BRAHMS REQUIEM
SPONSORED BY BILL AND PEGGY MALTARICH
Thursday, April 18, 2024 at 7:30 p.m.
Koger Center for the Arts, Columbia
Alicia W. Walker, conductor
Rebecca Krynski Cox, soprano
Joseph Parrish, bass-baritone
PROGRAM
Johannes Brahms (1833-1897)
A German Requiem, Op. 45 (1865-68)
I. Selig sind, die da Leid tragen
II. Denn alles Fleisch es ist wie Gras
III. Herr, lehre doch mich
IV. Wie lieblich sind deine Wohnungen
V. Ihr habt nun Traurigkeit
VI. Denn wir haben hie keine bleibende Statt
VII. Selig sind die Toten
Alicia W. Walker, conductor
Rebecca Krynski Cox, soprano
Joseph Parrish, bass-baritone
This program runs approximately 1 hour and 30 minutes.
A special thanks to our assistant conductors Austin Davis and Jordan Brooks for preparing the orchestra and to Jabarie Glass for preparing the University Chorus.
We would love to hear your feedback about the performance!
Scan the QR code to fill out a brief survey.
3
3
SCAN ME
A German Requiem johannes brahms
Although Brahms is more widely recognized today for his four symphonies, he made the largest impression on audiences of his time with his large choral work A German Requiem, also doubling as his longest composition varying between 65 to 80 minutes across different performances.
A requiem is a mass held in the Catholic church to honor the deceased, however, Brahms' Requiem strays from the traditional setting. Instead of using Catholic, Latin text from the Bible like Mozart and Berlioz (who translate the Latin to German), Brahms takes from the Lutheran bible and apocrypha. In response to a question about the lack of reference to Christ in the Requiem, Brahms explained “As far as the text is concerned, I will confess that I would very gladly omit the ‘German’ as well, and simply put ‘of Mankind,’ also quite deliberately and consciously do without passages such as John 3:16.” This quote, alongside the opening lines of the first movement, give the impression that this requiem is geared more towards comforting the living after the passing of loved ones.
The writing of A German Requiem was largely spurred by the sudden death of Brahms' mother, Christiane Brahms, in 1865 after having a stroke. Johannes was likely also still devastated from the death of his close friend Robert Schumann, who is credited with kickstarting Brahms’ career, nine years earlier. After hearing the premiere, Clara Schumann remarked in her diary that the Requiem had “taken hold of me as no sacred music ever did before...As I saw Johannes standing there, baton in hand, I could not help thinking of my dear Robert’s prophecy...which is fulfilled today. The baton was really a magic wand and its spell was upon all present. It was a joy such as I have not felt for a long time.”
text
I. Chorus
Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.
II. Chorus
Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.
Blessed are they that mourn, for they shall be comforted. They that sow in tears shall reap in joy. They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing their sheaves with them.
For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.
4 Ƥrogram ƝoteS
So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.
So seid geduldig. Aber des Herrn Wort bleibet in Ewigkeit.
Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude, wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.
III. Baritone Solo and Chorus
Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss.
Siehe, meine Tage sind einer Hand breit vor dir,
Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.
Be ye also patient. But the word of the Lord endureth for ever.
And the redeemed of the Lord shall return, and come to Zion with songs and eternal joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.
Lord, make me to know mine end, and the measure of my days, what it is; that I may know how frail I am.
Behold, Thou hast made my days as an handbreadth; und mein Leben ist wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen, die doch so sicher leben.
Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe;
sie sammeln und wissen nicht, wer es kriegen wird.
Nun Herr, wes soll ich mich trösten?
Ich hoffe auf dich.
Der Gerechten Seelen sind in Gottes Hand
und keine Qual rühret sie an.
IV. Chorus
Wie lieblich sind deine Wohnungen, Herr Zebaoth!
Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.
Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.
and mine age is as nothing before Thee; verily every man at his best state is altogether vanity. Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them.
And now, Lord, what do I wait for?
My hope is in Thee.
But the souls of the righteous are in the hand of God and no torment shall touch them.
How lovely are Thy tabernacles, O Lord of hosts!
My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God.
Blessed are they that dwell in Thy house: they will be still praising Thee.
5
V. Soprano Solo and Chorus
Ihr habt nun Traurigkeit; aber ich will euch wieder sehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.
Ich will euch trösten, wie einen seine Mutter tröstet.
Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe grossen Trost funden.
VI. Baritone Solo and Chorus
Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen und die Toten werden auferstehen unverweslich; und wir werden verwandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht.
Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel?
Hölle, wo ist dein Sieg?
Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.
VII. Chorus
Selig sind die Toten, die in dem Herrn sterben von nun an.
Ja der Geist spricht, dass sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.
And ye now therefore have sorrow: But I will see you again, and your heart shall rejoice, and your joy no man taketh from you.
As one whom his mother comforteth, so will I comfort you.
Ye see how for a little while I labor and toil, yet have I found much rest.
For here have we no continuing city, but we seek one to come. Behold, I show you a mystery: we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet; for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. Then shall be brought to pass the saying that is written, death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory? Thou art worthy, O Lord, to receive glory and honor and power: for Thou hast created all things, and for Thy pleasure they are and were created.
Blessed are the dead who die in the Lord from henceforth: yea, saith the Spirit, that they rest from their labors; and their works do follow them.
6
Alicia W. Walker, conductor
Dr. Alicia W. Walker is Professor of Music and Director of Choral Studies at the University of South Carolina, where she directs the Concert Choir and the Garnet Chorale (SSAA) and supervises the graduate conducting program. Dr. Walker has taught continuing education workshops for choral directors in South Africa, and she is frequently invited to conduct and teach in the UK and in Taiwan. Dr. Walker has conducted at major venues including Carnegie Hall and Lincoln Center in New York and Southwark and Canterbury Cathedrals in England. Her choirs have been selected to perform for NCCO (2021, 2023), SCMEA (2016, 2018, 2022) and for South Carolina’s ACDA (2018, 2022) conference. Dr. Walker’s pedagogy and professional interactions are marked by a commitment to excellence, collaboration and inclusion.
An experienced music educator, Dr. Walker taught at the elementary, middle and high school levels, followed by appointments at the University of Georgia and the University of South Carolina, where she supervised Secondary Choral Music Education. She is a Past President of Southern Region ACDA and Georgia ACDA, and she developed ChorTransform, ACDA’s service-learning initiative for student chapters. She was the Program Chair for the 2024 Southern Region ACDA Conference. Her focus on professional mentoring led Dr. Walker to found Facets™ a leadership retreat for women conductors. In Columbia, she conducts a chamber choir of music educators called Limited Time Only, and she maintains an active schedule as a guest conductor, clinician and adjudicator. A long-time church musician, Dr. Walker served churches in Florida, Kentucky, Georgia and South Carolina. She was a committee chair for the development of Celebrating Grace, a hymnal published in 2010, and is a contributing author for Sacred Choral Music Repertoire: Insight for Conductors Dr. Walker was guest editor of the February 2021 Choral Journal, ACDA’s focus issue on pedagogy. She is the author of “The Holistic Conductor,” an online graduate conducting text; her research interests include conducting pedagogy and choral composers of the English Musical Renaissance. She is a Life Member of ACDA and holds memberships in NAfME and NCCO.
7
Rebecca Krynski Cox, soprano
Hailed by The New York Times as a “vibrant soprano...with a secure, appealing sound and eyeopening volume,” Rebecca Krynski Cox opens the 23-24 Season with Dayton Opera in their Season Opening Celebration as Rosalinde (Die Fledermaus). This spring, she returns to Florida Grand Opera for her role debut as Mimì (La Bohème) and will be featured as the Soprano Soloist in Brahms’ Ein Deutsches Requiem with the University of South Carolina Symphony Orchestra. During the 22-23 season, Ms. Cox debuted the title role in Beethoven’s Fidelio with Opera Company of Middlebury, joined Charleston Opera Theater as Donna Anna (Don Giovanni), returned to Dayton Opera to sing the Mother (Amahl and the Night Visitors) and to Indianapolis Opera as Pamina (Die Zauberflöte). In 2022, Ms. Cox made her Florida Grand Opera debut as Stella in A Streetcar Named Desire and made debuts with Indianapolis Opera singing Julie Jordan in Carousel and with Dayton Opera in their “Epic Opera” concert. She also completed Guest Artist Residencies at the University of South Carolina and University of North Carolina Pembroke, as a recitalist, mentor, and masterclass technician.
Joining the roster of the Metropolitan Opera in 2012, Ms. Cox sang the role of Cynthia in the workshop of Muhly’s Two Boys and joined New York City Opera to cover Amaltea in Mosè in Egitto. In 2014, Ms. Cox made her Kentucky Opera debut as Violetta in La traviata and her El Paso Opera debut as Micaëla in Carmen. As an apprentice artist with the Santa Fe Opera, Ms. Cox covered the Countess in Strauss' Capriccio and Sara in the world premiere of Higdon’s Cold Mountain. As a Resident Artist at Minnesota Opera, she sang Louella Parsons in Argento’s The Dream of Valentino and covered the title role in Arabella. At Des Moines Metro Opera, Ms. Cox sang Micaëla in La tragédie de Carmen, Annina in La traviata and the Fifth Maid in Elektra, as well as covering Violetta in La traviata, Ellen Orford in Peter Grimes and Donna Anna in Don Giovanni.
Ms. Cox graduated cum laude with a Bachelor of Music from the University of South Carolina, where she sang leading roles in Les Contes d’Hoffmann, Die Zauberflöte, Gianni Schicchi, Our Town, Acis and Galatea, and The Light in the Piazza, and was the soprano soloist in Mendelssohn’s Elijah and Handel’s Solomon. She holds a Masters in Vocal Performance from the Manhattan School of Music, where she returned for Professional Studies in Classical Voice.
8
Joseph Parrish, bass-baritone
Winner of the 2022 YCA Susan Wadsworth International Auditions, Joseph Parrish is a Baltimore native and holds degrees from the University of Cincinnati College-Conservatory of Music and The Juilliard School. Recent operatic credits include Dulcamara in Donizetti’s L’elisir d’amore, and Augure in Rossi’s L’Orfeo at Juilliard; Spinelloccio in Puccini’s Gianni Schicchi with Festival Napa Valley, Le Baron de Pictordu in the City Lyric Opera’s production of Viardot’s Cendrillon. Next season Joseph makes his Cincinnati Opera debut in Don Giovanni. In addition to opera, Mr. Parrish enjoys a robust concert career performing with orchestra and in recitals at such prestigious venues as The Cathedral Church of St. John the Divine, Alice Tully Hall, St. Boniface Church in Brooklyn and both Weill Recital Hall and Zankel Hall at Carnegie Hall.
Recent and upcoming performances co-presented by Washington Performing Arts, Newport Classical, Bridgehampton Chamber Festival, New York's American Classical Orchestra, Caramoor's Schwab Vocal Rising Stars, Death of Classical, Usedome Music Festival, Carnegie Hall Citywide Concerts, The Kravis Center in West Palm Beach, Denison University in Granville, OH, Sleepy Hollow Friends of Chamber Music, NYFOS and in concert with Bay Atlantic Symphony, Memphis Symphony, Aiken Symphony, Princeton Pro Music and the Ann Arbor Symphony.
As a current artist diploma candidate in opera studies at The Juilliard School, Mr. Parrish is passionate about giving back to the various communities that have nurtured him. He has served as a Music Advancement Program chorus teaching fellow, Gluck Community Service Fellow and Morse Teaching Artist. Mr. Parrish is also a member of the inaugural cohort of Shared Voices, an initiative designed to address diversity, equity and inclusion through collaboration between Historically Black Colleges and Universities, top conservatories and schools of music in the United States with the Denyce Graves Foundation.
9
Jabarie Glass, conductor
Dr. Jabarie Glass is the Associate Director of Choral Studies at the University of South Carolina, where he conducts University Chorus and Gamecock Chorale and teaches undergraduate and graduate courses in conducting and choral pedagogy. Dr. Glass's varied conducting experiences have included working with university, secondary, community youth, festival and church ensembles. Choral organizations under his leadership have been selected to perform at the American Choral Directors Association (ACDA) Southern Region Conference, the Mississippi-ACDA Conference and the South Carolina Music Educators Association Conference.
Dr. Glass is a conductor and collaborator with a deep commitment to excellence in choral artistry. Through imaginative programming, he strives to create compelling concert experiences that resonate with a broad range of human experiences. He is equally dedicated to championing emerging voices in choral music through commissioning and premiering new works. Combining his dedication to artistry and advocacy, Dr. Glass is committed to enriching the choral canon with diverse and innovative perspectives.
Dr. Glass previously served as Director of Choirs at Southaven High School and Middle School, conductor of the Michigan Youth Chamber Singers, as well as the founding conductor of CoroFuente, the tenor-bass chorus of CoroRio, a youth and adult community choral organization for which he currently serves on the board of directors. As a dedicated advocate for student access to quality music education, Dr. Glass is passionate about sharing the knowledge gained from his experience working with young musicians with current and future choral practitioners. Furthermore, he continues to invest in the musical growth of young choral artists through clinics with secondary choral programs and conducting honor choruses.
A native Mississippian, Dr. Glass earned dual bachelor's degrees in business management and music education from the University of Mississippi, where he was inducted into the University's Student Hall of Fame, a universitywide honor bestowed upon only ten seniors annually based on leadership, scholarship, and service. Dr. Glass went on to earn a master's degree in music education from the Florida State University College of Music. He earned a doctoral degree in conducting from the University of Michigan School of Music, Theatre & Dance. He pursued additional conducting studies as a conducting fellow with the Chorus America Conducting Academy and the Yale-Norfolk Chamber Music Festival Choral Conducting Workshop.
10
Scott Weiss, conductor
Dr. Scott Weiss is the Music Director and Conductor of the Aiken Symphony and the Director of Orchestras at the University of South Carolina School of Music. In demand internationally as a guest conductor, Dr. Weiss has conducted recent performances with the orchestras of Shenzhen, Tianjin, Hunan, Inner Mongolia, Shandong and Nanchang and at major international venues including the Taipei National Theatre and Concert Hall, the National Centre for the Performing Arts Concert Hall in Beijing and the Hangzhou Grand Theatre Concert Hall. Soloists he has recently shared the stage with include Elena Urioste, Angelo Xiang Yu, Zuill Bailey, Awadagin Pratt, John O’Conor, Marina Lomazov and Paul Jacobs.
Dr. Weiss has several critically-acclaimed recordings on the Naxos Records and Summit Records labels. His latest offering is the world premiere recording of Nico Muhly’s Reliable Sources, released on the Cantaloupe Music label in October 2021. The piece is one of dozens of new works that Dr. Weiss has commissioned from many of today’s leading composers, including Samuel Adler, Jennifer Higdon, Zhou Long, Cindy McTee and Joseph Schwanter. At the University of South Carolina, Dr. Weiss is the Sarah Bolick Smith Distinguished Professor of Music. In addition to conducting the USC Symphony Orchestra, Dr. Weiss leads the master’s and doctoral programs in orchestral conducting at USC, and his studio is a destination for talented young conductors from around the world. He is frequently invited to conduct performances and teach masterclasses at leading conservatoires and music schools, including the Sydney Conservatorium of Music, the Central Conservatory of Music (Beijing), the Shanghai Conservatory of Music and the University of Western Australia. Each summer, he teaches at the Los Angeles Conducting Workshop and Competition.
Born in Monterey, California in 1967, Dr. Weiss holds degrees from the Indiana University Jacobs School of Music and the University of Illinois, where he studied conducting with Donald Schleicher. Before joining the faculty at the University of South Carolina in 2010, he held conducting posts at the University of Kansas and the Indiana University Jacobs School of Music.
Dr. Weiss and his wife Teah are intrepid travelers and enjoy hiking, surfing and fine wines. They are the proud parents of John, a PhD student in chemistry at Northwestern University.
11
Violin I
Holly Workman concertmaster
USC Symphony Orchestra
Scott Weiss, conductor
Miguel Calleja associate concertmaster
Julia Jacobsen
Elizabeth Sutherland
Henry Baker*
MacLean Tollefsen
Sally Cathcart*
Ziyi Deng
Caitlyn McDonald
Ekemini Umanah
William Edwards
Philip Howe
Naomi Wright
Giovanni Cusatis
Violin II
Aidan Billings principal
Margie Moore assistant principal
Katie Rojas
Steven Humphries
Sarah-Iyuna Spencer
McKenzie Sightler
Daphne Franklin
Nicole Bedoya
Savannah Elgin
Emily Beddingfield*
Kayla Mathis
Gabriela McWethy
Lyra Xiong*
Viola
Douglas Temples principal
Amanda Harrell assistant principal
Emily Tardiff-Rodriguez*
Ian Hall
Derek George
Anthony Joyce
Gabriel Boyd
Elijah Skinner
Tiaryca Green
Esais Jones
* Graduating
Cello
Jordan Bartow co-principal
Zach Ward* co-principal
Tristan Groscost
Rachel Gibbons*
Decker Elam
Miranda Ramirez
Brooke Teacher
John Kuntz
Brendan Short
Bass
Joe Gaskins principal
Joshua Groscost assistant principal
Ian Hamrick
Avea Diamond
Sadie Wood
Luke Hagg
Flute
Olivia Norton principal
Deepti Vadhiyar assistant principal
Ashleigh Wallace
Alyssa Santiváñez
Shelby Miller
Oboe
Katie Eaton principal
Jaden Bowers assistant principal
Sydney Fulcher
Kate Wages
Clarinet
Andrew Kevic principal
Eric Gardner* assistant principal
Jackson Farmer
Alejandra Vega*
Reece Weslock
Bassoon
Aaron Nealy principal
Ed Senn assistant principal
Christina French
Makena Nobles
Horn
Wenyu Hsu* principal
Hunter Poe* assistant principal
Charlie VanAtter
Sadie Becht
Charlie Winston
Elise Halbig
Trumpet
Francisco Ballestas principal
Connor Bruce
MJ Harris
George Bernard
Trombone
Nicholas Dewyer* principal
Ian Schwalbe*
Wills Kane
Bass Trombone
Trey Hogan principal
Tuba
Mathew Tuk principal
Percussion
Julia Ross principal
Ellakyn Brinkley
Jack Estrada
Yuesen Yang
Harp
Xueying Piao
Librarian
Jordan Brooks
Orchestra Operations
Austin Davis*
Marketing
Marlena Crovatt-Bagwell
Brad Martin
Julia Jacobsen
12
USC Concert Choir
Alicia W. Walker, conductor Soprano
Bailey Barefoot
Abby Brewer
Katherine Falvey
Lillie Gardner
Kara Gingrich
Paige Higgins
Madison LaFontan
Enya Moore
Lucy Moore
Galilea Ramos Bruno
Emily Schlegel
Emma Schwertfuehrer
Vivien Stringfellow
Allison Yablonski Alto
Shyleah Booker
Ella Canney
Elyna Chambers
Madeline Fyock
Brynn Gianatassio
Anna Klausli
Angela Pinkham Varnon
Briona Robinson
Alyssa Romeo
Addy Rudolph
Sonora Shaw
Tenor
Curran Bramhall
Matthew Chesnutt
Owen Connolly
Augusto Gil
Tanner Henson
John Hoffman
Collins McBeth
Enajah McCluney
Brian Niu
Joshua Parga
Jacob Parker
Jacob Tierney
Jasper Vasilevskis
John White
Bryson T. Wood
Bass
Michael Ballard
Bryon Black, II
Thomas Blake
Marvin Boyd, III
John Child
Keegan Clendenin
Houston A. Hackett
Andrew Hebert
Kevin J. Kearnes
Leland Saxton
Kazarian S. Shumpert
Annay Sonthwal
Jared Stephens
Grady Vasilevskis
13
USC University Chorus
Jabarie Glass, conductor Soprano
Sarah Alexander
Ava Allen
Lilly Ammons
Alana Brezenski
Chloe Cosca
Izabella Gulcher
Madeline Macry
Emily Grace McIntyre
Alyssa Rend
Melody Tyner
Alto
Sophie Curran
Reagan Czahor
Ayanna Davis
Daphne DeSena
Mason Gaskin
Sofie Jones
Lillian Maunz
Mercedes Rosa
Christina Roselli
Kayla Roth
Marie Shenk
Erika Tisdale
Tenor
Gunner Carlson
Leo Clark
Jonah Isaac-Brooks
Randy Jordan
Ethan Kessler
Kaleb King
Brian Niu
Samuel Marc D. Orance
Brycen Stratton Bass
Sean M. Cannon
Walker C. Goldsmith
Thomas Lloyd
Benjamin MacLaren
Maximos Mancuso
Zachary Moore
Tristan Robinson
Spencer Snead
Beck Stephenson
Jameson Tronco
14
With Gratitude to Our Contributors
The USC Symphony Orchestra and Choirs of Carolina thank the following donors for their generous support. You provide much-needed funding for scholarships, fellowships, world-renowned guest artists, music rentals and many other items that support our program. This list reflects gifts made between 1/1/2023 – 4/10/2024
Maestro Sponsor ($10,000+)
Peggy and Bill Maltarich
Principal Sponsor ($2,500+)
Schmoyer and Company
Lourie Life and Health
Sustaining Sponsor ($2,000-$9,999)
Myra and Mike Nelson
Patricia and James Weiss Sponsor ($1,000-$1,999)
Jerry Dell and Ben Gimarc
Sheila and Dwayne Josey
Jeffry Caswell and Jose Cotto
Ortiz
Patron ($500-$999)
Christine and Tayloe Harding
Audra and Johann Vaz
Lisa and Rob Wilcox
Contributor ($250-$499)
Ronnie Belleggia
Laury Christie and David Vaughn
Leslie Frinks
Sharon and Ryan Gaskin
Pamela and Andy Gowan
Carol and John Kososki
Lee and Julian Minghi
Regina Moody
Linda and John Ropp
Tracey and Michael Snelling
Meira Warshauer and Samuel Baker
Teah and Scott Weiss Partner ($100-$249)
Barbara Bowers
Kris and Ronald Burns
Craig Butterfield
Ann and Robert Buys
Marlena Crovatt-Bagwell and Michael Bagwell
Gary Diamond
Daniela Friedman and Michael Dojc
Don Dupee
Man Fang and Yi Sun
Charles Fugo
Charles Gatch
Don Greiner
Wendy and Nathan Groscost
Virginia Grose
Verotta Kennedy
Libby Law
Fredna Lee
Patty Lovit
Celia and Richard O'Brien
Pauline Pagliocca
Cornelia Pasky
Martha Sutter and David Ross
Sharon and Richard Shealy
Tracey and Michael Snelling
Vans Violins
Harriet Williams and Jerry Hagenmaier
15
USC SYMPHONY ORCHESTRA
With Gratitude to Our Contributors continued
Sponsor ($1,000+)
Ruta Bly
Annette and Steve Francis
Kim and Robb Powell
Harriet Williams and Jerry Hagenmaier
CHOIRS OF CAROLINA
Patron ($500-$999)
Tayloe and Christine Harding in memory of Marion John Wynn
Cameron Johnson
Villa Tronco, Inc.
Alicia and Robert Walker
Contributor ($250-$499)
Jessica Harvey and Scott Phinney
Pamela and Andy Gowan
Elizabeth Langley
Ellen Douglas Schlaefer
Linda Walker in memory of Dr. John Wynn
Partner ($100-$249)
Peggy and David Chiarella
Alison Custer in memory of Dr. John Wynn
Dwight Dockery
Cindi and Robert Johnson
Susan Kelly and Alan Baker
Melissa and Howard McAdory
William McConnell
Teresa and Jerry Olson
Diane and Craig Phinney
Dorothy Short in memory of Dr. John Wynn
USC Vocal Arts Faculty in memory of Dr. John Wynn
Supporter ($99 and below)
Bailey Barefoot
Peggy and Brian Binette
Emily Bonvissuto
Stacey and Jim Brennan
Hayes Davis
Cyntha Dobson
Caroline Earp
Dianne Earp
Julia and Robert Folks in celebration of the season and in honor of Kathy Mitchell Folks
Augusto Gil
Edward LaRoche
Serena and Michael LaRoche
Darin Lawrence
Olin Jenkins
Mona and Jason Kearnes
Mary and Billy Keenan
Brittany Martin
Lisa Ortuno
Amanda Schlegel in honor of Ms. Emily R. Schlegel
Tina and David Stallard
Cheryl Stanton in memory of Dr. M. Wynn
Kerry Stubbs and Tyson Boehler
Audra and Johann Vaz
Nathan Vondergeest
Every effort has been made to ensure accuracy, but if your name is missing, please contact the School of Music Development Office at 803-576-5763.
Please support the USC Symphony Orchestra and/or Choirs of Carolina today. Your gift makes an immediate impact by providing critically needed funding and empowering us to meet emerging needs and opportunities, such as scholarships for deserving students, faculty recruitment and innovative new programming that enhances the overall Carolina experience. You can make a gift directly to the USC Symphony Orchestra Fund and/or Choirs of Carolina Fund by visiting donate.sc.edu.
For more information, contact:
Brad Martin, Assistant Director of Development at brad.martin@sc.edu (USC Symphony)
Brittany Martin, Assistant Director of Development at bgmartin@sc.edu (Choirs of Carolina)
Thank you for helping us keep the music playing!
16
17 A Special Thanks to Our Corporate Sponsors Interested in supporting the USC Symphony Orchestra through a corporate sponsorship? Contact Brad Martin, Assistant Director of Development at brad.martin@sc.edu.
(803) 256-2067 | LourieLifeandHealth.com
3710 Landmark Drive, Suite 206 Columbia, SC 29204
By dialing the phone number, you will contact a licensed insurance agent. We do not offer every plan available in your area. Currently, we represent 5 organizations which offer 52 products in your area. Please contact Medicare.gov, 1-800-MEDICARE (TTY users call 1-877-486-2048) 24 hours a day/7 days a week, or your local State Health Insurance Program (SHIP) to get information on all of your options.
18
19
