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I Am/We Are Westminster Chapel Choir Nicole Aldrich, conductor Jihye Park, collaborative pianist Makiah Robinson, graduate assistant conductor Daniel J. Piver, graduate assistant conductor

Friday, October 30th at 7:30 p.m. Gill Memorial Chapel Rider University 2083 Lawrenceville Road, Lawrenceville, N.J. Please note the unauthorized use of any recording device, either audio or video is prohibited by law. Out of courtesy to the performers and everyone in the audience, please refrain from using cell phones and electronic devices.

Rider University gratefully acknowledges the generous support of: Michael T. '89 & Susana Santaguida '89 Gummel for their support of our Rider Friend of the Arts patron program.

Program We Are a Circle

Rick Hamouris arr. Joan Szymko (b. 1957) Reese Bennett, Rachael Mann, Emmary McLaughlin, Daniel Piver, Noley Schenck, percussion

••• To Sit and Dream

arr. Rosephanye Powell ‘87 (b. 1962)

An Wasserflüssen Babylon Michael Praetorius (1571-1621) Makiah Robinson, graduate assistant conductor Part of Me Hurtling Toward

Dale Trumbore (b. 1987)

••• i carry your heart

John Duke (1899-1984) Jasper Fernandes, mezzo-soprano

Mandoline Gabriel Fauré (1845–1924) from Cinq mélodies de Venise, Op. 58, No. 1 Allison Alexis-Goulbourne, soprano Saper vorreste Giuseppe Verdi (1813-1901) from Un ballo in maschera Noel Marootian, soprano

••• Wild Embers

Melissa Dunphy (b. 1980)

i am

B. E. Boykin MM ‘13 (b. 1989)

••• An April Day

Florence Price (1887-1953) Sophia Morrone, soprano

Diaphenia

Dominick Argento (1927-2019) Caressa Meglino, soprano

••• L’Amicizia Heart of Gold

Faustina Hasse Hodges (1823-1895) Jocelyn Hagan (b. 1980) Daniel J. Piver, graduate assistant conductor

The Moment We Choose Ayo Awosika (b. 1984) Mary Page-Hoffman, mezzo-soprano Jasper Fernandes, mezzo-soprano Franziska Meyer, soprano Lucy Grath, soprano Noley Schenck, soprano Kasey Hoskins, soprano Emmary McLaughlin, soprano

Program Notes, Texts & Translations Program notes by Nicole Aldrich except where noted. WE ARE A CIRCLE

Rick Hamouris, arr. Joan Szymko

Pagan composer Rick Hamouris wrote “We Are a Circle” as a way to cast a sacred circle at the beginning of a ritual. Replete with symbolism, the song evokes the four directions and the four elements (Air, Fire, Water, and Earth). Hamouris writes, “I’ve given this song up into the folk process in the hope that people will make it their own.” In her arrangement of this song, American composer Joan Szymko uses percussion and varying textures to provide energy and forward movement. As our concert begins, “We Are a Circle” draws all of us together—performers and listeners alike—as we consider who we are as individuals and in community. In the words of Rick Hamouris, “Just add participants and simmer until done.” We are a circle within a circle with no beginning, and never ending. You hear us sing, you hear us cry, now hear us call you, spirits of Air and Sky. Inside our hearts there glows a spark, love and desire, a burning Fire Within our blood, within our tears, There lies the altar of living water. Take our fear, take our pain Take the darkness into the Earth again.

The circle closes between two worlds To mark this sacred space where we come face to face. We are a circle within a circle with no beginning, and never ending. Rick Hamouris

TO SIT AND DREAM

Rosephanye Powell

Composer and conductor Rosephanye Powell writes, “My heritage and culture influence how I compose. I use stylistic qualities of idiomatic African American music, including jazz, gospel, R&B, spirituals, and even African folk songs, in addition to European compositional techniques. Since there are not a lot of African Americans with visibility in classical music and the arts on a national or international level, I think it is important for me to be able to share my story and influences.” In “To Sit and Dream,” Powell uses jazz harmonies, syncopations, and freestyle speech patterns to set the poem “To You” by Langston Hughes. Hughes, a leader in the Harlem Renaissance of the 1920s and 1930s, wrote the poem in 1965. While composing the work, Powell imagined an elaborate scene in which Hughes “sits alone disheartened while reading the newspaper headlines.” As the scene and the music continue, Hughes enters a dream-like trance. He sees himself on the streets of Harlem reaching out his hand to any who will join him in creating a world of peace and justice: the world of which he dreams. To sit and dream, to sit and read, To sit and learn about the world Outside our world of here and nowOur problem worldTo dream of vast horizons of the soul Through dreams made whole, Unfettered, free – help me! All you who are dreamers too, Help me to make Our world anew. I reach out my [dreams] to you. “To You,” Langston Hughes (1902-1967) (altered by composer)

AN WASSERFLÜSSEN BABYLON

Michael Praetorius

The German hymn An Wasserflüssen Babylon emerged during the early years of the Protestant Reformation. The text and melody are attributed to Wolfgang Dachstein, an organist and composer in Strasbourg, and were first published in 1525. Dachstein’s text is a German poetic paraphrase of Psalm 137. Michael Praetorius’s setting of An Wasserflüssen Babylon belongs to traditions of Lutheran chorale settings and was transformed into an expressive work of polyphonic art. Though this piece expresses lament and faith, it also voices remembering one’s home while living in exile.

Note by Makiah Robinson An Wasserflüssen Babylon, Da saßen wir mit Schmerzen; Als wir gedachten an Sion, Da weinten wir von Herzen; Wir hingen auf mit schwerem Mut Die Orgeln und die Harfen gut An ihre Bäum der Weiden, Die drinnen sind in ihrem Land, Da mussten wir viel Schmach und Schand Täglich von ihnen leiden.

By the rivers of Babylon, There we sat with sorrow; As we thought of Zion, We wept from our hearts; We hung up, with heavy spirits, The nice organs and harps On their willow trees, Which are there in their land, There we had to endure much disgrace and shame From them every day.

PART OF ME HURTLING TOWARD

Dale Trumbore

California-based composer Dale Trumbore often chooses surprising texts for her works. She enjoys setting prose, for example, and for her 2025 work “Part of Me Hurtling Toward,” she chose a poem with a highly unusual structure called sudo-ku. In this form, invented by Kat Lehmann, the poet places words in a 5 x 5 grid to create a haiku both horizontally and vertically. To capture the fragmented structure of Erica Reid’s poetry, Trumbore created a musical grid with melodic material for each cell of text. These short motives, combined in phrases of varying length, form the backbone of the work. A searching piano part reflects the “mind trapped in questioning” that Trumbore sees in the poem. She writes, “Ultimately, this piece is about recognizing and naming all parts of yourself—the anxious and painful questions, yes, but also the quiet, intuitive voice that answers (‘o I see her!’).” found in

silence

part of me

that is

calling

foundering

answers

waited

out

part of me

pushing away

part of me

hurtling

toward

always

my intuition

waits

alone

(oh, I see her!)

still

asking, asking

still

hurting

only myself

I CARRY YOUR HEART

John Duke

A blend of unconventional artists, “i carry your heart” sings out the story of a person’s devotion to their love despite physical distance. The song is sung to their great love, comparing them to the moon, sun, and stars, as well as life itself. John Duke was an American composer and concert pianist famous for his hundreds of art songs. “He believed that in a good song the words became assimilated with the music, and he wrote lovingly and knowledgeably for the voice, as well as for the piano accompaniment” (Thomas Hampson, Song of America). e.e. cummings was an American poet, artist, and author. He is best known for his intimate and colorful writing style. His poems were often all in lowercase (as well as his name) and used visuals to explain true feelings. He thought of words as another art form, and the page as his canvas. Note by Jasper Fernandes i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling) i fear no fate (for you are my fate, my sweet) i want no world (for beautiful you are my world, my true) and it's you are whatever a moon has always meant and whatever a sun will always sing is you here is the deepest secret nobody knows (here is the root of the root and the bud of the bud and the sky of the sky of a tree called life; which grows higher than soul can hope or mind can hide) and this is the wonder that's keeping the stars apart i carry your heart (i carry it in my heart) e. e. Cummings (1894-1962)

MANDOLINE

Gabriel Fauré

Gabriel Fauré’s “Mandoline” was composed in 1891 and is a musical setting of a poem by Paul Verlaine. This song describes aristocratic characters wearing short silk jackets and long dresses with trains. The “narrator” admires these characters as they flirt and dance under a pink and gray moon. The vocals act as the narrator, describing their pretty outfits and flirty conversations, while the piano accompaniment mimics the crisp, plucked sound of a mandolin playing amongst it all. Note by Allison Alexis-Goulbourn Les donneurs de sérénades Et les belles écouteuses Échangent des propos fades

The men who give serenades And the lovely ladies who listen to them. Exchange insipid remarks

Sous les ramures chanteuses.

Under the singing branches.

C'est Tircis et c'est Aminte, Et c'est l'éternel Clitandre, Et c'est Damis qui pour mainte Cruelle fait maint vers tendre.

It is Tircis and it is Aminte, And it is the eternal Clitandre, And it is Damis who for many a cruel woman writes many a tender poem.

Leurs courtes vestes de soie, Leurs longues robes à queues, Leur élégance, leur joie Et leurs molles ombres bleues,

Their short silken jackets, Their long dresses with trains, Their elegance, their joy And their soft blue shadows

Tourbillonnent dans l'extase D'une lune rose et grise, Et la mandoline jase Parmi les frissons de brise. Paul Verlaine (1844-1896)

Are swirling in the rapture Of a pink and gray moon, And the mandolin is chattering Amidst the shiverings of the breeze.

SAPER VORRESTE

Giuseppe Verdi

“Saper vorreste” is an aria from Un ballo in maschera (A Masked Ball) performed by the character Oscar, who is a page boy. At the time the aria takes place, the governor's secretary, Renato, is trying to find out what mask the king is wearing so he can carry out an assassination. He corners Oscar, asking what mask the king is wearing. Instead of revealing the king’s identity, Oscar taunts Renato, saying that he knows but won’t tell. Note by Noel Marootian Saper vorreste Di che si veste, Quando l'è cosa Ch'ei vuol nascosa. Oscar lo sa, Ma nol dirà, Tra là, là là Là là, là là.

You want to know how he is dressed, while that is a thing he doesn’t want known. Oscar knows, but will not tell, Tra-la-la-la! La la, la la.

Pieno d'amore Mi balza il core, Ma pur discreto Serba il secreto. Nol rapirà Grado o beltà, Tra là, là là Là là, là là. Antonio Somma (1809-1864)

My heart is aflame, in a tumult of love, but I still know how secrets are kept. Neither rank nor beauty can make me tell – Tra la la la, la la, la la.

WILD EMBERS

Melissa Dunphy

“You cannot burn away what has always been aflame.” So begins Nikita Gill’s description of her poetry collection Wild Embers. Gill is an Irish-Indian poet whose work explores concepts of power, beauty, femininity, and personal growth, particularly through the genres of Hindu and Greek mythology and folklore from around the world. Her dedication in the book Wild Embers is to the reader: “For you and all the fires you will give birth to.” Born in Australia and raised in an immigrant family, Melissa Dunphy sees part of her mission as “bringing the voices of women and minorities to the stage, either by telling their stories, or telling stories from their perspective.” In her hands, Nikita Gill’s poem receives a striking and dramatic treatment, with bold dynamic contrasts, powerful body percussion, and melismas which rise and fall like flame. Dunphy dedicated the work to its commissioning choir: “To the Women of Acalanes High School Bella Voce…They will all tell new stories.” We are the descendants of the wild women you forgot We are the stories you thought would never be taught. They should have checked the ashes of the women they burned alive. Because it takes a single wild ember to bring a whole wildfire to life. Nikita Gill (b. 1987)

I AM

B. E. Boykin MM ‘13

B. E. Boykin’s “i am” traces its origins to a 2021 exhibition by Alison Saar, an American sculptor and mixed-media artist. The exhibition, titled “Alison Saar: Of Aether and Earth,” explored the many intersections and binaries that inform the artist’s work, such as gender and race, particularly Black female identity; body and spirit; and foundation and transformation. Also on vivid display throughout the exhibit was Saar’s deep connection to the spiritual beliefs and practices of African diasporic communities. Inspired by Saar’s work, poet Brittny Ray Crowell wrote “The Intermission of Aether and Earthe,” a work similarly grounded in contrasting imagery. Exuberant blossoms spring forth from the knotted roots of ancient trees. A god, presumably all-powerful yet somehow vulnerable to the chewing of small teeth, is in repose and impatient all at once. B. E. Boykin responds musically in kind, creating unity through difference: the rich solidity of the singers’ lower register underpinning the high-treble piano part, the evolution of the accompaniment from uncertain fluttering to glorious flying, and at last, the god’s transformation from the impotent yearning of “i am waiting” to the simple power of “i am.”

i am bark brown in the saffron aether my body whittled into whorls textured by teeth of small crawling things and i am waiting like a god in repose that i am a crown of cypress burls blossoming from my hair and i am waiting and the flowers shoot through the cypress into the aether and still i am waiting on my side arm propped to face impatiently waiting for a world to break through the yellow ether waiting to birth for the morning to midwife an eclipse of fresh earth Brittny Ray Crowell, “Intermission of Aether and Earthe,” based on Alison Saar’s painting “Aether and Earthe”

AN APRIL DAY

Florence Price

“An April Day" by Florence Price is a lyrical art song which highlights the joys that come with being alive in the renewal of springtime. Soft imagery is used throughout the song to help paint a picture of the scene at hand. The last two sentences of the text bring an answer to what this song is truly about. On a lovely spring day, grand achievements and pursuits are not needed, only the ability to enjoy the gift of existence. Note by Sophia Morrone On such a day as this I think, On such a day as this, When earth and sky and nature’s world Are clad in April’s bliss; And balmy zephyrs gently waft Upon your cheek a kiss; Sufficient is it just to live On such a day as this. Joseph Seamon Cotter, Jr. (1895-1919)

DIAPHENIA

Dominick Argento

“Diaphenia” is the fifth song in Dominick Argento’s song cycle Six Elizabethan Songs, which was composed in 1958. This piece comes from the poem “Damelus' Song to Diaphenia” created by Elizabethan poet Henry Constable. The text describes his

passionate love for Diaphenia by comparing her to beautiful flowers and spring scenery. Note by Caressa Meglino Diaphenia, like the daffadowndilly, White as the sun, fair as the lily, Heigh ho, how I do love thee! I do love thee as my lambs Are belovèd of their dams: How blest were I if thou would'st prove me. Diaphenia, like the spreading roses, That in thy sweets all sweets encloses, Fair sweet, how I do love thee! I do love thee as each flower Loves the sun's life-giving power; For dead, thy breath to life might move me. Diaphenia, like to all things blessèd, When all thy praises are expressèd, Dear joy, how I do love thee! As the birds do love the spring, Or the bees their careful king, – Then in requite, sweet virgin, love me! Henry Constable (1562-1613)

L’AMICIZIA

Faustina Hasse Hodges

Faustina Hasse Hodges, daughter of the English organist Edward Hodges, was named for the famous 18th-century opera singer Faustina Bordoni, who married the composer Johann Adolf Hasse. Small wonder, perhaps, that she became a composer of art song, perfectly capturing Italian bel canto style in small gems such as “L’Amicizia.” In this charming duet, poet Isabella Rossi Gabardi Brocchi describes the sweetness of friendship, placing it above romantic or maternal love in its purity. Hodges sets the two voices as equal partners, sometimes moving together in parallel and sometimes taking turns carrying the melody. The vocal lines exhibit an elegant virtuosity, with effervescent arpeggios and scales that are more than mere decoration; they sparkle with joy, giving voice to the delight the singers feel in making music together. È più puro della brina che lucente irrora i fior Più soave del sorriso Che fa bello un primo amor, ah!

Friendship is purer than the shining frost that sprays the flowers. It is sweeter than the smile that makes first love so beautiful, ah!

È più dolce del sospiro Che una madre esalerà Nell’istante benedetto che il suo nato bacerà

It is sweeter than the sigh that a mother would breathe in that blessed moment when she will kiss her baby.

Ah! sì, ah! bacerà.

Ah! yes, ah! she will kiss!

Quell’affetto che si spende Dall’essenza più gentil dello spirito che anela farsi agli angeli simil.

That tenderness which expends itself from the kindest part of the spirit that yearns to become angelic.

Ah! di lui ripieno o cara Ah! full of this tenderness, o dear one, il mio cor per te sarà my heart will be for you. prendi un bacio egli suggella Accept a kiss; it seals santo patto d’amistà. the sacred pact of friendship. Isabella Rossi Gabardi Brocchi (1808-1893)

HEART OF GOLD

Jocelyn Hagan

Jocelyn Hagen is a contemporary choral composer based in Minnesota. Her melodic music is rhythmically driven and texturally complex, rich in color and deeply heartfelt. In “Heart of Gold” Hagen fuses poetry and music in a way that exemplifies how flaws are not only beautiful, but necessary and splendid. The poem for this piece is by Julia Klatt Singer and draws inspiration from Kintsukuroi, the Japanese art of mending pottery with gold. The whole song gradually progresses towards a harmonic resolution from minor to major, bringing about a rhetorical reconstruction of a shattered heart. The low murmuring accompaniment figure in the alto voices gently propels the song onward, almost urging the sopranos to express a message of healing and hope. Note by Daniel J. Piver Like the lines of your hands and the scars on my back we wear our history and when I look at you all I can see is your heart the jagged lines; each break, each bend of gold. Julia Klatt Singer (b. 1963)

THE MOMENT WE CHOOSE

Ayo Awosika

Ayo Awosika is a Los Angeles-based vocalist, composer, arranger, multi-instrumentalist, and vocal coach. She has sung as a background vocalist with artists such as Sam Smith, Danny Elfman, Dua Lipa, and Tune-Yards, and in feature film scores such as The Lion

King and Black Panther: Wakanda Forever. She was recently commissioned to compose and conduct a new choral piece for a 250 person choir that debuted at the 2023 Sister Singers Network Festival in Cleveland, Ohio. She is also the co-founder of Naija Girl Tribe: a non-profit organization that works to provide career and personal development resources for young Nigerian girls. “The Moment We Choose” was commissioned by MUSE Cincinnati Women’s Choir, who premiered the work in 2025. Awosika writes, “At its heart, this piece is an exploration of choice as an act of liberation. It imagines freedom not as something granted to us, but as something we begin to embody the moment we choose love over fear, courage over silence, and connection over division. As the text unfolds, the perspective expands from the individual voice (‘II choose’) to the collective (‘we’), suggesting that personal transformation and communal transformation are deeply intertwined. Rather than offering easy answers, ‘The Moment We Choose’ is an invitation—to remember our shared humanity, to embrace our responsibility to one another, and to recognize that each choice we make has the power to shape the world we create together.” The moment we choose to love We can be free, beyond the boundaries. I choose to love myself, I choose to love you. Liberty free me you we free me we you liberty free you me we free you me free me you liberty free me me you we free liberty free you me We can move freely now. Beyond color and identity, we are soul and spirit first, then blood, guts and bone. We all bleed the same. We break away from what has held us down. We can move freely now. We break away. We break away from what has held us down. We can be free. We can be free now. The moment we choose… To stand, to move, to build, to lead. To march, to choose, to grow, to speak. I am myself.

I am also a part of the WE who is rising. I walk with the knowing that I am a part of the WE who is rising. I have to speak up, this is how we make a way. I have to step up, we can’t return now. I’m waking up now, with every single move that I make. I’m letting go of what’s not for me. I sing with the knowing that I am a part of the WE who is rising! And they want us to lose ourselves in fear, but what if we embody what they fear? Love. We can be free, beyond the boundaries. Love. I choose to love you. I choose to love myself. The moment… We can be free, beyond the boundaries. I sing with the knowing that I am a part of the WE who is rising. We choose. I have to speak up, this is how we make a way. I have to step up, we can’t return now. I’m waking up now, with every single move that I make. I’m letting go of what’s not for me. Ayo Awosike

About the Artists WESTMINSTER CHAPEL CHOIR

Founded in 1949, the Westminster Chapel Choir takes its name from Westminster’s rich history of leadership in the field of sacred music. Today its repertoire includes both sacred and secular works. Composed of students in their first years of study at Westminster Choir College, this ensemble is a defining choral experience that remains with Westminster alumni throughout their lives. In addition to on-campus performances throughout the year, the Westminster Chapel Choir has toured extensively along the eastern United States. The Westminster Chapel Choir has performed with many symphony orchestras, including the Trenton Symphony Orchestra (NJ), the York Symphony (PA), the Princeton Youth Orchestra (NJ), and the Queens Symphony (NY) and was heard by millions when the ensemble sang for the annual televised Lighting of the Rockefeller Center Christmas Tree. The ensemble has been honored to give several world premiere performances of works by Pulitzer Prize-winning composer Lewis Spratlan and Westminster faculty members.

••• WESTMINSTER CHAPEL CHOIR Nicole Aldrich, conductor Jihye Park, accompanist Daniel Piver and Makiah Robinson, graduate assistant conductors Abby J Abello, Hackettstown, NJ Allison Alexis-Goulbourne, Bloomfield, NJ Reese A. Bennett, Frederick, MD Natalie Cunningham, Fairfield, CT Jasper Fernandes, Mine Hill, NJ Lucy Grath, Smithtown, NY Shanice Harrison, Newark, NJ Kasey Hoskins, Teaneck, NJ. Rachael Mann, Lawrenceville, NJ Noel Avi Marootian, Essex Fells, NJ Emmary F. McLaughlin, Bordentown, NJ ADMINISTRATIVE STAFF Dean Department Chair Interim Director of Choral Studies Director of Performance Management

Caressa R. Meglino, Marlton, NJ Franziska C. Meyer, Wilmington, DE Sophia D. Morrone, Haddon Township, NJ Mary S. Page-Hoffmann, Boca Raton, FL Natalie Paitchel, Mount Olive, NJ Octevia G. Pierre, Newark, NJ Taryn Ribaudo, Scotch Plains, NJ Noley T. Schenck, Upper Township, NJ

Jason Vodicka Sharon Mirchandani Tyrone T. Clinton Jr. Leandra Acosta

About Rider University & Westminster Choir College Located in Lawrenceville, New Jersey, Rider University is a private co-educational, student-centered university that emphasizes purposeful connections between academic study and real-world learning experience. Rider prepares graduates to thrive professionally, to be lifelong independent learners, and to be responsible citizens who embrace diversity, support the common good, and contribute meaningfully to the changing world in which they live and work. Westminster College of Media and Performing Arts is dedicated to educating students for engaged citizenship, career success, and personal growth in a diverse and complex world. The college cultivates intellectual reflection, artistic creativity, and academic maturity by promoting both broad academic inquiry and in-depth disciplinary study, while nurturing effective and ethical applications of transferable critical skills. The College consists of two schools: the School of Communication, Media, and Performing Arts and Westminster Choir College. Culturally vibrant and historically rich, Westminster Choir College has a legacy of preparing students for thriving careers as well-rounded performers and musical leaders on concert stages, in schools, universities, and churches, and in professional and community organizations worldwide. Renowned for its tradition of choral excellence, the college is home to internationally recognized ensembles, including the Westminster Symphonic Choir, which has performed and recorded with virtually all of the major orchestras and conductors of our time. In addition to its choral legacy, Westminster is known as a center for excellence in musical pedagogy and performance.

Upcoming Performances & Events DANCE DAY & PERFORMANCE Friday, November 6, 7:30 p.m. (Dance Day during the day) Bart Luedeke Center Theatre EXPANDING BOUNDARIES EXPLORING CHORAL CULTURES AND TRADITIONS Saturday, November 7, 7:30 p.m. Cavalla Room, Bart Luedeke Center WESTMINSTER COMMUNITY ORCHESTRA: NEW HORIZONS Sunday, November 8, 3 p.m. Gill Chapel POP, ROCK, HIP-HOP ENSEMBLE CONCERT Thursday, November 12, 7:30 p.m. Bart Luedeke Center Theatre WESTMINSTER JUBILEE SINGERS: GRATEFUL HALLELUJAHS Sunday, November 15, 5 p.m. Gill Chapel WESTMINSTER CONSERVATORY AT NASSAU Thursday, November 19, 12:15 p.m. Nassau Presbyterian Church 61 Nassau St, Princeton, NJ 08542 THE THREEPENNY OPERA Friday, November 20, 7:30 p.m. Saturday, November 21, 2 p.m. & 7:30 p.m. Sunday, November 22, 2 p.m. Yvonne Theater AN EVENING OF READINGS AND CAROLS Friday December 4, 8 p.m. Saturday, December 5, 8 p.m. Princeton University Chapel FOR MORE INFORMATION ON UPCOMING PERFORMANCES AND EVENTS, SUBSCRIPTION AND PATRON PROGRAM OPTIONS, VISIT RIDER.EDU/ARTS.