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         Cornerstones is a 4Tay Records Release, CD 4051
         © 2015 and 2016 by C4
            Warning: Copyright subsists in all recordings issued under this label.

Our Second CD Release
Volume 2: Cornerstones

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C4 Volume 2: Cornerstones is named for the outstanding 2015-16 (11th) C4 season from which all of the repertoire was selected.

It was recorded December 5 and 12, 2015 and March 31 and April 2, 2016 at Dubway Studios in New York City and digitally mastered in July, August, and September of that same year.  The release took place on Nov. 11, 2016

We wish to thank our producer, James Bassi and Recording Engineer (and C4 Member) James Bilodeau for their tireless work on the creation of this record; like all things C4, a labor of love.




Images by Judith Turner
Courtesy of Vincent FitzGerald & Co.


See Our Review from Fanfare e-Magazine
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C4 Volume 2: Cornerstones

Full MP3 Album (13 tracks) $12.00
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Saylor - The Spheres at Play, All Three Movements - MP3 $2.97
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Saylor - The Spheres at Play, Mvmt 1 - There Came a Wind Like a Bugle - MP3 $0.99
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Saylor - The Spheres at Play, Mvmt 2 - Put Up My Lute - MP3 $0.99
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Saylor - The Spheres at Play, Mvmt 3 - Musicians Wrestle Everywhere - MP3 $0.99
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Andor-Ardó - Pitter Patter, pitter patter, and then - MP3 $1.49
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Rubinstein - How She Went to Ireland - MP3 $1.49
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Dellaira - The Campers at Kitty Hawk - MP3 $1.49
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Crockett - Daglarym, My Mountains - MP3 $1.49
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Sullivan - Tyger, Tyger! - MP3 $1.49
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Williamson - Tape Recorder - MP3 $1.49
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Sheppard - Love Is Anterior to Life - MP3 $1.49
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Allégories, all three movements - MP3 - $2.98
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Hersant - Allégories - Enfance III - MP3 $0.99
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Hersant - Allégories - Jeunesse III  (vignt ans) - MP3 $0.99
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Hersant - Allégories - Départ - MP3 - $0.99
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The Music on C4 Volume 2: Cornerstones

(in order of appearance on the CD)

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The Spheres at Play by Bruce Saylor on text of Emily Dickinson
1. There Came a Wind Like a Bugle  2:20
2. Put Up My Lute!   2:45
3. Musicians Wrestle Everywhere   2:52
Conductor: Timothy Brown


I wrote “The Spheres At Play” choruses in 2001, in the stand-alone version we hear tonight, in response to a commission from the Nashville Symphony for a chorus and orchestral work, premiered in  April  of 2002. In my libretto for the Nashville piece, these Emily Dickinson poems about music and sound open like “windows” onto my selections from the vast Civil War  visions  of Walt Whitman’s “Proud Music of the Storm.” In Dickinson’s astonishing poetic evocation of the violent  furies  of  nature, of the mysterious sounds emanating from Pharaonic Colossi of  Memnon  which might awaken a fallen beloved, and of her “music of the spheres”—the invisible form of vibrations coursing through both air and matter—the poet  creates  a  sound-world  of her own which I have felt privileged to set to music. These a cappella choruses were given their first performance by The New Chamber Singers in Rome under my direction in 2001. But absolutely nothing  can compare with the intense, committed, and intricately crafted performances by the amazing C4.
—Bruce Saylor

For more information on Bruce Saylor, click (coming soon)



There Came a Wind Like a Bugle

There came a Wind like a Bugle;
It quivered through the Grass,
And a Green Chill upon the Heat
So ominous did pass
We barred the Windows and the Doors
As from an Emerald Ghost;
The Doom’s electric Moccasin
That very instant passed.
On a strange Mob of panting Trees,
And Fences fled away,
And Rivers where the Houses ran
Those looked that lived that Day.
The Bell within the steeple wild
The flying tidings told,
How much can come
And much can go,
And yet abide the World!




Put Up My Lute!

Put Up My lute!
What of my Music!
Since the sole ear I care to charm,
Passive as Granite, laps my Music,
Sobbing, will suit as well as psalm!

Would that the Memnon of the Desert
Teach me the strain
That vanquished Him
When He surrendered to the Sunrise.
Maybe that would awaken them!
Musicians Wrestle Everywhere

Musicians wrestle everywhere:
All day, among the crowded air,
I hear the silver strife;
And—waking long before the morn--
Such transport breaks upon the town
I think it that “New Life”!
It is not Bird, it has no nest;
Nor Band, in brass and scarlet dressed,
Nor Tambourine, nor Man;
It is not Hymn from pulpit read,--
The “Morning Stars” the Treble led
On Time’s first Afternoon!
Some say it is the Spheres at play!
Some say that bright Majority
Of vanished Dames and Men!
Some think it service in the place
Where we, with late, celestial face,
Please God, shall Ascertain!


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4. Pitter patter, pitter patter; and then 5:09
           by Daniel Andor-Ardó
on text of Zsuzsanna Ardó

Conductor: Timothy Brown
Tenor duo: Mario Gullo and Colin Britt;
Quartet: Martha Sullivan, Melissa Bybee, Nathaniel Barnett, Hayes Biggs



I composed the piece over three years ago, based on a poem by Zsuzsanna Ardó that was in turn inspired by events nearly a century ago. And yet, the narrative has a strong resonance with the ongoing refugee crisis today.

The music follows the story of the character of the Dwarf, which falls into three sections. At first, the Dwarf finds herself caught in a storm that floods the forest and is threatening to drown her. Then, in desperation, she appeals to the Rainbow for refuge: “Will you take me?” And then, we hear the answer: “No. I don’t know you.”

Starting with the “pitter patter” of a summer drizzle, the piece builds and shifts rhythmic gears multiple times before reaching hurricane force.

In this way the music mirrors the process of social exclusion, which can start innocuously and morph imperceptibly into an unrecognizable, tragic new reality.
—Daniel Andor-Ardó

For more information about Daniel Andor-Ardó, click HERE



Pitter patter, pitter patter... And then.
Pitter-patter. Pitter-patter. Pitter-patter.
Then. Then. Then.
Pitter-patter. Pitter-patter. Pitter-patter.
Then. Then. Then.
Pitter-patter. Pitter-patter. Pitter-patter.
Then.
Then the dwarf looked.
Then looked in the puddle.
Pitter-patter. Pitter-patter. Pitter-patter.
Rainbow. Clouds. Trees. Leaves in the puddle.
Gazed at the puddle. Gazed at herself.
Then. Then. Then.
Days, days, days.
Month, months.
And a year and a half.
Came and went.
Pitter-patter. Pitter-patter. Pitter-patter.
One night.
The sky.
Opened... wide.
Wide. Wide. WIDE.
Flood. Flood. FLOOD.


Pitter-patter. Pitter-patter. Pitter-patter.
The sky barked.
Barked an army of scars.
And the scars flooded the forest.
Pitter-patter. Pitter-patter. Pitter-patter.
The dwarf gazed again.
The dwarf gazed at the rainbow.
Pitter-patter. Pitter-patter. Pitter-patter.
Will you take me?

No. Pitter-patter.

Oh, what big nose you have.
Peek-a-boo.
You.
I don’t know you.
Pitter-patter. Pitter-patter. Pitter-patter.
Then. Then. And then.
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5. How She Went to Ireland  5:50  by Joseph N. Rubinstein on text of Thomas Hardy
Conductor: Martha Sullivan


Thomas Hardy’s mysterious poem “How She Went to Ireland” is a short and rhythmic piece about a woman named Dora, who may or may not have boarded a ship for a wintry sea-voyage to Ireland. Hardy does not explain whether the trip actually happened, or whether it was an internal psychological voyage, but the poem implies that either way, the journey was misguided.  To  illustrate the vague and possibly meaningless nature of Dora’s trip, I used musical material that seems to change and evolve on its surface, but which remains rooted in the same fixed harmonies for the majority of the piece. I also made use of thick and heavy voicings to evoke the “drift and darkness” that Hardy so vividly describes.  The “Irish” element  of the poem made its way into the music through a very slow compound meter that  I imagined sounding like a glacial Irish jig.
—Joseph Rubinstein

See Joseph Rubinstein's site HERE
How She Went to Ireland and other select choral works by Joseph Rubinstein are available through See-A-Dot music publishing.


Dora’s gone to Ireland
   Through the sleet and snow;
Promptly she has gone there
   In a ship, although
Why she’s gone to Ireland
   Dora does not know.

That was where, yea, Ireland,
   Dora wished to be:
When she felt, in lone times,
   Shoots of misery,
Often there, in Ireland,
   Dora wished to be.
Hence she’s gone to Ireland,
   Since she meant to go,
Through the drift and darkness
   Onward labouring, though
That she’s gone to Ireland
   Dora does not know.



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6.
The Campers at Kitty Hawk   2:46   by Michael Dellaira with text from John Dos Passos
Conductor: Billy Janiszewski


U.S.A. Stories was completed in 1998 and premiered by Cantori New York, a chorus of 36 members directed by Mark Shapiro. An early version of the second movement “Art & Isadora” was written specifically for and recorded by The New York Virtuoso Singers—in 16 separate parts, a cappella— on CRI several years earlier. Since then it has been performed by both amateur and professional choral groups, including: Conspirare, the Syracuse Vocal Ensemble, The Choral Composer/Conductor Collective (C4), and college choirs such as C. W.  Post, Mesa Community College,  and University of North Florida.

The three sections of U.S.A. Stories—Adagio Dancer, Art and Isadora, and The Campers at Kitty Hawk—are based on texts borrowed from The Big Money, the third novel in John Dos Passos’s trilogy U.S.A.
Dos Passos’s prose style in these portraits of Rudolph Valentino, Isadora Duncan, and the Wright Brothers, like other portraits which   appear   throughout    the    novels, is characterized by long sentences and irregular rhythms, witty alliterations and colloquialisms. As a former rock   musician, I found them appealingly close to the spirit of pop lyrics, but of course without being lyrics at all. (The edited passages are listed below. Words between brackets [ ] are sung at the same time as other passages.) Dos Passos’s portraits of … [the Wright Brothers] represent, for me at least, … the promise   of American progress, a blend of science, utility, and risk.
—Michael Dellaira

For more on Michael Dellaira, click HERE


(text for The Campers at Kitty Hawk)

On December seventeenth nineteen hundred and three Bishop Wright of the United Brethren received a telegram from his boys Wilbur and Orville, who’d gotten it into their heads to spend their vacation in a little camp out on the dunes of the North Carolina coast with a homemade glider they’d knocked together themselves. The telegram read: SUCCESS FOUR FLIGHTS THURSDAY MORNING AGAINST TWENTY ONE MILE WIND STARTED FROM ENGINE POWER ALONE.
     The figures were a little wrong but the fact remains a couple of young bicycle mechanics from Dayton Ohio had designed and flown for the first time ever a practical airplane.
     In those days flying machines were the big laugh of all the crackerbarrel philosophers. They were practical mechanics; when they needed anything they built it themselves.
     They hit on Kitty Hawk on the great dunes and sandy banks that stretch south to Hatteras seaward. Overhead the gulls and swooping terns, fishhawks and cranes flapping across the salt marshes.
     They were alone there and figured out the loose sand was as soft as anything they could find to fall in, taking off again and again from Kill Devil Hill they learned to fly.
     Aeronautics became the sport of the day, congratulated by the czar, crown prince, the King of Italy, King Edward for universal peace.
     [Taking   off   again   and   again  they learned to fly. In the rush of new names the Brothers Wright passed from the headlines: Bleriot, Farman, Curtiss, Ferber, Esnault, Petrie, Delagrange can blur the memory of the chilly December day two shivering bicycle mechanics first felt their homemade contraption soar into the air, above the dunes of Kitty Hawk.]
     [I released the wire that held the machine to the track. The machine started forward into the wind. Wilbur ran at the side holding the wing. The machine started slowly facing twenty seven mile wind, it lifted from the track. Wilbur was able to stay with it until  it lifted from the track after a forty foot run. The course of the flight up and down was erratic, the first flight in the history of the world. The machine carried a man by his own power into the air in full flight forward without reduction  of speed landed at a point as high as that from which it started.]
     [When  these  points  had  been firmly established we packed our goods and returned home, knowing that the age of the flying machine had come at last.]



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7. Daglarym/My Mountains    11:12   by Donald Crockett on text of Katherine Vincent
Conductor: Daniel Andor-Ardó
Soloists: Artemisz Polonyi and Martha Sullivan

Daglarym/My Mountains was commissioned by Volti, Robert Geary,  Artistic  Director,  for  its  30th  Anniversary   season.   The title is drawn  from  folk  music  of  Tuva,  an autonomous republic of the Russian Federation bordering Mongolia. The texts, adapted from folk song lyrics by Katherine Vincent, are the fruit of an excursion to Tuva for linguistic and folk song research  in which Kate took part. These brief poems are evocative of the vast expanses of this country through which nomadic tribes of herdsmen move across the landscape in an eternal seasonal cycle. As a musical basis  for the piece, I used melodic fragments from folk tunes which the poet and violist, Kate Vincent, notated in her journal, and I also listened to a good deal of Tuvan throat singing on recordings, though I didn’t utilize throat singing in this piece. My aim was to be musically evocative, offering multiple textures during the course of the work and showing off the suppleness and color of the 21st-century choral medium. Daglarym/ My Mountains was composed during the summer and fall of 2008 and received its premiere performances by Volti in Berkeley, San Francisco, and Palo Alto on May 15–17, 2009.
—Donald Crockett

For more information on Donal Crockett, click HERE


i. Daglarym
Daglarym, my mountains.
Like cranes flying, gliding in formation,
silently through this nomadic night.

ii. Honash Barypla, bazala. Honash
The yurt has left its echo in the pasture. As the season exhaled the aal moved on. Barypla, bazala.

iii. Daglarym
Daglarym, my mountains.
Youth recalled from your whisperings. Remembering cliffs where goats were herded by moonlight
under your gaze.

iv. Honash Honash. Barypla, bazala.
The land mourns the sounds of children Herding goats across the plain.
Barypla, bazala.
The land mourns the sounds of children
And the heat of a fire which warms the chai.

v. Daglarym
Daglarym, my mountains.
Climbing toward twilight beyond the plains of Saryglyg,
The child runs with the herd, invisible. You bear our mortality,
and our aal moves on. Daglarym.
The child runs with the herd, Invisible in this nomadic night.

Tuvan words in the text:                  daglarym (“my mountains”)                 barypla (“going”)               bazala (“once again”)
honash (“the flattened circle in the grass  left by the departed yurt after the nomads have moved on”)              aal  (“a nomadic encampment of several yurts”)
Saryglyg (as in ‘the plains of Saryglyg,’ “a yellow-ful place”)


Translations and transliterations of Tuvan words provided by K. David Harrison.



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8. Tyger, Tyger!   3:48   by Martha Sullivan on text of William Blake
Conductor: Nathaniel Barnett
Soloist: Melissa Wozniak

Blake often used images of blacksmithing as a metaphor for Creation; in his own personal mythology, Los is the blacksmith Creator-God, and sometimes a stand-in for Blake himself. Such a god would naturally forge a creature as dangerous and full of fire as the tiger (the spelling “Tyger”, archaic even in Blake’s day, adds a tinge of danger and mystery). The pivotal question here is “Did he who made the Lamb make thee?”—the music highlights it by setting it at the end of a soaring but slightly slower section for solo soprano. Neither the poem nor the music answers that question, since it’s up to the individual to come to his or her own conclusions. As for the music, I wrote it mostly to be fun to sing. The music had to be challenging but manageable, and it had to have an interesting text. The challenges come from thick harmonies and fleet rhythms. All the notes fall within an unchanging mode (called Lydian Flat 7, or the Harmonic Series Mode), but this mode is a bit unusual and creates a few odd harmonies. Since the mode does not change, I reasoned, the notes should be easy to learn; a steady common-time meter also makes the music manageable, as does a catchy melody. I honored the strangeness of the text by using odd harmonies (the mode allows for minor/major sevenths and augmented/major sevenths) and an unsettled canon at the end, before finishing with a chord that simply lays an E major right on top of a D major chord in the same voicing ... this is a nod to Blake’s ambivalence about beauty and danger being knit into the same sinews by the same Creator. I am very grateful to C4 for its continued engagement with “Tyger! Tyger!”
—Martha Sullivan

For more on Martha Sullivan, see her web site, HERE
Tyger, Tyger! is available through See-A-Dot Music Publishing.



Tyger Tyger, burning bright,
In the forests of the night:
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies,
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?
And what shoulder, & what art,
Could  twist  the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?



What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger, burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?

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9.
Tape Recorder   4:49    by Gordon Williamson
on text of Zoë Skoulding
Conductor: Perry Townsend
Soloists: Melissa Wozniak, Jamie Klenetsky Fay,
Bettina Sheppard, Nathaniel Barnett, Daniel Andor-Ardó


I got to know Zoë Skoulding and her work at a recent artist residency in Paris, where I attended several of her readings. She has a distinctive delivery, almost stream of consciousness, that I found striking but really couldn’t imagine how to set to music. Within a few months I found that the idea of this challenge was still nagging at me, and so I took it up in working on this new piece for the C4 Ensemble. Skoulding’s poem “Tape Recorder” is ripe with clear musical themes and images, but also in its poetic description of sound which, for me, relates back to the particular experience of hearing her readings. In treating her text musically, I have borrowed some techniques from writing tape pieces: focusing on the sounds of consonants and vowels, replicating the depth of sound inherent in the tape medium, as well as using references to cutting, splicing, changes of speed and other elements of tape music. The resulting work is a roughly five-minute soundscape based on a ca. 15- to 20-second imagined reading by the poet, a time-stretch that allows for a closer examination of the various sound moments and images in a reading.
—Gordon Williamson

Get more information on Gordon Williamson, HERE


reel to reel beginning with
your own voice returning un-
like itself heavier and
thicker in rustles and clicks
of words outside the head where
a life may be erased with
its own sound replaying in
another room relatives
freeze up in the occasion
addressing a future that
doesn’t know them or a child
close to mic go on it’s like
a telephone but it won’t
say anything back hello



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10. Love Is Anterior to Life   1:59    by Bettina Sheppard on text of Emily Dickinson
Conductor: Colin Britt

“Love Is Anterior to Life” is part of a larger song cycle of Emily Dickinson poetry settings originally performed at Hunter College’s Lang Recital Hall. Excerpts have since been included in concerts at Lincoln Center’s Alice Tully Hall and at New York City Center.
     The four-line poem appears in Dickinson’s idiosyncratic style of broken textual lines interrupted by dashes. Each line is brilliantly separate and  concise  while allowing a sense of flow and eternity. Sopranos, altos, and tenors are each assigned one line with its own melody and metrical form, which is then repeated throughout. Only the basses sing the entire poem, while the second alto simply sings the word “love.” We feel the choppy nature of the poem with its distinct thoughts, but also the repetitive, eternal cycle of life and death.
—Bettina Sheppard

See more about Bettina Sheppard and her Vocal Arts Studio, HERE
Love Is Anterior to Life is available through See-A-Dot Music Publishing.


Love—is anterior to Life— Posterior—to Death— Initial of Creation, and The Exponent of Breath




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Allégories  by Philippe Hersant on text of Arthur Rimbaud
11. Enfance III  4:40
12. Jeunesse III (vingt ans)  3:51
13. Départ   2:21

Conductor: Colin Britt
Soloists, Enfance III: Lorena Del Mar, Timothy Brown, Karen Siegel, Nathaniel Barnett
Soloists, Jeunesse III: Elizabeth Marker, Timothy Brown, Melissa Bybee, Nathaniel Barnett, Mario Gullo, Martha Sullivan

French composer Philippe Hersant’s music is both mystifying and accessible. His work Allégories, based on three of Rimbaud’s “Illuminations,” captures three varying stages of life in emotional and metaphorical expressions. The first, Childhood, is presented with a string of images observed in the world around us, depicted vividly with the composer’s haunting, nostalgic sound palette. The sound of the clock tolling provides a sonic carpet, over which the voices recite the various images.

The second movement, Youth, uses a repeating, warm refrain of the word “Adagio,” while the solo voices incant recitative-like wisps of the melodies. The movement seamlessly links to the third, moving into a jaunty triplet rhythm at the description of the hunt, which links thematically with the declamatory entrance of the final movement, Departure. In the final portion of the piece, the poet embraces death as the beginning of a new adventure – “departure into new affection and noise!”
—Colin Britt

Learn more about Philippe Hersant, HERE


Childhood III

There’s a bird in the woods, its song makes you stop and blush.
There’s a clock that never chimes.
There’s a hollow with a nest of white creatures. There’s a cathedral that descends, and a lake that rises.
There’s a little carriage abandoned in the copse, or running down the lane, beribboned.
There’s a troupe of little players in costume, glimpsed on the road through the edge of the woods.
There’s someone, at last, when you’re hungry and thirsty, who drives you away.

Youth III
20 years

The instructive voices exiled… physical ingenuousness bitterly stale…Adagio. Ah, the infinite egoism of adolescence, the studious optimism: how full the world was of flowers, that summer! The airs and the forms dying…  A choir, to calm impotence and absence! A choir of glass with nocturnal melodies…
Indeed the nerves will soon be on the hunt.

Departure

Enough seen. The vision was encountered under all skies.
Enough had. Sounds of cities, evening, and in the light, and always.
Enough known. The decisions of life.
—O Sounds and Visions!
Departure  into  new  affection and
noise!


The Ensemble for Cornerstones

Soprano
†Lorena Del Mar
Rebecca Ehren
†Priya Patil
‡Artemisz Polonyi
†Karen Siegel
‡Julie Lauren Stevens
Martha Sullivan
Melissa Wozniak

Alto
Maya Ben-Meir
Melissa Bybee
Jamie Klenetsky Fay
Elizabeth Marker
Karl Saint Lucy
Bettina Sheppard


Tenor
Benjamin Arendsen
Nathaniel Barnett
Colin Britt
Mario Gullo
‡Billy Janiszewski
Perry Townsend

Bass
Daniel Andor-Ardó
Hayes Biggs
James Bilodeau
Timothy Brown
Brian Mountford
David See


† Tracks 4, 8–9, 11–13   ‡Tracks 1–3, 5–7, 10

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              Photos © by Keith Goldstein

2015-2016 "Cornerstones" CD Funders

“Cornerstones” Recording Sponsor
Bruce Saylor & Constance Beavon
Daniel Sigg & Ellen Stafford-Sigg

Cutting-Edge Circle
Kit Smyth Basquin*

Innovative Circle
Susan M. Orzel-Biggs
Ralph Crispino, Jr.
Tammie Murphy
David Wozniak

Creative Circle
Ted and Carol Barnett
Jim Bilodeau
Timothy Brown
Joseph Fong
Americanna Magness
Joan Malczewski





“Cornerstones” Recording Sponsor-$1,000-$4,999
Cutting-Edge Circle-$600-999
Innovative Circle-$350-599
Creative Circle-$125-349
Contemporary Circle-$1-$124
* Friend of C4




Contemporary Circle
Arianne M. Abela
Richard Elder Adams
Isabel Aleman
Nick Allardice
Aaron Alter
Daniel Andor-Ardó
László Andor
Katherine Ardó
Nathaniel Barnett
Maya Ben-Meir
Shareeza Bhola
Michael Biello & Dan Martin
Nina S. Bitton
Vicki Borah Bloom
Michael Blumenfeld
Linda Britt
Jeffrey Brown
Maggie E. Brown
Danielle Buonaiuto
Lisa Burns
Melissa Bybee
Ching Chang
Jessica Chen
Brooke Collins
Michael Dellaira
Adam & Tara Levin Delson
Dr. Alex DeLuca
Mary & David Dreyfus
Hugh & Kathy Klein Eddy
Sue Jacobs Feingold
Kenny Felder
Jessica Foster
Visha Fox
Byron Gibbs*
Mimi Goodman
Beth Gordon
Diane Gottlieb
Martha Minetree Grasty
Catherine Guthrie
Rob Gutmann
Brook Hersey
Rochele Hirsch
Maddie & Joe Hogan
David Hurd
Ling Hsaio
Kamilah Jackson
Jeffrey James
David Keyes
Jordan Kinsey
Janet & Robert Klump
Kermit Komm
Jim & Lynne Kruszka
Miriam & John Lafferty
Patricia Larkin
Cheryl Krugel-Lee & Jacob Lee
The Levin-Delsons
Contemporary Circle (Cont.)
Deborah Linehan
Kellyn Loftus
Donald McCloskey
Maria McCumiskey
Stella McKeown
Angela Menghraj
Mary Meyer
Juliet Milhofer
Mackenzie Millar
Jean K. Monroe & Jay D. Lane
Michele Taft Morris & Kate Dillingham
Ian David Moss & Debby Katz
Brian Mountford
Louis & Sharon Mountford
Ruth Mueller-Maerki
Bernard & Rochelle Natt
Lisa Niedermeyer
Valerie Norton
Tarik O’Regan
Lois & George Orzel
Leslie Palmer
Janet B. Pascal
Robert Paterson
Jane Penn
Helen E. Price
Zahra Partovi*
Eddie Quaid
Bethany Reeves
Debra Rich
Mona Ring
Brett Roelofs
Suzanne & Jonathan Rosenzweig
Joseph Rubinstein
Maria E. Santos
Peter Schmitt
Gail Seiden
Fahad Siadat
Patricia Siegel
Ike M. Silver
Nancy Smardz
Carolyn Smith
Marcia Sofley
Martin & Barbara Solomon
Thomas Stumpf
Martha Sullivan
Anne Thulin*
Mary Ellen Townsend
Socrates James Triantafillou
Bill Tribby
Ludmila Trigos & Paul Judicke
Joseph Upham*
Jennifer Wentworth
Gordon Williamson
Ira Wolfman & Ronda Small
Alice Wu
Ruth Zeiner
C4 is funded in part by:
The New York City Department of Cultural Affairs
NYSCA
The Rea Charitable Trust
C4 is a proud member of:
​
New York Choral Consortium
New York Choral Consortium
Chorus America
C4 Network
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