THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents
HOUSEWRIGHT VIRTUOSO SERIES: ModernMedieval Voices
Jacqueline Horner-Kwiatek, Artistic Director Jacqueline Horner-Kwiatek Chloe Holgate Martha Cluver
“The Living Word”
Wednesday, November 4, 2026 Seven-thirty in the Evening Opperman Music Hall
ng i t r o p p u S e Arts th
850-894-8700
www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303
Claire owner TomWilliamson, Buchanan, owner
PROGRAM O Presul vere Civitatis
Hildegard von Bingen (1098–1179)
O Virtus Sapientie
Hildegard von Bingen
Three-Winged Wisdom*
Daniel Thomas Davis
Meditation*
Jacqueline Horner-Kwiatek
Spiritus Sanctus Vivificans
Hildegard von Bingen
Ave Generosa
Hildegard von Bingen
From the Garden
Pamela Madsen
Caritas Habundat
Hildegard von Bingen
Caritas Habundat*
Caroline Shaw
O Viridissima Virga
Hildegard von Bingen
We Cannot Live* O Jerusalem
Caleb Burhans Hildegard von Bingen
*Commissioned by ModernMedieval
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.
ABOUT THE ARTISTS “They sang exquisitely together, their voices so tightly intertwined that they often sounded as one clear strand…an evening of gloriously clear voices singing exquisitely wrought music spanning centuries.” (Steven Pisano, Feast of Music) ModernMedieval was created by Dr. Jacqueline Horner-Kwiatek, a member of the worldrenowned vocal quartet Anonymous 4, to explore the worlds of early and new music through lectures, workshops, masterclasses and performances. ModernMedieval Voices is a project based all-female ensemble directed by Jacqueline. She is joined by early and new music specialists for concerts and special projects that combine medieval chant and polyphony with music from later eras and new commissions influenced by the poetry and sonorities of music from the Middle Ages. ModernMedieval Voices takes the vocal techniques developed by Anonymous 4 for singing this repertoire and combines them with a fresh approach to programming that introduces this wonderful music to new audiences. The ensemble gave a triumphant debut performance at the Metropolitan Museum of Art in NYC performing the Hildegard chant “O Jerusalem” as part of the Al-Quds:Jerusalem concert with MetLive Arts, described by Heidi Waleson of The Wall Street Journal as “exquisitely sung.” MMV has given performances at The National Museum for Women in the Arts in D.C., The Virginia Arts Festival, VA and the Ecstatic Music Festival in NYC, which was broadcast live on WNYC NewSounds Live, hosted by John Schaefer. The ensemble has also given residencies and performances at Notre Dame University, East Carolina University NewMusic Initiative, University of Tampa, FL, Binghamton University, Pittsburgh Dance Project, Liquid Music in Saint Paul, MN, Princeton University Sound Kitchen, Electric Earth Concerts in NH, Early Music Now WI, Dumbarton Oaks, St. Thomas Church NYC and The Cloisters as part of the Metropolitan Museum of Art’s MetLiveArts series. Highlights for 2026 include the ensemble’s first tour of California and a world premiere performance of “Secrets” by acclaimed composer Gregory Spears at the Frick Museum in NYC. ModernMedieval Voices are featured on the award-winning CD To Shiver the Sky with music by composer Christopher Tin, which received its world premiere performance on May 2022 in D.C. The ensemble’s recording of “The Living Word,” their signature program combining chants by Hildegard of Bingen with new works inspired by her, is available for digital download on iTunes, Amazon Music and Spotify. “Although more than eight centuries separate us from this music, ModernMedieval’s approach to Hildegard is above all natural, emphasizing her fluent expressivity in perfect medieval Latin. Hildegard is always a good listen, and juxtaposed with sympathetic contemporary works, her beauties were especially resplendent.” (Patrick Rucker, The Washington Post) www.modernmedieval.org
Dr. Jacqueline Horner-Kwiatek is a former member of the acclaimed vocal quartet Anonymous 4 and is the founder and Artistic Director of ModernMedieval, an umbrella ensemble devoted to developing projects that combine early and new music. She has a reputation as a versatile and accomplished soloist, specializing in early and new music. She has collaborated with many composers including Judith Weir, Karlheinz Stockhausen, Luciano Berio, Orlando Gough, Richard Einhorn, Andrew Toovey, Andrew Lovett, Louis Conti, Daniel Thomas Davis, Gregory Spears, Phil Kline and David Lang, appearing as a guest soloist with many distinguished ensembles including Ensemble Modern Frankfurt, Ensemble Intercontemporain Paris, Washington Bach Consort, Hesperion XXI,Distinguished Concerts International New York. Singcircle, Continuum, Washington Square Contemporary Music Society, Ixion, Dogs of Desire, Ekmeles, S.E.M. Ensemble and the Locrian Chamber Ensemble. She was a featured soloist on the double Grammy Award-winning CD Calling All Dawns. She has sung with English National Opera, The Royal Opera Covent Garden, Opera Factory Zurich and London, Center for Contemporary Opera and American Opera Projects, premiering roles in works by Daniel Thomas Davis, Sir Harrison Birtwistle and Iannis Xenakis, among others, and was the mezzo soloist in the world premieres of The Origin (Richard Einhorn) and Requiem for the Titanic (Philip Hammond). She holds degrees from Queens University Belfast and Columbia University and has a D.M.A in Music History and Performance from The Juilliard School. Jacqueline is also a voice teacher and lecturer: she is on the performance faculty at Princeton University where she teaches voice and directs the Early Music Princeton vocal ensembles as well co-directing the Music Minor program in Consort Singing. Chloe Holgate is a versatile and expressive vocalist whose work spans early music, contemporary repertoire, and interdisciplinary performance. Known for her clarity of tone, stylistic flexibility, and musical sensitivity, she is drawn to music that creates connections across time, genre, and artistic disciplines. A member of ModernMedieval Voices, Chloe loves exploring the connection between medieval chant, polyphony, and contemporary music. She has performed with ensembles including Alarm Will Sound, Lorelei Ensemble, Sonnambula, Mark Morris Dance Group, American Classical Orchestra, TENET Vocal Artists, and Voices of Ascension, and has appeared in projects ranging from Steve Reich’s Music for 18 Musicians at Park Avenue Armory to new works with Prototype Festival. Chloe is also the co-founder, with her sister Lily Holgate, of Sibyl, who released its debut album in 2026, which was featured on NPR’s All Songs Considered, described as “beautiful and haunting and complex.” Through Sibyl, Chloe has developed a passion for arranging and composing distinctive works for women’s
voices, expanding her practice from interpreting music to actively creating the repertoire she wants to hear. Whether performing music from centuries past, collaborating with living composers, or composing her own work, Chloe approaches music with curiosity, precision, and a deep commitment to the expressive possibilities of the voice. Martha Cluver has been an active member of the New York music scene and abroad since 2003. She is an original member of Grammy award winning vocal band Roomful of Teeth, where she frequently performs the music of Pulitzer Prize winners Caroline Shaw and David Lang. World premieres as soloist include works by John Zorn, Caleb Burhans, Emmanuel Nunes, Missy Mizzoli, Ellen Reid, and Shara Nova. Notable operatic roles include works by Vivier, Feldman, Berio, Saariaho and George Benjamin. Cluver is a founding member of ModernMedieval Voices and has performed with Boston Symphony Orchestra, New York Philharmonic, Cincinnati Symphony Orchestra, New York City Ballet, Seattle Symphony, Janáček Philharmonic Orchestra, Remix Ensemble, Prague Modern, LA Phil, L’Instant Donné, International Contemporary Ensemble, Bergen Philharmonic Orchestra (Norway), The Living Earth Show, Pamela Z, Trio Medieval, Pam Tanowitz Dance, Julianna Barwick, BOAC All Stars, American Composers Orchestra, Fifth House Ensemble, So Percussion, and NEXUS Percussion. She has made television appearances with Florence and the Machine, John Cale and The Roots and has performed on the same stage with The Rolling Stones, Glenn Kotche, Merrill Garbus, Tigran Hamasyan, Holly Herndon, Laurie Anderson, and Lou Reed. She resides in New York City with husband and fellow musician Caleb Burhans, and their daughter Fiona. NOTES ON THE PROGRAM ModernMedieval Voices presents a program of chants by Hildegard of Bingen paired with new works inspired by her music and her message. Hildegard of Bingen (1098-1179) is revered as a mystic, a poetess, a composer and a visionary. Her music consists of over 70 chants collectively known as Symphonia armonie celestium revelationum, (Symphony of the Harmony of Celestial Revelations) and a morality play Ordo virtutum, (Play of the Virtues) which includes more than 80 songs. Given to the monastery at Disibodenberg when she was a child, she was placed under the care of the anchoress Jutta of Sponheim, a woman who devoted herself to the teachings of God and to the education of young girls. Over the years the community of women grew under Hildegard and Jutta’s guidance, and upon Jutta’s death in 1136 Hildegard took over as magistra, or leader, of the community.
In 1150, after leaving Disibodenberg, Hildegard and her nuns moved to Bingen and refounded the monastery of Saint Rupert on the Rhine. Hildegard wrote two large-scale chants to commemorate both Saint Disibode and Saint Rupert, O Presul vere Civitatis and O Jerusalem, which begin and end our program. These chants are examples of a sequence, a form of composition common in the twelfth-century consisting of versicles, that is, a verse divided into two parts. Usually both parts of a verse were set to the same melody, with each subsequent verse having a different melody, producing the melodic structure of AA, BB, CC and so on. Hildegard frequently departed from this format, and frequently the second part of each versicle is an elaboration of the material in the first, becoming increasingly inventive as the piece progresses and the poetic stanzas become longer. The three shorter chants, Caritas Habundat, O Virtus Sapientie, and Spiritus Sanctus Vivificans, portray Hildegard’s vision of the Holy Spirit as the Divine Feminine, a being representing Love (Caritas) and Wisdom (Sapientie) who protects and inspires humanity. O Viridissima Virga and Ave Generosa are rapturous hymns portraying the Virgin Mary as the bringer of new life through poetic images of nature’s renewal. – Jacqueline Horner-Kwiatek The five pieces by Daniel Thomas Davis, Pamela Madsen, Jacqueline Horner-Kwiatek, Caroline Shaw, and Caleb Burhans represent each composer’s unique approach to interpreting and reinventing Hildegard’s musical language and philosophy. Davis: Three-Winged Wisdom I’ve imagined a composition that consists of two fundamentally separate musical layers, each informing the other but each with its own distinct language and personality. In one of these musical layers, based on Hildegard’s radiant chant O virtus Sapientie (“O Wisdom’s Energy”), a flowing and twisting melody passes freely between the vocalists. At the same time, a second, slowly pulsing layer of music gradually unfolds over the duration of the piece. In this musical layer, I’ve assembled texts from Hildegard’s mysterious Lingua Ignota, an invented, secret language she devised for reasons that still remain unclear. In an allusion to Hildegard’s idea of earthy wisdom, the first half of this music features consonant-heavy, imaginary words that denote species of trees and plants, while the second half then employs the names of flying birds — wisdom soaring high above the heavens. – Daniel Thomas Davis Horner-Kwiatek: Meditation I have written a short piece inspired by Hildegard’s vision of wisdom and love as embodiments of the Divine Feminine. In one of her visions she describes Wisdom as ‘a figure so bright and glorious that I could not look at her face or her garments for the splendor with which she shone.” (English translation by Mother Columbia Hart). This text forms the basis for a
meditation on the nature and beauty of Wisdom, using drones and melodic motives that are hallmarks of Hildegard’s compositional style. – Jacqueline Horner-Kwiatek Madsen: From the Garden This work is from my multi-media opera We are All Sibyls (2002), commissioned and premiered for the Envisioning the Future Project, with visual artist Judy Chicago, Los Angeles. From the Garden is a contrapuntal weaving and layering derived from the original Hildegard chant Ave Generoso, set to text by Anne Sexton. – Pamela Madsen Shaw: Caritas Habundat This piece is based on the chant you will hear directly before, Caritas Habundat. Caroline experiments with the nature of the words “Caritas Habundat,” meaning “Love abounds,” deconstructing the text and allowing the voices to contemplate the words, and their meaning, through repetition and soaring melodic lines. Burhans: We Cannot Live The text I chose has become attributed to Hildegard in recent years but was written by a writer named Elaine Bellezza. It is an excerpt from her article entitled, “Hildegard of Bingen, Warrior of Light.” – Caleb Burhans TRANSLATIONS O Presul Vere Civitatis O Presul vere civitatis qui in templo angularis lapidis ascendens in celum in terra prostrates fuisti propter Deum.
O dance-leader of the true city, who in the temple with the finial-stone soaring Heavenwards was prostrate on the earth for God.
Tu, peregrinus a semine mundi, desiderasti exul fieri propter amorem Christi.
You, wanderer of the seed of Man, longed to be an exile for the love of Christ.
O mons clause mentis tu assidue pulcram faciem aperuisti in speculo columbe.
O summit of the cloistered mind you tirelessly showed a beautiful face in the mirror of the dove.
Tu in absconso latuisti, inebriatus odore florum, per cancellos sanctorum emicans Deo.
You lived hidden in a secluded place, intoxicated with the aroma of flowers, reaching forth to God through the lattices of the saints.
O culmen in clavibus celi, quod propter perspicuam vitam mundum vendidisti hoc certamen, alme confessor, semper habes in Domino.
O gable on the cloisters of Heaven, because you have bartered the world for an unclouded life you will always, nourishing witness, have this prize in the Lord.
In tua enim mente fons vivus clarissima luce purissimos rivulos eduxit per viam salutis.
For in your mind the living fountain in clearest light courses purest rills through the channel of salvation.
Tu magna turris ante altare summi Dei et huius turris culmen obumbrasti per fumum aromatum.
You are an immense tower before the altar of God and you cloud the roof of this tower with the smoke of perfumes.
O Disibod, in tuo lumine, per exempla puri soni membra mirifice laudis edificasti in duabus partibus per Filium Hominis.
O Disibod, by your light, with examples of pure sound, you have wondrously built aisles of praise with two parts through the Son of Man.
In alto stas non erubescens ante Deum vivum, et protegis viridi rore laudantes Deum ista voce:
You stand on high not blushing before the living God, and you cover all with refreshing dew praising God with these words:
‘O Dulcis vita, et O beata perseverantia, que in hoc beato Disibodo gloriosum lumen semper edfificasti in celesti Jerusalem.’
‘O sweet life, and O blessed constancy, which in this blessed Disibod a glorious light has always been built in heavenly Jerusalem.’
Nunc sit laus Deo in forma pulcre tonsure viriliter operante.
Now praise be to God in the form of the beautiful tonsure working manfully.
Et superni cives gaudeant de his qui eos hoc modo imitantur.
And let the Heavenly citizens rejoice in those who have imitated them in this way.
Caritas Habundat Caritas Habundat in omnia, de imis excellentissima super sidera atque amantissima in omnia, quia summo regi osculum pacis dedit.
Love abounds in all, from the depths exalted and excelling over every star, and most beloved of all, for to the highest King the kiss of peace she gave.
O virtus Sapientie O virtus Sapientie, que circuiens circuisti, comprehendendo omnia in una via que habet vitam, tres alas habens, quarum una in altum volat et altera de terra sudat et tercia undique volat. Laus tibi sit, sicut te decet, O Sapientia.
O Wisdom’s energy! Whirling, you encircle and everything embrace in the single way of life. Three wings you have: one soars above into the heights, one from the earth exudes, and all about now flies the third. Praise be to you, as is your due, O Wisdom.
Spiritus sanctus vivificans Spiritus sanctus vivificans vita movens omnia, et radix est in omni creatura ac omnia de inmunditia abluit, tergens crimina ac ungit vulnera, et sic est fulgens ac laudabilis vita, suscitans et resuscitans omnia.
The Holy Spirit: living and life-giving, the life that’s all things moving, the root in all created being: of filth and muck it washes all things clean— out-scrubbing guilty staining, its balm our wounds constraining— and so its life with praise is shining, rousing and reviving all.
Ave Generosa Ave generosa gloriosa et intacta puella, tu pupilla castitatis, tu materia sanctitatis, que Deo placuit.
Hail, nobly born, hail, honored and inviolate, you Maiden are the piercing gaze of chastity, you the material of holiness— the one who pleasèd God.
Nam hec superna infusio in te fuit, quod supernum Verbum in te carnem induit.
For heaven’s flood poured into you as heaven’s Word was clothed in flesh in you.
Tu candidum lilium quod Deus ante omnem creaturam inspexit.
You are the lily, gleaming white, upon which God has fixed his gaze before all else created.
O pulcherrima et dulcissima, quam valde Deus in te delectabatur, cum amplexionem caloris sui in te posuit, ita quod Filius eius de te lactatus est.
O beautiful, O sweet! How deep is that delight that God received in you, when ‘round you he enwrapped his warm embrace, so that his Son was suckled at your breast.
Venter enim tuus gaudium habuit cum omnis celestis symphonia de te sonuit, quia virgo Filium Dei portasti, ubi castitas tua in Deo claruit.
Your womb rejoiced as from you sounded forth the whole celestial symphony. For as a virgin you have borne the Son of God— in God your chastity shone bright.
Viscera tua gaudium habuerunt sicut gramen super quod ros cadit cum ei viriditatem infundit, ut et in te factum est, O mater omnis gaudii.
Your flesh rejoiced just as a blade of grass on which the dew has fall’n, viridity within it to infuse— just so it happened unto you, O mother of all joy!
Nunc omnis ecclesia in gaudio rutilet ac in symphonia sonet propter dulcissimam Virginem et laudabilem Mariam, Dei Genitricem. Amen.
So now in joy gleams all the Church like dawn, resounds in symphony because of you, the Virgin sweet and worthy of all praise, Maria, God’s mother. Amen.
O viridissima virga O viridissima virga, ave, que in ventoso flabro sciscitationis sanctorum prodisti.
O branch of freshest green, hail, that blooms within the airy breezes of the prayers of saints.
Cum venit tempus quod tu floruisti in ramis tuis, ave, ave fuit tibi, quia calor solis in te sudavit sicut odor balsami.
When it was time you blossomed in your boughs hail, hail to thee, for in you seeped the sunlight’s warmth like balsam’s sweet perfume.
Nam in te floruit pulcher flos qui odorem dedit omnibus aromatibus que arida erant.
For in you bloomed a beautiful flow’r, whose fragrance wakened all the aromas from their arid state.
Et illa apparuerunt omnia in viriditate plena.
They all appeared in full bloom.
Unde celi dederunt rorem super gramen et omnis terra leta facta est, quoniam viscera ipsius frumentum protulerunt et quoniam volucres celi nidos in ipsa habuerunt.
Then rained the heavens dew upon the grass and all the earth was made joyful, for from her womb she brought forth fruit and for the birds in the sky have nests in her.
Deinde facta est esca hominibus et gaudium magnum epulantium. unde, O suavis Virgo, in te non deficit ullum gaudium.
Then was prepared that food for humankind and tidings of great joy for the feast-takers. Then, O sweet Virgin, in you joy can never fail.
Hec omnia Eva contempsit.
All these things Eve chose to scorn.
Nunc autem laus sit Altissimo.
Now let praise ring forth unto the Highest.
O Jerusalem O Jerusalem, aurea civitas, ornata Regis purpura. O edificatio summe bonitatis, que es lux numquam obscurata.
O Jerusalem, golden city, adorned in royal purple; O edifice of highest excellence, who are a light never darkened.
Tu enim es ornata in aurora et in calore solis.
You are resplendent in the dawn and in the heat of the sun.
O beata pureritia, que rutilas in aurora, et o laudabilis adolescentia, que ardes in sole.
O blessed childhood which glimmers in the dawn, and O wonderful time of youth, that burns in the sunlight.
Nam tu, O nobilis Ruperte, in his sicut gemma fulsisti, unde non potes abscondi stultis hominibus, sicut nec mons valli celatur.
For you, O noble Rupert, glittering like a jewel, You cannot be hidden by foolish humans, Just as a mountain cannot be hidden by a valley.
Fenestre tue, Jerusalem, cum topazio et saphiro specialiter sunt decorate.
Your windows, Jerusalem, are wondrously decorated with topaz and sapphire.
In quibus dum fulges, O Ruperte, non potes abscondi tepidis moribus, sicut nec mons valli, coronatus rosis, liliis et purpura in vera ostensione.
In these windows you blaze, O Rupert, and cannot be obscured by the apathy of mortals, just as a mountain cannot be hidden by the valley, crowned with roses, lilies and purple, in a true revelation.
O tener flos campi, et a dulcis viriditas pomi, et o sarcina sine medulla, que non flectit pectora in crimina.
O tender flower of the field, sweet green of the apples, and burden without bitterness, let none stoop to evil.
O vas nobile, quod non est pollutum nec devoratum in saltatione antique spelunce, et quod non est maceratum in vulneribus antiqui perditoris.
O noble vessel which was not polluted nor drained in the dance in the ancient cave, and is not made vulnerable by attacks from the ancient destroyer.
In te symphonizat Spiritus Sanctus, quia angelicis choris associaris, et quoniam in Filio Dei ornaris, cum nullam maculam habes.
The Holy Spirit sings in you, for you belong with the angelic choir, through whom you are honored in the Son of God, having no stain.
Quod vas decorum tu es, O Ruperte, qui in pueritia et in adolescentia tua ad Deum anhelasti in timore Dei et in amplexione caritatis et in suavissimo odore bonorum operum.
What a pure chalice you are, O Rupert, for in your childhood and youth you sighed after God in fear of God, in the embrace of Love, and in the sweetest odor of good works.
O Jerusalem, your foundation O Jerusalem, fundamentum tuum is laid with fiery stones, positum est cum torrentibus lapidibus, being the tax-gatherers and sinners quod est cum publicanis et peccatoribus, who were lost sheep, qui perdite oves erant, sed per Filium Dei invente ad te cucurrerunt but found by the Son of God they ran to you, and were placed in you. et in te positi sunt. Deinde muri tui fulminant vivis lapidibus, qui per summum studium bone voluntatis quasi nubes in celo volaverunt.
Thus your walls blaze with living stones, who by a great effort of good will have flown like clouds into the heavens.
Et ita turres tue, o Jerusalem, rutilant et candent per ruborem et per candorem sanctorum et per omnia ornamenta Dei que tibi non desunt, o Jerusalem.
And so your towers, O Jerusalem, glow and gleam with the redness of dawn and with the incandescence of the saints and with all the treasures of God in which you are not lacking, O Jerusalem.
Unde vos, o ornati et o coronati, qui habitatis in Jerusalem, et o tu, Ruperte, qui es socius eorum in hac habitatione, succurrite nobis famulantibus et in exilio laborantibus.
Whence you, O adorned and crowned ones who live in Jerusalem, and you, O Rupert, who are their companion in that dwelling, help us, who are serving and laboring in exile.
The English translations of Hildegard von Bingen are used and adapted with permission from the translators Nathaniel Campbell and Barbara Newman.
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Jane A. Hudson Louise B. Jones William E. and Dee Jones Felecia Jordan Jackson Steve Kelly John Mac Kilgore Paige McKay Kubik Keith and Mary Ledford Jane LeGette Eric Lewis Charlotte Malone Arunima Mandal Patricia Martin Jeanmarie Perri Morton Lealand and Kathleen McCharen Landon and Amber O’Connell Dr. Jeanne O’Kon Drs. L. O’Neil and S. Alston Rod Oldenburg Thomas Parrish Becky Parsons Michelle Peaceman Jeff Poole Maria Rodas Anamika Roy Sanford A. Safron Kim and Randy Shively Sue Sokoll Sudarat Songsiridej and Mary Schaad Susan P. Stephens Anne Stevenson Fernando Roberto Teson C. Richard and Phrieda L. Tuten Steve Urse Janie W. Weis Karen Wensing
Lifetime Members Willa Almlof Florence Helen Ashby Mrs. Reubin Askew Tom and Cathy Bishop Nancy Bivins Ramona D. Bowman André and Eleanor Connan Russell and Janis Courson J.W. Richard Davis Ginny Densmore Carole Fiore Patricia J. Flowers Hilda Hunter Julio Jiménez Kirby W. and Margaret-Ray Kemper Patsy Kickliter
Anthony M. Komlyn Fred Kreimer Beverly Locke-Ewald Cliff and Mary Madsen Ralph and Sue Mancuso Meredith and Elsa L. McKinney Ermine M. Owenby Mike and Judy Pate Laura and Sam Rogers Dr. Louis St. Petery Sharon Stone Donna C. Tharpe Brig. Gen. and Mrs. William B. Webb Rick and Joan West John L. and Linda M. Williams
Corporate Sponsors Beethoven & Company Business Sponsors WFSU Public Broadcast Center
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 850-645-5453.
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.