table of Contents of Philip’s signature style. You have counterpoint, repeating and shifting patterns, scales, a unique Ensemble sound, and an evolution in tempo, meters, and certain harmonies, and then it’s as if he’s done with minimalism. The table of contents is complete, and after about Part 8, he’s free.”

Philip Glass has long secured his place in music history since, but in 1974, premiering a new work at Town Hall was a daring move.

“Someplace in the archives we have the receipts from the original ticket sales in Philip’s handwriting. That’s what it took then,” says Sterman. “He’s so famous now and has had such a huge career that people forget what a creative act it was to build that career. That music was not popular outside of the art scene. It was a downtown phenomenon. The general, concert-going institutions did not accept it at first.”

In his book Minimalists, author K. Robert Schwarz underscored the significance of that evening at Town Hall. “The event was a remarkable success: 1,200 of the 1,400 seats were filled, the audience gave Glass a standing ovation, and the more open-minded critics began to grant him a certain grudging acceptance.”

For Town Hall’s Artistic Director Melay Araya: “It is an honor to present the 50th anniversary of the Philip Glass Ensemble’s debut at The Town Hall. The work is as fresh as ever and continues to bring out the curious, diverse and everexpanding audience of Philip Glass and the Ensemble. With plans to finish the Qatsi series next season, the Philip Glass Ensemble and The Town Hall have entered our next fifty years together with more plans than we’ve ever had and with a deeper commitment to bringing exciting explorations of Philip Glass’s work to the public.”

Extremely demanding on the players, Music in Twelve Parts is an atypical listening experience for the audience.

“If you sit there and try to listen with the ears and mind you may use for other music — say pop, jazz, Beethoven, Stravinsky, or twelve-tone music — it’s going to drive you crazy,” Sterman says. “Here, the music is telling you how to listen. Music in Twelve Parts needs to be listened to immersively; it needs to be experienced. Let it happen around you, like the world itself.”

By the end of the performance, “we feel that we’ve gone on this tremendous adventure,” Sterman says. “This piece is difficult to play. It takes every bit of concentration, physical muscle, and technique, and the audience is right there with us, staying with it. The audience becomes part of the Ensemble. It’s such a special feeling, and the word I have for it, frankly, is ecstatic. “

--- Fernando González

Fernando González is an independent music writer, critic, and editor. A two-time GRAMMY nominee, he edits the blog Jazz with an Accent.

PROGRAM NOTE

Music in Twelve Parts, written by Philip Glass between 1971 and 1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the mid 1960s. It holds an important place in Glass’s repertory not only from a historical vantage point (as the longest and most ambitious concert piece for The Philip Glass Ensemble) but from a purely aesthetic standard as well, because Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.

Says Glass: “Music in Twelve Parts would most likely be classified as a minimal work, it was a breakthrough for me and contains many of the structural and harmonic ideas that would be fleshed out in my later works. It is a modular work, one of the first such compositions, with twelve distinct parts which can be performed separately in one long sequence, or in any combination or variation.” Music in Twelve Parts was rehearsed, workshopped, and shared in the lofts and galleries of downtown Manhattan. The piece received its first performance in its entirety on June 1, 1974, at The Town Hall.

THE PHILIP GLASS ENSEMBLE

The Philip Glass Ensemble (PGE) comprises the principal performers of the music of Philip Glass. In 1968, Glass founded the PGE in New York City as a laboratory for his music. Its purpose was to develop a performance practice to meet the unprecedented technical and artistic demands of his compositions. In pioneering this approach, the PGE became a creative wellspring for Glass, and its members remain inimitable interpreters of his work.

The artists of the PGE recognize their unique position in the history of music of the past half-century, and passing on that legacy is part of their practice, with

a deep dedication to educating the next generation of artists in the authentic practice of Philip Glass’s music.

The PGE debuted at the Whitney Museum of American Art in 1969, and in its early years performed primarily in the galleries, artist lofts, and museums of SoHo’s then thriving artistic community. In the five decades since, the PGE has performed in world renowned music festivals and concert halls across five continents, and has made records with Sony, Nonesuch, and Orange Mountain Music. Many of Philip Glass’s most celebrated works were expressly composed for the PGE: its core concert pieces Music in Twelve Parts, Music in Similar Motion, and Music with Changing Parts; the opera and musical theater projects Einstein on the Beach, Hydrogen Jukebox, 1000 Airplanes on the Roof, Monsters of Grace; and the full-length dance works Dance (Lucinda Childs) and A Descent Into The Maelström (Australian Dance Theater). The PGE is most widely acclaimed for its soundtracks to Godfrey Reggio’s trilogy of wordless films: Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. It is also featured in Glass’s operas La Belle et la Bête and The Photographer

For more information, visit www.philipglassensemble.com

PHILIP GLASS

Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects creating a large collection of new music for The Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Glass’s memoir Words Without Music was published by Liveright Books in 2015.

Glass received the Praemium Imperiale in 2012, the U.S. National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018. Glass’s recent works include a circus opera Circus Days and Nights, Symphony No. 13, and Symphony No 14. Glass celebrated his 85th birthday in 2022 with a season of international programming.

THE PHILIP GLASS ENSEMBLE MEMBERS

Michael Riesman (music director, keyboard) is a composer, arranger, conductor, keyboardist, and record producer. He is the Music Director of the Philip Glass Ensemble, which he joined in 1974. He has conducted and performed on many recordings of works by Glass, including most of his film soundtracks. He has recorded five albums of piano arrangements of Glass film music: The Hours, Dracula, Philip Glass Soundtracks, Beauty and the Beast, and Philip Glass Soundtracks Vol. 2. He has conducted major ensembles including the New York Philharmonic, the Los Angeles Philharmonic, and the Toronto, Sydney, and BBC Symphony Orchestras, and has appeared as a piano soloist with the Chicago Symphony Orchestra and the Milwaukee Symphony. He has conducted and performed on albums by Paul Simon (Hearts and Bones) and David Bowie (BlackTie/White Noise). Riesman’s work Formal Abandon, a commission by choreographer Lucinda Childs, is available on iTunes.

Lisa Bielawa (voice, keyboard) is a Rome Prize winner in Musical Composition and recipient of the 2017 Music Award from the American Academy of Arts & Letters. She was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018 and was Artist-in-Residence at New York’s Kaufman Music Center for the 2020-2021 season. In 1997, Bielawa co-founded the MATA Festival. In 2022, Bielawa was selected for a residency with the Louisville Orchestra’s Creators Corps and temporarily relocated to Louisville to make new orchestral and community-based work. Bielawa’s music has been premiered at Lincoln Center, Carnegie Hall, Rouen Opera, and Helsinki Music Center, among others. Orchestras that championed her music include The Knights, Boston Modern Orchestra Project, ROCO in Houston, and the Orlando Philharmonic. Premieres of her work have been commissioned and presented by the Chamber Music Society of Lincoln Center, Radio France, Yerevan Concert

Hall in Armenia, the Venice Architectural Biennale, and more. She received a 2018 Los Angeles Area Emmy nomination for her made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch’s Accuser  Vireo was released on CD/DVD in 2019 (Orange Mountain Music). Bielawa is also recorded on the Tzadik and BMOP/ sound labels, among others. Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992.

Dan Bora (audio, house mix) is a producer, engineer, and sound designer of albums, film scores, and live sound. Bora has worked with Marina Abramovic, Laurie Anderson, Anohni, Howard Shore, The Magnetic Fields, Nico Muhly, Michael Nyman, Sufjan Stevens and many others. His credits include the Academy Award-winning Fog of War, the Academy Award-nominated The Illusionist, as well as the revival of Robert Wilson’s Einstein on the Beach, and The Life and Death of Marina Abramovic. Dan Bora’s live work has been praised as “deft, provocative and even poignant” (The New York Times).

Peter Hess (saxophones) is, in addition to the PGE, a member of Slavic Soul Party, Bang on a Can’s Asphalt Orchestra, and Barbez, and was a part of Balkan Beat Box for a decade. He appears on over 100 recordings and can often be heard coming out of your television. He performs all over the world, in concert halls, festivals, prisons, and dives. He’s appeared and/or recorded with Boston Modern Orchestra Project, David Sanborn, Alarm Will Sound, Omaha Symphony, David Byrne, American Composer’s Orchestra, Big Lazy, Guignol, Tony Visconti, Songs: Ohia, the Brooklyn Philharmonic, Tim Berne, Jabbo Ware, Jack McDuff, Dirty Projectors, Darcy Argue’s Secret Society, TV on the Radio, Spiritualized, Wu Tang Clan, ICE, the Hold Steady, Son Volt, AntiSocial Music, and dozens more. He is a graduate of the Oberlin Conservatory of Music, and his work composing and arranging for winds and strings can be heard on many records, as well as HBO’s Bored to Death, PBS’s Make ‘em Laugh, the feature documentaries Art and Craft and Maineland. Much of that arranging and studio work goes on in his own little studio Fort Saint Marks. He holds a deep love of the music of the Balkans, which he has researched and studied in Roma villages in southern Serbia. His own records (and collaborations with fellow PGE member Mick Rossi) can be found at diskonife.com, the label imprint he co-runs.

Ryan Kelly (stage audio) began his career at the renowned Legacy Recording Studios in New York City. Since then he has worked on live performances across five continents alongside artists including Paul Simon, Philip Glass Ensemble, Solange, Eighth Blackbird, Nico Muhly, yMusic and Son Lux. He began working with the Philip Glass Ensemble for the revival of Robert Wilson’s Einstein on the Beach and joined the Ensemble in 2014. Recent studio work has seen him producing film scores and recording albums with Beyoncé, Roomful of Teeth, Marc Ribot, and Booker T Jones ft. The Roots. His sound design credits include multiple shows with the Steven Petronio Company, Dream’d in a Dream with the Sean Curran Company, and The Dorothy K with Saint Genet featuring Zac Pennington and Brian Lawlor.

Mick Rossi (keyboard) has long been defined by the inability to comfortably define his work, revealing a commitment to a strong classical foundation and rigorous approach to improvisation. Rooted in the New York Downtown scene, Rossi is celebrated as “one of the most lucid, original and creative minds of the New York scene,” “an exemplar of the cross-fertilization between jazz and classical music worlds,” and “Bartokian and energetic” (All About Jazz /The New York Times). He is simultaneously a member of the Philip Glass Ensemble and the Paul Simon Band as pianist and percussionist, showcasing not only technical proficiency but the capacity to operate in divergent idiomatic disciplines. He is currently in residence at The New School and The Philip Glass Institute. Rossi can be heard on twelve recordings with Glass, including Koyaanisqatsi Live with the New York Philharmonic, Einstein on the Beach and nine with Simon, including Austin City Limits. Rossi has conducted for Glass, including Book of Longing (Sydney Opera House) and Dracula. New releases include Drive, Live At Barbes, Cut The Red Wire, Variant (film score), Songs From The Broken Land (“virtuosic, intense and humorous - a master improviser is at work” - All About Jazz) and his thirteenth solo album 160 (“A masterpiece difficult to label” - All About Jazz). Recent features include The Sydney Morning Herald (“A prodigiously gifted musician and composer”) and Keyboard Magazine (“Pyrotechnics with Paul Simon”).

Sam Sadigursky (soprano saxophone, flute) has been a member of the Philip Glass Ensemble since 2020. He continues to make a mark as both a leader and sideman across a broad spectrum of musical landscapes. His series of four albums of original music based on poetry and text for New Amsterdam Records, entitled The Words Project, have been acclaimed internationally. Following the 2015 release of his album Follow the Stick, he has appeared annually on the DownBeat Magazine Critics Poll. His latest work, a three album set of original music with accordionist Nathan Koci called The Solomon Diaries, was released in early 2022 on Adhyaropa Records, along with

Figures/Broken Pieces, a set of original piano music released later that year. Sam has toured and recorded with artists as diverse as Brad Mehldau, Fred Hersch, Lucia Pulido, Gabriel Kahane, Tom Jones, Edmar Castaneda, Katrina Lenk, Linda Oh, The Mingus Orchestra, Rufus Reid, Jamie Baum Septet+, David Yazbek, Ljova, Pablo Mayor’s Folklore Urbano, La Cumbiamba eNeYe, and is featured on three Grammy-nominated albums with Darcy James Argue’s Secret Society as well as TayloEigsti’s 2021 Grammy- winning album A Tree Falls. As a composer, he has also written for film and modern dance and has published four books of original etudes for clarinet and saxophone. He is the recipient of numerous grants from organizations such as Chamber Music America, ASCAP, The Jerome Foundation, and the New York Mills Cultural Center. He appears on over fifty albums as a sideman, and from 2017-2019 was the onstage clarinetist for the Grammy, Tony and Emmy Award winning show The Band’s Visit on Broadway.

Andrew Sterman (flute, piccolo, saxophone) joined the Philip Glass Ensemble in 1992, and has a highly personal presence in the music community (The New York Times: “beautiful, sensitive, and high-energy playing,” The Wall Street Journal: “Powerful, standout moment”, National Post Canada: “Searing”, London Observer: “Virtuosic”). He has performed or recorded with a stunning array of artists, including Frank Sinatra, Sarah Vaughan, Tony Bennett, Bruce Springsteen, Freddie Hubbard, Dizzy Gillespie, Fred Hersch, Rashied Ali, and countless more. He has performed in dozens of Broadway shows, often as onstage soloist, and recorded on many significant film scores. As a composer, Sterman has received grants from the National Endowment for the Arts resulting in two commissions. His album The Path To Peace was called, “A major conceptual work, whose exquisite ebb and flow merits listening by a worldwide audience” (All About Jazz), and “A wonderful and inspiring album” (Philip Glass). Of his Wet Paint album: “Questing, devoid of self-indulgence, emotionally flexible” (Jazz Times), and “emotive lyricism, inventively architected, superb compositional pen” (JazzReview). Sterman is a noted teacher, and designer of the Wellness for Performing Artists course at the New School where he is on the faculty. He also teaches qigong and the use of food for healing, and is author of the two-volume book, Welcoming Food: Diet as Medicine for the Home Cook and Other Healers (2020, Classical Wellness Press, NYC) and teaches both music and food practice internationally as well as in New York City.

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MAJOR GIFTS, CORPORATE, FOUNDATION & GOVERNMENT SUPPORT

This program is supported, in part, by public funds from The New York City Department of Cultural Affairs in partnership with the City Council. Town Hall’s Education Outreach Program is made possible, in part, by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. The Centennial Concert Series is funded, in part, by Howard Gilman Foundation. We would like to thank the following foundations, corporations, and government institutions for their support:

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ABOUT THE HISTORIC TOWN HALL

As of Jan 31, 2024

Town Hall has played an integral part in the electrifying cultural fabric of New York City for more than 100 years. A group of Suffragists’ fight for the 19th Amendment led them to build a meeting space to educate people on the important issues of the day. During its construction, the 19th Amendment was passed, and on January 12, 1921 The Town Hall opened its doors and took on a double meaning: as a symbol of the victory won by its founders, and as a spark for a new, more optimistic climate. In 1921, German composer Richard Strauss performed a series of concerts that cemented the Hall’s reputation as an ideal venue for musical performances. Since, Town Hall has been home to countless musical milestones: The US debuts of Strauss, and Isaac Stern; Marian Anderson’s first New York recital; in 1945, Dizzy Gillespie and Charlie Parker introduced bebop to the world; Bob Dylan’s first major concert in ‘63; and much much more.

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Ralph Contini, William Priest III

Gregory Courtright

The Covell-Ranheim Family

Andrea Cummis

Miranda Danusugondo

Jennifer Dauk

Mary J Davis/MBL Productions

Leslie De Jesus

Francisco de Leon

Susan & Rick Derrickson

Jenni Dickson

Robert Discolo

Dr. Peter & Debra Distler

Dr. Bob Drake

Elizabeth Durante

Robert Dwyer, Jr.

Jay Edelman

David Eiaenhardt

Thomas Ellenson

Lex & Helen Haris

Cristina Enriquez-Bocobo

Patrick Fay

Richard & Andrea Feinsilver

Danielle Ferry

Marc Fink

Geoffrey Flick

Frank Fontana

Katie Ford

Alyson Forde

Dr. Jonathan Foster

Robin Foster

James Joseph Fox, Esq

Lynda Fox Frazer

Abby Gilmore & Arthur Freierman

Susan & Michael Fromm

Christopher Gahl

Alexander Galanos, Orley Granot

Grant Gardner

Judith Mary Gee

Valerie A Gerardi

Michael Ghitelman

Dave Giffen

Barrie Gillies

Dr. Tamara Gillis

Alyse Ginsberg

Matthew Ginsburg

Florence Giordano

Tamara Glenny

Robert Goldberg

Stacy Goldfarb

Elizabeth Gray

Anne Green

Kathleen & James Grendell

Michael Grimaldi

Louise Guarneri

Edmond C. Haase III

The Haggerty Family

Elise Hanes

Peter Harrar

Ali Hart

Brad Hebel

Caroline Heller

Susan Hodges

Persephone Holman

Thomas Holt

George Hopkins

Robin Howald

Cheryl Humes

Bob & Kathy Iuliucci

Jennifer Jackson

Karen Jacobs & Mark Bradley

Jared Jaichon

Michael Jantzen

Jay Jantzer

Spike Jenkins

Mark Joy

Laura Kaminsky, Rebecca Allan

Alexandria Kansao

Rebecca & James Katz

Kristina Kinet

Steffie Kirschner

William Klayer

SUPPORTERS

Riley Knippling

Little Johnny Koerber

Jeff D Kopelman MD

Elizabeth S. Lasdon

Timothy & Mary Lee

Jamie Levey

Debra Levin

Steve Levitan

Neal Levy

Smadar Levy

Stephanie Liang

Susan Lish

Mr. & Mrs. Patrick K. Long

Thomas Lookstein

Deborah Lyons

Cornelia Macfadyen

Sher Madigan, Richard Madigan

Steven & Patricia Madsen

Anne Maltz

Michelle & Dan Mannix

Atea Martin & Allen Honigman

Michael Matishek

Kyle Mauch, Faby Balcazar Suarez

Dr. Lesly A. McAnelly

Dr. Eileen McInerney

Mary Mears

Catherine Menichino

Sara Lynn Michener

Sachyn Mital

Keon Moghaddam

Lisa & Mark Montifiore

Miranda Morrison

Denis Morton

Richard J Moylan

Mathew Neiger

Rick Nelson

Melanie Nelson

James B Nish

Hope Nitsche

Jeffrey Norwalk

Susan Nussbaum

Allison & Edward O’Keefe

Stewart Otley

Edwin Pelto

Donna Pepe

Steven Perlstein

Rick Picardo

Julie Pitman

Andrew & Kelly Pontano

Scott Porter

Kaitlin Powell

The Powers-Brisiel Family

Adrienne Prasso

Michael Price

Philip Pucciarelli

The Rackow Family

Roslyn Richter

Veronica Richter

David Rimmer

Lee Ringelheim

Moldowan-Risch Family

Shelley Risk

Phoebe Robinson

William Rollo

Kristin Romano

Vicki Roosevelt & Rob Jorgensen

Joanne & David Rosen

Amy Roth

David Roth, Annette Bond Roth

Ronald Rotter

Reva Rubin

Brian Rubin-Sowers

Jenna Ryall

Alan Sacks

David Sacks

Shira & Marc Safran

Faith Salie

James Sall

Maureen Salter

Gina Sarno

Maria & Rob Schafer

Adam Schanke

Keith Schneider

Peter Schneider

Cindy & Rich Schulz

Marilyn & Michael Schwartz

Charles Schwartz

Anastasia Mann, Eldar Shafir

Kathleen Shelton

Stefan Sherman

James Siokos

Andrew & Sabina Soloway

Kevin J Spencer

Jason Spiro

A Stein

Michael Steiner

Adam Stepansky

Toby Wiser-Stern & Hal Stern

Sarah Sulkowski

Dr. Steven Sussman

Diane Sweeney

Erin Sweeney

Victoria Sweet

Barbara Takenaga

Martin Tandler

Bruce & Stephanie Temple

Tanya Thonre

Linda Tsang

Betsy Vogel

Ellen Wachtel

Robin Wagge

Sophia Waitword

Allison Warenik-Queenan

Kirsten Wargo

Cory Weiss

Iris Wertheim

Adam Wiener

Richard F Williams

Stanley Wine, Lillian Tang

Dustin Wright

Alan Yacavone

David Yaffe

Robert Zangrando

Thanks for putting art in the heart of the community

Bank of America recognizes The Town Hall for its success in bringing the arts to performers and audiences throughout the community e commend you on creating an opportunity for all to enjoy and share a cultural experience. Visit us at bankofamerica.com/about.

Bank