THE UNIVERSITY OF TEXAS AT SAN ANTONIO
presents
UNFINISHED Schubert's Symphony No. 8 Mozart's Requiem, K. 626
Troy Peters Conductor
Yoojin Muhn Conductor
UTSA Orchestra, Chamber Singers, and Concert Choir Jourdan Laine Howell ................... C r y s t a l J a r r e l l J o h n s o n. . . . . . . . . . . . . . . . . Louis Ramos ................................ Chai-Wei Lee ...............................
soprano soloist alto soloist tenor soloist bass soloist
Thursday, the 28th of April 7:30pm in the
UTSA Recital Hall
UNFINISHED PROGRAM Symphony No. 8 in B minor, D. 759 “Unfinished” I. Allegro moderato II. Andante con moto
Franz Schubert (1797 – 1828)
UTSA Orchestra Troy Peters, conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERMISSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Requiem in D minor, K.626 (completed by Robert D. Levin)
Wolfgang Amadeus Mozart (1756 – 1791)
I. Introitus 1. Requiem aeternam (Soprano and Chorus) 2. Kyrie (Chorus) II. Sequentia 3. Dies irae (Chorus) 4. Tuba mirum (Solo Quartet) 5. Rex tremendae (Chorus) 6. Recordare (Solo Quartet) 7. Confutatis (Chorus) 8. Lacrimosa (Chorus) Amen (Chorus) III. Offertorium 9. Domine Jesu (Solo Quartet and Chorus) 10. Hostias (Chorus) IV. Sanctus 11. Sanctus (Chorus) 12. Benedictus (Solo Quartet and Chorus) V. Agnus Dei 13. Agnus Dei (Chorus) VI. Communio 14. Lux aeterna (Soprano and Chorus) Cum sanctis tuis (Chorus) Jourdan Laine Howell, soprano Crystal Jarrell Johnson, mezzo-soprano Louis Ramos, tenor Chai-Wei Lee, bass-baritone UTSA Orchestra UTSA Chamber Singers and Concert Choir Yoojin Muhn, conductor * Please silence all electronics and refrain from using them during the concert.
CONDUCTORS AND SOLOISTS Troy Peters is Conductor of the UTSA Orchestra and Music Director of YOSA (Youth Orchestras of San Antonio). He has guest conducted many orchestras, including the Oregon Symphony, San Antonio Symphony, Vermont Symphony Orchestra, and Round Rock Symphony. He was previously Music Director of the Vermont Youth Orchestra and Montpelier Chamber Orchestra, and conducted college orchestras at Texas State University and Middlebury College. Among the summer festivals where he has appeared are Curtis Summerfest, the Kinhaven Music School, and the Sewanee Summer Music Festival. Musical America featured Mr. Peters in the 2016 special issue, The MA30 Professionals of the Year: The Innovators. His other awards include a Vermont Arts Council Citation of Merit, the Charles Ives Scholarship from the American Academy of Arts and Letter, and eight ASCAP Awards for Adventurous Programming of Contemporary Music. He holds degrees from the Curtis Institute of Music and the University of Pennsylvania. Yoojin Muhn serves as the Director of Choral Activities at the University of Texas at San Antonio, where she directs the UTSA Chamber Singers, Concert Choir, and teaches choral conducting for both undergraduate and graduate students. Prior to coming to Texas, Dr. Muhn has served as the Artistic Director at Tucson Masterworks Chorale in Tucson, Arizona and directed the Oriana Women’s Chorus and led the Concert Choir as an assistant director at the University of Southern California. She is in high demand as a clinician and guest conductor for All-State and Regional choirs, also served as the choral conducting faculty at Music Across the Pond, a summer music program in England. Dr. Muhn received a Doctor of Musical Arts degree in Choral Music with honors from the University of Southern California, the Master of Music degrees in Choral Conducting from the University of Cincinnati and in Sacred Music from Westminster Choir College where she graduated with distinction, and a Bachelor of Arts degree in Composition from SookMyung Women’s University in Seoul, Korea. Jourdan Laine Howell has performed with Greensboro Opera, Palm Beach Opera, San Antonio Opera, and Amarillo Opera, and is a frequent guest artist for both national and international new music festivals. In 2019, Jourdan Laine gave the world premiere of Douglas Hedwig’s Rowing in Eden: Three Dickinson Songs, a song-cycle written for her by Hedwig. She has performed numerous lead roles including Elvira in Mozart’s Don Giovanni, Susanna in Mozart’s The Marriage of Figaro, and Despina in Mozart’s Così fan tutte. Jourdan Laine has been a guest soloist for Handel’s Messiah, Vivaldi’s Gloria, Haydn’s Creation and Finzi’s In terra pax. A native of San Antonio, Texas, mezzo-soprano Crystal Jarrell Johnson has appeared with numerous musical organizations around the area such as Opera San Antonio, San Antonio Symphony, San Antonio Chamber Choir, Chamber Orchestra of San Antonio, San Antonio Choral Society, Sonido Barroco, Musica Sacra San Antonio, Texas Baroque Ensemble, Alamo Baroque Festival, Mid-Texas Symphony, Musical Bridges, and the Tuesday Musical Club, and was the recipient of the George Cortez Award in Classical Singing from the San Antonio Artist Foundation in 2010. An avid recitalist and chamber musician, she is a member of Deux - Classical Vocal Duo, formed in 2017 with soprano Angela Malek. Ms. Jarrell Johnson has also enjoyed numerous performances as a soloist with symphony orchestras and opera companies around the country including the San Diego Symphony Orchestra, Arkansas Symphony Orchestra, Golden State Pops Orchestra, Bloomington Symphony Orchestra, as well as San Diego Opera, Nashville Opera, Utah Festival Opera and Indianapolis Opera. She holds degrees in Voice from the Jacobs School of Music at Indiana University and from Abilene Christian University.
CONDUCTORS AND SOLOISTS Louis Ramos is a vocal performance major at UTSA. Some of his roles with the UTSA Lyric Theatre include Conrado in Gatzambide’s Una Vieja and Tamino in Mozart’s Die Zauberflöte. Louis is graduating this semester, and will be attending The University of Texas at Austin starting in the fall to pursue his Masters in Opera Performance. Chia-wei Lee (DMA, the Ohio State University) is at home on both the operatic and concert stages. He made his Alice Tully Hall debut as the soloist in the Yellow River Cantata in 2001. His performances of Ford (Falstaff) and Scarpia (Tosca), under Maestro Willie Water conducting, with Martina Arroyo Foundation in New York City have earned him considerable artistic attention. In past seasons, he has portrayed various opera roles including: Tonio (I Pagliacci), Alfio (Caralleria Rusticana), Don Giovanni (Don Giovanni), Danilo (Die Lustig Witwe), Germont (La Traviata), Gianni Schicchi (Gianni Schicchi), Marcello (La Boheme), Monterone (Rigoletto), Bhaer (Little Women, Ohio Premier), Escamillo (Carmen), Ottone (L'incoronazione di Poppea) , Falke (Die Fledermaus), and The Count (The Ghost of Versailles). In past years, Dr. Lee has been appeared in National Symphony Orchestra (Taiwan), Austin Symphony Orchestra, San Antonio Symphony Orchestra, Taipei Symphony Orchestra, Kaohsiung Symphony Orchestra, Jersey Symphony Orchestra, and Evergreen Symphony Orchestra (Taiwan). He also involved with National Associations of Teachers of Singing (NAT) Summer Intern in 2005, and also, as a voice faculty in Amalfi Summer Festival in Italy in 2007. Started from 2009, Dr. Lee organized Asian Young Opera Project, and it’s been held in 5 different cities in Asia. A native of Taiwan, Dr. Lee presently resides in Houston area and he is the associate professor in voice at Trinity University in San Antonio.
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Acknowledgements Special thanks to the following for their ongoing support and dedication to the UTSA Orchestra and Choirs: Dr. Tracy Cowden, Chair, UTSA Department of Music Dr. Stacey Davis, Associate Chair, UTSA Department of Music Naomy Ybarra, Senior Administrative Associate Steven Hill, Administrative Associate Wesley Penix, Events Manager Rolando Ramon, Marketing Coordinator Rebekah Alegria, Jason Guzman, Micah Rosenstein, Marketing and Publicity Mr. Donald Marchand, Music Program Specialist Prof. John Nix, Voice Area Coordinator Dr. Susan Dill, Music Education Area Coordinator Nicole Cherry, String Area Coordinator Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Coordinators Prof. Ron Ellis, Director of Bands Dr. John Zarco, Director of Instrumental Ensembles Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators UTSA Department of Music Faculty Carlos Cruz and Jadee Dovalina, Department of Music Librarians
PROGRAM NOTES SCHUBERT, Symphony No. 8, “Unfinished” Few composers have been more prolific than Franz Schubert. Although he sometimes claimed he struggled to compose, he nonetheless wrote with remarkable speed and fluency, moving straight from one piece to another through most of his far-too-brief career. He completed nearly 1000 works before his death at age 31, including more than 600 songs for voice and piano. Perhaps because he usually wrote quickly, he also left behind dozens of fragments and unfinished pieces. For example, Schubert’s popular “Unfinished” Symphony is not the only one he did not finish—there is another full symphony he left incomplete, as well as fragments of four others. Schubert composed this symphony quickly in the fall of 1822, fully orchestrating the first two movements and making a piano sketch of the third. He began to orchestrate the third-movement scherzo but only completed the first 20 bars. The following year, when Schubert received an honorary degree from the Styrian Music Society in Graz, he sent the manuscript for the first two movements as a thank you gift. Unfortunately, Schubert’s friend, the composer Anselm Hüttenbrenner, who had been asked to deliver the piece to the music society, instead kept it in a drawer in his study for the next 42 years. After a chance remark from Hüttenbrenner tipped him off to the existence of the symphony, the conductor Johann von Herbeck persuaded Schubert’s old friend to let him borrow the score, and in December of 1865—37 years after the composer’s death—the two-movement symphony was premiered to critical acclaim. It has been Schubert’s most frequently performed orchestral work ever since. Why didn’t Schubert finish the “Unfinished” Symphony? It may have been illness, since late in 1822 he contracted syphilis, which would eventually take his life. Some have speculated that he was reluctant to invite comparison to Beethoven, who was finishing his Ninth Symphony the same year. Perhaps Schubert was unsure how to sustain or follow the remarkable character of the first two movements, so unlike any of his previous symphonies. The most likely explanation might be the simplest: the 25-yearold composer might just have been too busy. He was also writing two different operas, the incidental music to the play Rosamunde, and the epic “Wanderer” fantasy for piano around the same time. As other musical ideas came to him and other deadlines loomed, the symphony may have just slipped to the back burner. Regardless of the reason, though, Schubert’s “Unfinished” Symphony holds a beloved place in the repertoire: two beautifully balanced movements, full of memorable tunes and dramatic episodes. Program Notes by Troy Peters
PROGRAM NOTES MOZART, Requiem in D minor, K. 626 In mid-1791, when he was working on The Magic Flute, Mozart was visited by a stranger who commissioned him to write a requiem. He offered Mozart a significant fee—half of it in advance—on the condition that it be anonymous. The secret patron behind the commission was Count Franz von Walsegg, who intended to pass off the work as his own composition in memory of his recently departed young wife. Toward the end of that year, after completing The Magic Flute and fulfilling a late commission for another opera, La Clemenza di Tito, Mozart was able to become fully engaged in writing his requiem. By that time, however, he was seriously ill and needed to dictate some of his composition to an assistant. His friend Benedikt Schack—the tenor who sang Tamino in The Magic Flute—relates that, on the afternoon before Mozart died, the composer had the unfinished manuscript of the Requiem brought to him in bed and sang through the vocal parts with several friends. Schack tells us that Mozart himself sang the alto part but got only as far as the Lacrimosa, at which point he broke into tears and put the score aside. He died during that night of December 5, age 36. COMPLETING THE REQUIEM In the manuscript that Mozart left at his death, only the opening section, the Introit, was more or less complete. Beyond that, nine more sections were sketched; that is, the vocal solo and choral parts plus the orchestral bass line were filled in for the Kyrie through the Hostias, although the famously beautiful Lacrimosa broke off completely after only 8 bars. In these movements, there are just occasional hints at figuration for the orchestra. Missing entirely were the final movements: Sanctus, Benedictus, Agnus Dei, Lux aeterna, and Cum Sanctis tuis. In order to receive the sizable fee for the commission, Mozart's widow Constanze needed to have the score secretly completed and presented as her husband's work. She first turned to Joseph Eybler, a composer and former student who had been well respected by Mozart. Eybler orchestrated some parts of the work but then declined to complete the task for reasons that we can only speculate about. Did he perhaps find it too daunting to work in Mozart's shadow, especially with some movements not even begun? After a couple of other musicians declined the task, Franz Xaver Süssmayr agreed to take it on. Süssmayr had been a family friend and a student of Mozart, but he was considerably less skilled as a composer than Eybler. In order to complete the Requiem, he had to finish the orchestration, extend the fragmentary Lacrimosa into a complete movement, and compose the missing Sanctus and Benedictus from scratch. For the closing Agnus Dei and Communion, he decided to adapt Mozart's own music from the beginning of the work, setting it with the appropriate text for the end of a requiem. Although Süssmayr's work has long been considered the standard completion of the work and is thus the one most frequently performed, it has been controversial for at least 200 years. His effort has frequently been criticized as being weak and un-Mozartean in many passages, for containing basic errors of musical grammar, and for being too thickly orchestrated for a Mozart work, with its extensive instrumental doubling of voice parts. Nonetheless, it is the one version that comes not only from the 18th century but from Mozart's inner circle. It may, for all we know, incorporate some verbal instructions from the composer himself or original sketches that are now lost to us. Indeed, the sections that Süssmayr claimed to be his own (Sanctus and Benedictus) have often been considered too good to be his, considering the quality of his own original music, and are thus suspected of incorporating some of Mozart's instructions. Constanze recalled giving him a "few scraps of music," along with the unfinished manuscript, and her
PROGRAM NOTES sister, Sophie Haibel, claimed that, on the night before he died, Mozart had given Süssmayr directions as to how he wanted the work completed. But these were memories from several decades later, and it is impossible to know how accurate they were or even whether there may have been a wish to make the work more fully Mozart's. Nevertheless, they are additional reasons not to dismiss Süssmayr's work entirely, despite its problems. THE LEVIN VERSION The repairs range from many small details to significant changes in the orchestration, as well as bold left turns in the harmony that have surprised those who know the Requiem in the traditional version. The orchestration, which is new in many places, is more transparent than Süssmayr's, errors in voice leading have been corrected, and awkward harmonic progressions have been made more Mozartean. The Hosanna fugue at the end of the Sanctus has been extended beyond Süssmayr's rather timid effort, giving it proportions more typical of Mozart. Perhaps the most striking new material in this version is the Amen fugue at the end of the Lacrimosa. With Mozart's manuscript breaking off before the end of that movement, Süssmayr brings it to a simple close with the word "Amen." However, in 1963, a sketch in Mozart's hand was discovered that had counterpoint for the opening bars of a fugue, material that appeared to have been meant for an Amen at the end of the movement. Levin has worked the fragment into a completed fugue which, unlike some earlier efforts, remains in a single key throughout, as did Mozart's fugues for similar endings. Perhaps Mozart himself may have done something along these lines, or he may instead have mixed the material with more modern, homophonic music, as he sometimes did in other works—or he might simply have discarded the sketch and ended the Lacrimosa without a fugue. Did Süssmayr mistakenly overlook the sketch, or, as Christoph Wolff has wondered, did he lack the confidence to write a full fugue in a Mozart work? Did Mozart himself decide to discard it? We will probably never know, but Levin has given us a possible way of listening to this movement as an extended piece. At the same time, we feel a tragic sense of loss as this fragment of music passes from the eighth to the ninth bar of the Lacrimosa dies illa ("On that day of tears"), where Mozart's manuscript abruptly breaks off and that of the completion takes over. Program Notes by Martin Pearlman
REQUIEM: TEXT AND TRANSLATION I. INTROITUS 1. 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.
2. Kyrie
Kyrie eleison. Christe eleison. Kyrie eleison.
Grant them eternal rest, Lord, and let perpetual light shine upon them. A hymn is due to Thee, God in Zion, and to Thee a vow shall be paid in Jerusalem: Hear my prayer, to Thee all flesh shall come. Grant them eternal rest, Lord, and let perpetual light shine upon them. Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us.
II. SEQUENTIA 3. Dies irae
Dies irae, dies illa, solvet saeclum in favilla: teste David cum Sibylla.
The day of wrath, that day, will dissolve the world in ashes, as David prophesied with the Sibyl.
Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!
How great a terror there will be when the Judge comes to examine all things with rigor!
4. Tuba mirum
Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.
The trumpet, scattering a wondrous sound through the tombs of every land, will gather all before the throne.
Mors stupebit et natura, cum resurget creatura, judicanti responsura.
Death and nature will stand amazed when creation rises again to answer to the Judge.
Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
A written book will be brought forth in which all will be contained, from which the world will be judged.
Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.
Thus when the Judge takes His seat whatever is hidden will be revealed; Nothing will remain unavenged.
Quid sum miser tunc dicturus? Quem patronum rogaturus? Cum vix justus sit securus.
What shall I say then in my misery? Whom shall I seek as protector, when a righteous man would scarcely be safe?
5. Rex tremendae
Rex tremendae majestatis, qui salvandos salvas gratis, salve me, fons pietatis.
King of dreadful majesty, who freely saves the redeemed, grant me pardon, thou fount of goodness.
6. Recordare
Recordare Jesu pie. Quod sum causa tuae viae: ne me perdas illa die.
Remember, good Jesus, that I am the cause of Thy journey: do not abandon me on that day.
Quaerens me, sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.
Seeking me, Thou didst sit down weary: Thou didst redeem me by enduring the cross: Let not such great pains be in vain.
Juste judex ultionis, donum fac remissionis, ante diem rationis.
Righteous Judge of vengeance, grant me the gift of redemption before the day of reckoning.
Ingemisco, tamquam reus: culpa rubet vultus meus: supplicanti parce Deus.
I groan, like one condemned: My face blushes with guilt: Spare a suppliant, O God.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
Thou who didst absolve Mary and hear the prayer of the thief, to me also Thou hast given hope.
Preces meae non sunt dignae: sed tu bonus fac benigne, ne perenni cremer igne.
My prayers are not worthy: But Thou, O good one, show mercy, lest I burn in the everlasting fire.
Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.
Grant me a place among the sheep, and separate me from the goats, placing me on Thy right hand.
7. Confutatis
Confutatis maledictis, flammis acribus addictis. Voca me cum benedictis.
When the damned are confounded and consigned to the acrid flames, summon me among the blessed.
Oro supplex et acclinis, cor contritum quasi cinis: gere curam mei finis.
I pray, suppliant and kneeling, my heart contrite as if in ashes: Take care of my ending.
8. Lacrimosa
Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus:
That day is one of weeping, on which will rise again from the ashes the guilty man to be judged.
huic ergo parce Deus. Pie Jesu Domine, dona eis requiem.
Therefore spare him, O God. Merciful Lord Jesus, grant them rest.
Amen.
Amen.
III. OFFERTORIUM 9. Domine Jesu
Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu:
Lord Jesus Christ, King of Glory, deliver the souls of all the departed faithful from the pains of hell and from the deep abyss.
libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum:
Deliver them from the lion’s mouth, that hell may not swallow them, and they may not fall into darkness.
sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus.
But may the standard-bearer Saint Michael lead them into the holy light, which Thou didst promise of old to Abraham and his seed.
10. Hostias
Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti, et semini ejus.
We offer unto Thee, Lord, sacrifices and prayers of praise: Do Thou receive them on behalf of those souls whom we commemorate this day: Grant them, Lord, to pass from death to life, which Thou didst promise of old to Abraham and his seed.
IV. SANCTUS 11. Sanctus
Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.
12. Benedictus
Benedictus qui venit in nomine Domini. Hosanna in excelsis
Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest.
V. AGNUS DEI 13. Agnus Dei
Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.
Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them eternal rest.
VI. COMMUNIO 14. Lux aeterna
Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis Domine, et lux perpetua luceat eis.
Let eternal light shine upon them, Lord, among Thy saints forever, for Thou art merciful. Grant them eternal rest, Lord, and let eternal light shine upon them.
PERSONNEL
UTSA ORCHESTRA Troy Peters, conductor VIOLIN I Shawn Demuth, concertmaster Stephanie Westney (UTSA faculty) Keith Beene L.J. Lepovitz Jaymes Edwards Gracie Hende Grace San Juan Jessica Lara Monica Carlos Celia Thomson VIOLIN II Ben Spivey, principal Morgan Jensen Hannah Bradley Stephanie Zapata David Rueda Samantha Uria Karina Elizondo Cynthia Elias Nuñez Tati Muzquiz VIOLA Madeline Gonzalez, principal Allyson Dawkins (UTSA faculty) Jakob Meza Lindee Fiedler Miles Elizondo Lucas Kampe Ruben Montoya Sara Dulaney Jackson Bosenbark Sydney Castillo CELLO Isaiah Valdez, principal Levi Ingraham Sofia Salazar Arguelles Isabella Villalobos Alex Valles Seth Zapata Julia Bent Anthony Jackson Matthew Bice Serena Kallead Valerie Nuñez Martinez
BASS Heriberto Ayma, principal Leonardo Rodriguez Oscar Muñoz FLUTE Carlos Cruz Hayley Walkingstick OBOE Julian Rivera Erin Webber (UTSA faculty) CLARINET Jadee Dovalina Joel Hernandez BASSET HORN Angela Liendo Darion Campbell BASSOON Jared Worman Robin Scheffler HORN Macy Harmison Jerry Gonzalez TRUMPET Regina Seeman Celestino Rodriguez TROMBONE Jayden Zunker-Treviño Xavier Mejia BASS TROMBONE William Regalis TIMPANI Gabe Durand-Hollis Ulysses Ledezma Jacob Vaquera Ezek Zamorano
PERSONNEL
UTSA CHAMBER SINGERS Dr. Yoojin Muhn, conductor David Waterland, graduate assistant conductor Mary Lowder, collaborative pianist SOPRANO I Isabel Alvarado* Victoria Becker Madison Blanco Mariah Martinez Mikaela Nichols
SOPRANO II Greta Glasscock Autumn Riley Kaylee Rios Callan Sramek
ALTO I Sophie Andersen Sean Corbett Stelly Jimenez Alyssa Moreno Simone Remandaban
ALTO II Ariana Bonilla Johanna Kitchen Jessica Morales Azziya Richardson*
TENOR I Ollie Allen Klint Fabian* Lucas Moncada Zoll Louie Ramos
TENOR II Osvaldo Chacon Nick Duran Nick Garza Frank Moran
BARITONE Jared Kellman-Medina Christian Stevens Hector Tobar David Waterland
BASS Kyree Harrison Andrew Kimberly* Alejandro Cuellar
* denotes section leaders
PERSONNEL
UTSA CONCERT CHOIR Dr. Yoojin Muhn, conductor David Waterland, graduate assistant conductor Mary Lowder, collaborative pianist SOPRANO I Bree Bell Elisa Contreras Madeline Gutierrez Alex Sanchez Andrea Tovar Ava Upshaw
SOPRANO II Alania Cordero Krystal Elliston Martha Garcia Alyssa Garza Yajahira Herrera* Francheska Lugo Ana Marinelarena Milena Sousa
ALTO I Valarie Crawford JoLynn Creel Emma Madalina Jazmin Snow
ALTO II Kyanna Clark Stefani Garcia Morgan Jensen* Folayemi Oyeleye Belissa Perea
TENOR I Caitlin Boone Justin Chappell Raphael Mamaradlo
TENOR II Jordan Green* Kainoa Valdez-Salinas Marco Romero Samuel Vargas David Waterland
BARITONE I Blake Bailey* Bennett Bodnar Tayo Dada Matthew Pena Benjamin Telford Joshua Moncana Zoll Antonio Zubillaga
BASS Christian Cortez Mason Day Abraham Gomez Carlos Suttles
* denotes section leaders
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