101620 University Concert Band and University Symphonic Band

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

THE UNIVERSITY CONCERT BAND Steven N. Kelly, Conductor Leslie Kupetz, Graduate Conducting Associate Victoria Russo, Graduate Conducting Associate and

THE UNIVERSITY SYMPHONIC BAND David Plack, Conductor Stephanie DeLuca, Graduate Conducting Associate Rachel Sorenson, Graduate Conducting Associate

Monday, November 16, 2020 Seven-thirty in the Evening Opperman Music Hall

CONCERT BAND Steven N. Kelly, Conductor First Suite in E-flat for Military Band (1909) Chaconne Intermezzo March

Gustav Holst (1874–1934)

This Cruel Moon (2017)

Victoria Russo, Graduate Conducting Associate

John Mackey (b. 1973)

Fu-Mon (1987)

Hiroshi Hoshina (b. 1936) Leslie Kupetz, Graduate Conducting Associate

Sea Songs (1924)

Ralph Vaughan Williams (1872–1958)

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

Thank you for your cooperation.

SYMPHONIC BAND David Plack, Conductor anti-Fanfare (2020)

Andrew Blair (b. 1987)

Mysterium (2011) Jennifer Higdon

(b. 1962) Stephanie DeLuca, Graduate Conducting Associate Irish Tune & Shepherd’s Hey (1916/1918)

Percy Grainger (1882–1961)

INTERMISSION Against the Rain (2014) Roshanne Etezady

(b. 1973) Rachel Sorenson, Graduate Conducting Associate Symphonic Dances (2010) 1. Renaissance Dances 2. Tango 3. Hoedown 4. Spirituals Bon-Odori-Uta 5. Belly Dance

Yosuke Fukuda (b. 1975)

ABOUT THE CONDUCTORS Steven N. Kelly is a Professor of Music Education in the College of Music at Florida State University. He received the Bachelor and Master degrees in music from the University of North Carolina at Greensboro and the Ph.D. in music education from the University of Kansas.

Prior to his appointment at FSU, Dr. Kelly taught in the Virginia public schools, and on the faculties at Brevard College and the University of Nebraska (Omaha). He is an active clinician, adjudicator, consultant, and guest conductor across the United States. His teaching and research interests include sociological issues in music education, teacher preparation, and effective teacher characteristics. Dr. Kelly has published and presented papers in international and national journals, and at state, regional, national, and international conferences. He is the author of the book Teaching Music in American Society: A Social and Cultural Understanding of Music Education. Additionally, Dr. Kelly currently serves on the editorial boards of the Journal of Research on Music Education, Journal of Band Research, Research Perspectives in Music Education, and is the Editor-In-Chief of the Florida Music Director.

At FSU, Dr. Kelly teaches undergraduate and graduate music education classes, conducts the University Concert Band, and coordinates in the music education internship program. Additionally, Dr. Kelly is the Director of the FSU Summer Music Camps, one of the country’s oldest and largest summer music camps.

David Plack was appointed to the wind band conducting and music education faculty at Florida State University in 2004 as the Director of Athletic Bands. His responsibilities in the area of athletic bands include the “world renowned” Marching Chiefs and FSU’s athletic pep band program, Seminole Sound, which primarily supports the men’s basketball program, the women’s basketball and volleyball programs, and provides numerous other performances in support of FSU athletics and the University at large.

Among other responsibilities in the areas of wind band conducting and music education, Dr. Plack assists with the supervision of music education intern teachers, teaches the Marching Band Techniques course, and

conducts the University Symphonic Band. Dr. Plack was recently nominated for the prestigious University Teaching Award for his contributions and work with undergraduate students at FSU. Dr. Plack graduated from Shaw High School in Columbus, Georgia where his high school band director, Timothy Zabel, was a significant influence on his desire to become a music educator. He later graduated with the Bachelor of Arts degree, the Master of Music Education degree, and the Doctor of Philosophy in Music Education degree from the Florida State University College of Music, where he studied with Richard Clary, Patrick Dunnigan, Clifford Madsen, Bentley Shellahamer, and his primary conducting teacher and mentor, James Croft. Prior to his collegiate teaching, Dr. Plack taught seven years at Vero Beach High School alongside James Sammons.

Dr. Plack holds active memberships in the National Association for Music Education, the College Band Directors National Association, the Florida Music Educators Association, and the Florida Bandmasters Association. Dr. Plack is also a member of Pi Kappa Lambda, Phi Mu Alpha, and holds honorary memberships in both Tau Beta Sigma and Kappa Kappa Psi, serving as the faculty sponsor for both organizations at FSU. He currently serves as the President of the Atlantic Coast Conference Band Directors Association.

Dr. Plack is an active drill designer and arranger having provided numerous creative projects for the Marching Chiefs and other athletic band endeavors. He is also an active guest clinician, conductor, and adjudicator.

NOTES ON THE PROGRAM: CONCERT BAND Holst: First Suite in E-flat for Military Band Gustav Holst (1874-1934) was an English composer, arranger, and teacher. He comes from three generations of professional musicians and hoped to become a pianist.

Going against his father, Holst pursued a career as a composer, studying at the Royal College of Music. He was unable to support himself by his compositions, so he played trombone professionally and later became a teacher. He served as musical director at Morley College from 1907-1924 and pioneered music education for women at St. Paul’s Girls’ School where he taught from 1905 until his death in 1934. Apart from The Planets, Holst’s music was generally neglected until the 1980s when recordings of his work were made available.

First Suite in E-flat for Military Band (1909) is now considered one of the masterworks and cornerstones of band literature. Although completed in 1909, the official premier was in 1920 at the Royal Military School of Music at Kneller Hall. Holst ingeniously scored the work so that it could be played by a minimum of 19 musicians, with 16 additional parts that could be added or removed without compromising the integrity of the work. This suite has three movements: Chaconne, Intermezzo, and March. Each movement is founded on the same phrase. The Chaconne is a traditional Baroque form that sets a series of variations over a ground bass theme. The Intermezzo is a quirky, rhythmic, frenzy that contrasts everything that precedes it. The March begins shockingly with a furious trill in the woodwinds articulated by aggressive statements by the brass and percussion. This sets up the lighthearted and humorous mood for the final movement which eventually takes on the more reserved and traditional regal mood of a British march.

Mackey: This Cruel Moon John Mackey (b. 1973) is an American composer of contemporary classical music.

He has written for orchestras such as the Brooklyn Philharmonic and the New York Youth Symphony, theaters such as the Dallas Theater Center, and extensively for dance at the Alvin Ailey American Dance Theater and the New York City Ballet.

The majority of his work for the past decade has been for wind ensembles. His band catalog now receives thousands of performances annually. Recent commissions include works for the BBC Singers, the Dallas Wind Symphony, and university bands across America and Japan. In 2014, he became the youngest composer ever inducted into the American Bandmasters Association. In 2018, he received the Wladimir & Rhoda Lakond Award from the American Academy of Arts and Letters. Mackey currently resides in San Francisco, California.

This Cruel Moon (2017) is an adaptation of “Immortal thread, so weak,” the second movement of Mackey’s Wine-Dark Sea: Symphony for Band. This Cruel Moon is the song of the beautiful and immortal nymph Kalypso, who finds Odysseus near death, washed up on the shore of the island where she lives all alone. Kalypso nurses him back to health and sings as she moves back and forth with a golden shuttle at her loom. The tapestry she began when she nursed him becomes a record of their love.

One day Odysseus remembers his home and tells Kalypso he wants to leave her, to return to his wife and son. Kalypso is heartbroken, unravels her tapestry, and weaves it into a sail for Odysseus. In the morning, she shows Odysseus a raft, equipped with the sail she has made, and calls up a gentle and steady wind to carry him home. Shattered, she watches him go. He does not look back.

Hoshina: Fu-Mon Hiroshi Hoshina (b. 1936) was born in Tokyo and graduated from the city’s National University of Fine Arts and Music as a composition major. His graduating thesis won the Manichi Music Composition Contest. Aside from Fu-Mon, two other works of his have been commissioned for the All Japan Band Contest. In addition, his opera regarding the Hiroshima atomic bomb experience has received world acclaim. He is known as a conductor, clinician, author, and professor at Hyogo University of Education.

Fu-Mon (1987) was commissioned by the All Japan Band Association as a required piece for its 1987 Concert Competition. The title has no special meaning and Hoshina believes the impression of the work is more important than any cultural inference. It is the composer’s wish that performing this piece will be a pleasant and joyful experience.

Vaughan Williams: Sea Songs Ralph Vaughan Williams (1872-1958) was an English composer strongly influenced

by Tudor music and English folk songs. His works include operas, ballets, chamber music, secular and religious vocal pieces, and orchestral compositions including nine symphonies written over sixty years. Vaughan WIlliams was born to a well-todo family with strong moral views and a progressive social outlook. He believed in making music as available as possible to everybody, writing many works for amateur and student performances. Vaughan Williams is one of the best-known British symphonists, noted for his wide range of moods. He composed through his seventies and eighties, producing his last symphony months before his death at the age of eighty-five. His works continue to be a staple of the British concert repertoire.

Sea Songs (1924) was written in 1923 for the following year’s Wembley Exhibition.

Sea Songs is a march medley of three well-known sea shanties: Princess Royal, Admiral Benbow, and Portsmouth. Written in a typical march form with a trio, it was published simultaneously for brass band and wind band, and later transcribed for symphony orchestra. It should be noted that Sea Songs was originally intended to be the final movement of Vaughan Williams’s Folk Song Suite. The work was composed for the Royal Military School of Music at Kneller Hall.

– Notes on the program compiled by Leslie Kupetz and Victoria Russo

SYMPHONIC BAND Blair: anti-Fanfare Andrew Blair (b. 1987) is a percussionist and composer who is currently pursuing the master’s degree in conducting from the University of Georgia. Prior to his appointment at UGA, Mr. Blair taught on the middle, high school, and collegiate levels for eight years in North Carolina.

The inspiration for anti-Fanfare came during a lesson with Cynthia Johnston Turner where we were studying works for winds and percussion with atypical instrumentation. At the end of the lesson, we concluded that there was a gap in the repertoire for a short, exciting concert opener for woodwinds and percussion. I was particularly inspired by her “commission” that day: “You should write one, you know, an anti-fanfare.” anti-Fanfare opens with a typical fanfare motive, but listeners will notice that the similarities end there. The piece employs the full complement of the woodwind and percussion sections (plus piano) in contrast to centuries of brass/orchestral fanfares. The typical stately cadence has been replaced by a quick ¾ meter, with the language of the piece inspired by the composer’s forays into contemporary jazz fusion and electronica. All of this, while giving the brass a well-deserved break.

– Andrew Blair Etezady: Against the Rain Roshanne Etezady (b. 1954) is a modern composer of contemporary classical music.

Etezady began her musical studies on piano and flute, but was inspired to explore composition after seeing Philip Glass and his ensemble perform on Saturday Night Live as a teenager. Since then, she has gone to have works commissioned by numerous ensembles and organizations across the United States and Europe. Although currently working as a lecturer at the University of Michigan, Etezady has also taught at Interlochen Arts Camp, Yale University, Saint Mary’s College, and the Crane School of Music at SUNY Potsdam. She holds degrees from Northwestern University, Yale University, and the University of Michigan.

Against the Rain (2014) is a slow, contemplative work, full of lush harmonies and contrasting dynamic ranges. The piece opens with a pensive saxophone soli with marimba accompaniment before rising to a powerful climax near the end of the piece. The piece concludes with a soaring trumpet melody. Throughout the piece,

the listener will hear unique instrument pairings which serve to create distinctive harmonic timbres. According to the composer, the piece was based off of a choral work written as a part of a set of songs based on poems by Edna St. Vincent Millay.

Grainger: Irish Tune and Shepherd’s Hey Percy Grainger (1882-1961) was a piano prodigy turned composer who was known for his strange personal habits, his colorful prose, and his equally unusual music.

Born in Australia, he began studying piano at an early age. He came to the United States at the outbreak of World War I and enlisted as an Army bandsman, becoming an American citizen in 1918. He went on to explore the frontiers of music with his idiosyncratic folk song settings, his lifelong advocacy for the saxophone, and his Free Music machines which predated electronic synthesizers. His many masterworks for wind band include Lincolnshire Posy, Molly on the Shore, Children’s March, and Colonial Song.

The Irish Tune (1916) is based on a tune collected by a Miss J. Ross of New Town, Limavaday, County Derry, Ireland, and published in The Petri Collection of Ancient Music of Ireland in 1885. The original setting was an a cappella version for mixed voices, which was much admired by Edward Grieg, with whom Grainger developed a strong friendship. Grainger’s knowledge of instrumental voicings lends a richness to the sound and a blending of the interwoven melodies. The score is unique in that the principal melody is found on the top staff even though written in bass clef.

Shepherd’s Hey was scored for wind band in 1918. The word ‘hey’ denotes a particular figure in Morris Dancing. Morris Dances are still danced by teams of ‘Morris Men’ decked out with bells and quaint ornaments to the music of the fiddle or ‘the pipe and tabor’ (a sort of drum and fife) in several agricultural districts in England. The tune of Shepherd’s Hey is similar to the North English air ‘The Keel Row’ that is very widely found throughout England. The ‘hey’ involves the interweaving of generally two lines of dancers, which may be symbolized by the use by Grainger of two parallel lines of music at the opening of the composition, rather than a simple statement of a theme that then moves into variants.

Higdon: Mysterium Unlike most composers, Jennifer Higdon (b. 1962) did not begin studying or listening to classical music until she was a teenager. She taught herself flute when she was fifteen and played in her high school’s concert band in Tennessee. She heard very little classical music before she went to Bowling Green State University to major in flute performance and did not begin studying composition until she was 21 years old.

Higdon claims that her late exposure to classical music had an important effect on her style: “Because I came to classical music very differently than most people, the newer stuff had more appeal for me than the older.” Higdon’s music is clearly written in a modern style, featuring interesting combinations of instruments. Although written in a modern style, Higdon’s music relies heavily on traditional sounds and structures. Higdon’s unique combination of old and new is very popular. Her music is traditional enough for the audience to understand and enjoy, but original enough that the audience and orchestra are exposed to something new and challenging.

Mysterium (2011) was commissioned by Scott Stewart (Emory University Wind Ensemble) and Scott Weiss (University of South Carolina Band). Higdon writes: “Mysterium is a tribute to the wonderful mystery of how music moves us. Perhaps it is the unexplainable that creates such magic, for both the performer and the listener, but there is no denying the incredible power of a shared musical experience.” Mysterium is the composer’s own wind transcription of her sacred choral work, O Magnum Mysterium, and incorporates an ancient medieval liturgical tradition and presents it in a modern, yet approachable compositional language.

Fukuda: Symphonic Dances Yosuke Fukuda (b. 1975) is a Japanese composer and oboist. He began writing music at age 11, first with small compositions and arrangements with the help of the multimedia capabilities of his computer. By age 12, he was arranging works by Claude Debussy for synthesizer. In middle school, he became familiar with band instruments and wrote his first piece for wind band. In high school, he served as director of the drama club, and upon graduation, began producing music for theatre, dance, cinema and television. He is currently an active conductor, lecturer, and composer in the wind band field.

Symphonic Dances for Wind Orchestra (2010) was commissioned by the Central Band of the Japan Air Self Defense Force. The suite’s five movements present “dances of the world.” While the energetic quality and spirituality of each dance should be captured, the collection is still intended to entertain. Each movement is complete and can be performed accordingly.

I. Renaissance Dances: An homage to European flavor and style from the time of Gervaise, Susato and Praetorius. After the introduction, the steps of courante, pavane, galliard, and branle appear.

II. Tango: This section is more an earthy and piquant Argentine romance than an elegant continental tango.

III. Hoedown: Here is the scene of the rodeo and a free-spirited Western swing feel.

IV. Spirituals Bon-Odori-Uta: This is a requiem on the Bon-Okuri ceremony guiding ancestors back to the spiritual world. The initial piccolo motif repeats a chant in the rhythm of bon odori (a bon dance) and develops as a variation on Owara-bushi, a beautiful folk song from Toyama prefecture. The traditional bon odori have evolved into summer festival entertainment.

V. Belly Dance: The belly dance is typically Arabic, its music performed by strings and drums, played with passion and flamboyance and a sense of bacchanalia and abandon, as well as a heavy sense of rhythm. – Notes on the program compiled by Stephanie DeLuca and Rachel Sorenson

University Concert Band Personnel Steven N. Kelly, Conductor Leslie Kupetz and Victoria Russo, Graduate Conducting Associates Flute Carissa Kettering* Kylie Boschen Samantha Kosowiec (piccolo) Oboe Anisa Herbert* Jessica Bellaire Meghan Saueressig Alice Frisch Bassoon Keegan Younkin-Hicks* Callie Breeding B-Flat Clarinet Alexei Kovalev* Jalen Smalls Mark Stevens Abby Johnson Cierra Cooks

Bass Clarinet Brittany Gummerman Saxophone Mackenzie Meiers Mclaine Milfort Alexander Krynski Benjamin Diaz Tenor Saxophone Pauly Herrera Ryan Hill Baritone Saxophone Felecia Foster Trumpet Israel Martinez Travis Cain

Horn Naomi Murray* Ian Belloise Emily Allred Trombone Taylor Haworth* Romie Edenfield Kyle Krogol Peter Fasano Euphonium Shane O’Leary Tuba Matthew Morejon Percussion Gustavo Barreda Jacob Dell Sam LaConte

* Principal Player

University Symphonic Band Personnel David Plack, Conductor Stephanie DeLuca and Rachel Sorenson, Graduate Conducting Associates Piccolo Adeline Belova

Bass Clarinet Andres Delgado

Flute Emily Peterson* Yolanda St. Fleur Renee Roberts

Alto Saxophone Justin Graham Brian Hanson Evan Blitzer

Oboe Alex Rushe Veronica Jacob Juseliz Lefebre

Tenor Saxophone Marshall Knapp

Euphonium Joshua Stambaugh

Baritone Saxophone Ethan Horn

Tuba Daniel Sullivan

Trumpet Thana Rangsiyawaranon Marin Kelly

Percussion Jake Graff James Wolff

Bassoon Morgan Meese* Eduardo Ambris Clarinet Joshua Collins Carly Davis Maia Ruiz Marques Rudd Cyrus Paul

Horn Julia Freeman* Adam Agonoy Luis Oquendo Jordan Fraze

Trombone Will Roberts Connor Stross Dominick Delgado Bass Trombone Kevin Li

* Principal Player

UNIVERSITY MUSICAL ASSOCIATES 2019-2021 Gold Circle Drs. Charles and Sharon Aronovitch * Tom Denmark Avon and Louie Doll Patrick and Kathy Dunnigan Maximilian and Gale Etschmaier Kevin and Suzanne Fenton Fred and Linda Hester Glenn Hosken

Jelks Family Foundation * Emory and Dorothy Johnson * Bob Parker Jerry and Ann Price * Charles and Persis Rockwood Jim and Betty Ann Rodgers Francis and Karen Skilling Bret Whissel Benefactors

* Tom and Cathy Bishop Karen Bradley * Jimmie and Donna Callaway DeLos F. DeTar Richard Dusenbury and Kathi Jaschke John and Mary Geringer COL Reid Jaffe and Ms. Susan Z. Cornwell

Claire Kelly Michael and Judy Sheridan Dr. James C. and Elizabeth Smith Michael and Jennifer Thrasher Bill and Sally Wendt * Teresa Beazley Widmer

Lifetime Members Marilynn Wills Kathy D. Wright Les and Ruth Ruggles Akers John and Willa Almlof Florence Helen Ashby Mrs. Reubin Askew Nancy Bivins Ramona D. Bowman André and Eleanor Connan Russell and Janis Courson * Ginny Densmore Nancy Smith Fichter and Robert W. Fichter Stan and Carole Fiore Patricia J. Flowers Jane E. Hughes Hilda Hunter Julio Jiménez Kirby W. and Margaret-Ray Kemper Patsy Kickliter

Anthony M. and Mallen E. Komlyn Sally and Fred Kreimer Beverly Locke-Ewald Ralph and Sue Mancuso Meredith and Elsa L. McKinney Ermine M. Owenby Mike and Judy Pate Jane Quinton David D. Redfield Laura and Sam Rogers, Jr. Connie Sauer-Adams and Len Adams Jean T. Souter Drs. Louis and Julia St. Petery Sharon Stone Elaine Swain Catherine Tharpe Brig. Gen. and Mrs. William B. Webb Rick and Joan West John L. and Linda M. Williams

Corporate Sponsors Beethoven & Company Peter Boulware Toyota

Business Sponsors WFSU Public Broadcast Center

Sustainers * Marc and Kathryn Hebda Kathryn M. Beggs Greg and Margo Jones James and Rochelle Davis Annelise Leysieffer Floyd Deterding and Kelley Lang * Lisa and John Rutledge Diane and Jack Dowling Dr. Gayle and Dr. Douglass Seaton Grady Enlow and June Dollar William Fredrickson and Suzanne Rita Byrnes Denise Von Glahn and Michael Broyles Larry Gerber

Sponsors Joyce Andrews Tom and Christine Ballinger Patricia and Buddy Barker Marty Beech Greg and Karen Boebinger John and Eileen Boutelle Kathryn Karrh Cashin Pete and Bonnie Chamlis Causseaux-Young Robert and Linda Clickner Malcolm Craig Jim and Sandy Dafoe Margaret and Russ Dancy Joy and James Frank Bryan and Nancy Goff John and Pat Goldinger Marylee and Tina Haddon Louis V. and Kathryn T. Hajos Ocie and JoElla Harris Myron and Judy Hayden Dottie and Jon Hinkle Todd Hinkle Jonathan Jackson and Greg Springer

Alexander and Dawn JimÊnez Alan R. Kagan, MD Howard Kessler and Anne Van Meter Dennis G. King, Esq. Jeff and Nancy Lickson Linda and Bob Lovins William and Gayle Manley Helen and Tom Martineau Robert and Patricia McDonald Frank and Francesca Melichar Walter and Marian Moore Ann W. Parramore Robert and Caryl Pierce JoAnne and David Rasmussen Stephen and Elizabeth Richardson Dottie Roberts and Doug Bruce Ken and JR Saginario Annelise Sapp Bill and Ma’Su Sweeney Susan and Stephen Turner David and Jane Watson Michael and Patricia Wilhoit Candy and Barbara Williams

Associates Sam and Norma Adams Jayme Agee Victoria Alberton Patricia Applegate Jim and Kitty Ball Karl and Melissa Barton Hillman and Lin Brannon Harriet R. Chase Margaret A. Chase David and Mary Coburn Carla Connors and Timothy Hoekman Joan and Dave Custis Dr. Bob Cutlip * J. W. Richard Davis David Dickel John Dozier and Martha Paradeis Sena and Jody Finklea Betty Foltz Gigi Foster and Betty Serow Dr. Nancy Fowler Mildred L. Fryman and W. V. McConnell Jean Fuller Debbie Gibson Laura L. Glenn Deborah W. Glotzbach Harvey and Judy Goldman Sue Graham Margarita H. Grant Mary Anne Gray and Marcia Humphress Brenda Grindstaff and Steven Ferst Miriam R. Gurniak Mary Stuart Hartmann Donna H. Heald Madeleine Hirsiger-Carr Karolyn Holmes O. Dean Kindley Joseph Kraus Sylvia and John Labie Charles and Dian LaTour

Ellen Lauricella William and Debora Lee John D. Lucasse Daniel and Arlene MacDonald Jerry and Terri Mast Jerry V. McBee Lealand and Kathleen McCharen Mr. and Mrs. Joe McGlothlin Leo L. Minasian, Jr. Marjorie M. Morgan Deborah Morningstar and Max Thompson The National Orchestral Association Karen Randolph Robert Reardon / Janet Lenz David Reed Mark and Cynthia Repasky George Riordan and Karen Clarke Sanford Safron Drs. David and Winnie Schmeling Gerry Shubrick Sudarat Songsiridej and Mary Schaad Alice Spirakis Ted and AndrĂŠa Stanley Rick and Carole Stewart Joyce and Joe Toman Park and Linda Trammell C. Richard and Phrieda L. Tuten Steve Urse Vic and Mary Helen Venos Stephan von MolnĂĄr Scott and LaDonna Wagers Tom and Janie Weis Karen Wensing Erin Werner Adelaide Whitaker Barbara Wood Jeff Wright Doug Wussler

*University Musical Associates Executive Committee

Don Beeckler Norma T. Benton Mary S. Bert Carl and Marcia Bjerregaard Paul and Alice Blackhall Kip and Joan Carpenter Adele Cunningham Mrs. Joseph C. D’Annunzio Pamala J. Doffek John S. and Linda H. Fleming Nicole Folkert Dr. Fred Frank L. Kathryn Funchess Bruce and Luisa Gillander Ruth Godfrey-Sigler Julie Griffith Jerry and Bobbi Hill Anne R. Hodges Sally and Lincoln Jarrett Judith H. Jolly J.F. and Barbara Jones Frances Kratt / Judith Flanigan John and Marty Larson Donna Legare and Jody Walthall Joan Macmillan Alan and Marilyn Marshall Emoryette McDonald Michael and Joanne Mendez Mike and Pat Meredith

Patrons Ann and Don Morrow Drs. William C. Murray and Toni Kirkwood-Tucker Albert and Darlene Oosterhof Mr. and Mrs. Clyde Palmer Chris and Cyndi Panzarino Ann E. Parker Karalee Poschman and Jana Sterling Gloria Priest Penny Ralston and Chester Davis Amy Recht Edward Reid Nancy Stone Ross John and Carol Ryor Paula S. Saunders Jeanette Sickel Carey Smith Pat St. Angelo Richard Stevens Lee and Ramona Stewart Judy and Mike Stone James Streem George and Jackie Sweat Marjorie Turnbull Dr. Ralph V. Turner Paul Van Der Mark Sylvia B. Walford Geoffrey and Simone Watts Art Wiedinger

The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 644-4744.

The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.