GROUND OF WHITE PROGRAM

THE UNIVERSITY OF

SOU THERN MISSISSIPPI

SY M P HONY ORCHESTRA 106th SEASON 2025-26

Ground of White

Greetings and welcome to the final performance of our ambitious American Perspectives season.

What a year it has been! From a firm grounding in masterworks by Mozart, Beethoven and Brahms, we have stretched ourselves through new styles (like Mary Lou Williams’ jazz suite featuring the Aaron Diehl Trio), new languages ( John Adams’ rollicking minimalism comes to mind) and the just plain new (our recent Julia Wolfe residency for Her Story, representing a landmark achievement for our program). Tonight we finish our celebration of American Perspectives with a program of Americana that has something for everyone.

“When the people sing, the soul of the nation stirs.”

– John F. Kennedy

PROGRAM THE UNIVERSITY OF SOUTHERN MISSISSIPPI COLLEGE OF ARTS AND SCIENCES SCHOOL OF MUSIC present

Ground of White

The University of Southern Mississippi Symphony Orchestra Gregory Wolynec, music director Thursday, May 7, 2026 - 7:30 p.m.

Main Street Baptist Church John Stafford Smith (1750-1836) orchestrated Luigi Zaninelli (b. 1932) The Star-Spangled Banner (1814) Randall Thompson (1899-1984) Frostiana (1959) I. The Road Not Taken II. The Pasture III. Come In IV. The Telephone V. A Girl’s Garden VI. Stopping by Woods on a Snowy Evening VII. Choose Something Like a Star Traditional arranged Mack Wilberg (b. 1955) Cindy (1959) Hattiesburg Choral Union Gregory Fuller, conductor

Intermission Aaron Copland (1900-1990) Symphony No. 3 (1946) I. Molto moderato, with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato [fanfare] – allegro risoluto This program is presented in part by a generous grant from Partners for the Arts.

CONDUCTOR’S NOTES Last summer, I was introduced to Luigi Zaninelli’s stirring setting of our national anthem by the arranger himself by way of a version for band. I was delighted to learn that it was also available for orchestra with optional chorus and knew immediately that it needed to open this program. Luigi is a Southern Miss legend, and for those of you who don’t know this setting, you are in for a wonderful surprise.

Two years into this new venture in Hattiesburg, I consider myself so fortunate to work with amazing students, in a supportive environment, and with world-class colleagues. In late November of 2024, I sat in this very church for a dress rehearsal of our orchestra with the Hattiesburg Choral Union. I was dumbstruck with the quality of singing I was listening to. I am sure the Hattiesburg community knows what a treasure they have with the direction and artistry provided by Greg Fuller and the whole choral area. While the Holiday Choral Spectacular is a beloved tradition that I look forward to continuing for years to come, I am also incredibly excited about a series of collaborations we are cooking up for you over the next two seasons and beyond.

Randall Thompson subtitles Frostiana as “Seven country songs

by Robert Frost.” Thompson’s direct musical language is eminently approachable and a perfect match for this poetry. Written for the bicentennial of Amherst, Massachusetts (a town I grew up about two hours from with strong family connections), Thompson was tasked to write for a chorus that rehearsed the men and women separately.

His solution, only write for the full choir in three songs and only have them sing together in two of them. It is touching, nuanced and as American as apple pie.

Cindy is also steeped in American history. A popular folksong of unknown origin (though surely Southern!), the setting on this evening’s program gets the full Mack Wilberg treatment. The acclaimed conductor of the Mormon Tabernacle Choir is a leading voice in all things choral in our country. Large orchestra, interesting rhythms, unexpected plot twists – I think you’ll love it.

Aaron Copland is frequently referred to as the “Dean” of American composers.

Over the span of about 10 years commencing in the late 1930s, he created many of the most beloved works ever written by an American. His music defines an American sound that fit hand in hand with the optimism found at the end of World War II. Works such as Appalachian Spring and Lincoln Portrait, incorporated traditional American melodies, while Rodeo and Billy the Kid painted the picture of an American west that inspired millions. But as I have been explaining to the orchestra, we also must keep in mind that Copland grew up in Brooklyn surrounded by concrete, steel and glass. For all the beauty and majesty to be found in this populist decade, there is a sharper edge that can be found in scores of works from before and after.

Symphony No. 3 was written between 1944 and 1946 under a commission from the Boston Symphony Orchestra and their constant champion of new music, conductor Serge Koussevetsky. One of Copland’s most popular works, 1942’s Fanfare for the Common Man, is borrowed from extensively throughout. Small fragments of this melody can be

found in each of the movements, which point to its eventual appearance in the closing movement. While the work serves as a summary of his great Americana period, we also hear the shadow of war that is cast across its pages.

I was a freshman in college when I first heard this symphony. As fate would have it, it was just a few months before Copland would pass. I remember being absolutely captivated by the sound of the opening. A soaring melody based on large intervals (think notes that are far apart on a piano keyboard and, therefore, difficult to sing) with simple chords to accompany epitomize Copland’s language. The first movement builds in tempo and volume, featuring explosive sounds from the low voices. This is music that seems unsure whether we should celebrate or be concerned. After a dramatic peak, it recedes to a delicate close that reminds us of where we began. I think this is a perfect introduction to Copland’s music and an interesting exploration of America’s mindset from a challenging moment in history.

The second movement pays tribute to the ambitious scherzo that became popular as the third movement of symphonies in Beethoven’s time. It is also very reminiscent of the composer’s western-influenced ballet scores. The brass get quite the workout in the fanfare-inspired opening and closing sections. Solo woodwinds and strings provide a delicate contrast in the middles section that some authors call a “western waltz.” A famous example of this can be found as the third movement in Copland’s score to Rodeo. Some of the transitions have very difficult rhythms for all of us to manage together.

The third movement starts with a melody that reminds us a bit of the opening movement, but which now sounds quite ominous. The maturity that our young string players must bring to this task is considerable. Eventually the tension is broken by a gorgeous flute line that ushers in a section inspired by dance. It can be difficult to hear, but Copland spends considerable effort creating variations of the flute’s melody that remind me of the famous Shaker variations in Appalachian Spring. Our goal is to make this charming, and as I say often to our orchestra – nothing is more difficult in music than charming.

The third movement ends as it began, and final string chords bring a sense of peace. Without interruption, the last movement begins with a soft and beautiful statement of the famous fanfare melody in the flutes. This gives way to full force brass and percussion statements that have small but consequential changes in the harmonies. From here, the orchestra is put through a series of serious challenges. Scurrying lines in the strings and woodwinds, difficult rhythms, again, inspired by dance, and violent explosions all appear. It is difficult to know whether we are shouting for joy or crying in anguish. I sense the composer expressing the end of a great war as both triumphant and tragic. As we enter the closing stretch, delicate lines appear in the woodwinds and are picked up by the harps and keyboard instruments. This ushers in a glorious ending that is among the loudest in the entire symphonic repertoire. Big, bold, American – the perfect perspective to end our season.

Lyrics to Frostiana by Robert Frost The Road Not Taken

Two roads diverged in a yellow wood And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way, I doubted if I should ever come back.

I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference.

The Pasture

I’m going out to clean the pasture spring; I’ll only stop to rake the leaves away (And wait to watch the water clear, I may): I sha’n’t be gone long.—You come too.

I’m going out to fetch the little calf That’s standing by the mother.

It’s so young It totters when she licks it with her tongue.

I sha’n’t be gone long.—You come too.

Come In

As I came to the edge of the woods, Thrush music—hark!

Now if it was dusk outside, Inside it was dark.

Too dark in the woods for a bird By sleight of wing To better its perch for the night, Though it still could sing.

The last of the light of the sun That had died in the west Still lived for one song more In a thrush’s breast.

Far in the pillared dark Thrush music went— Almost like a call to come in To the dark and lament.

But no, I was out for stars; I would not come in.

I meant not even if asked; And I hadn’t been.

The Telephone

‘When I was just as far as I could walk From here today, There was an hour All still When leaning with my head against a flower I heard you talk.

Don’t say I didn’t, for I heard you say— You spoke from that flower on the window sill— Do you remember what it was you said?’

‘First tell me what it was you thought you heard.’

‘Having found the flower and driven a bee away,

I leaned my head, And holding by the stalk, I listened and I thought I caught the word— What was it? Did you call me by my name?

Or did you say— Someone said “Come”— I heard it as I bowed.’

‘I may have thought as much, but not aloud.’

‘Well, so I came.’

A Girl’s Garden

A neighbor of mine in the village Likes to tell how one spring When she was a girl on the farm, she did A childlike thing.

One day she asked her father To give her a garden plot To plant and tend and reap herself, And he said, ‘Why not?’

In casting about for a corner He thought of an idle bit Of walled-off ground where a shop had stood, And he said, ‘Just it.’

And he said, ‘That ought to make you An ideal one-girl farm, And give you a chance to put some strength On your slim-jim arm.’

It was not enough of a garden, Her father said, to plough; So she had to work it all by hand, But she don’t mind now.

She wheeled the dung in the wheelbarrow Along a stretch of road; But she always ran away and left Her not-nice load,

And hid from anyone passing.

And then she begged the seed.

She says she thinks she planted one Of all things but weed.

A hill each of potatoes, Radishes, lettuce, peas, Tomatoes, beets, beans, pumpkins, corn And even fruit trees.

And yes, she has long mistrusted That a cider apple tree In bearing there today is hers, Or at least may be.

Her crop was a miscellany When all was said and done, A little bit of everything, A great deal of none.

Now when she sees in the village How village things go, Just when it seems to come in right, She says, ‘I know!

‘It’s as when I was a farmer—’ Oh, never by way of advice!

And she never sins by telling the tale To the same person twice.

Stopping By Woods on a Snowy Evening

Whose woods these are I think I know.

His house is in the village though; He will not see me stopping here To watch his woods fill up with snow.

My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year.

He gives his harness bells a shake To ask if there is some mistake.

The only other sound’s the sweep Of easy wind and downy flake.

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Choose Something Like a Star

O Star (the fairest one in sight), We grant your loftiness the right To some obscurity of cloud— It will not do to say of night, Since dark is what brings out your light.

Some mystery becomes the proud.

But to be wholly taciturn In your reserve is not allowed.

Say something to us we can learn By heart and when alone repeat.

Say something! And it says, ‘I burn.’

But say with what degree of heat.

Talk Fahrenheit, talk Centigrade.

Use language we can comprehend.

Tell us what elements you blend.

It gives us strangely little aid, But does tell something in the end.

And steadfast as Keats’ Eremite, Not even stooping from its sphere, It asks a little of us here.

It asks of us a certain height, So when at times the mob is swayed To carry praise or blame too far, We may choose something like a star To stay our minds on and be staid.

festivalsouth.org CELEBRATE AMERICA’S 250th BIRTHDAY WITH MORE THAN 50 LIVE EVENTS THIS JUNE

SOUTHERN MISS

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When you think music Think Southern Miss usm.edu/music

STRINGS Dr. Borislava Iltcheva, violin Dr. Hsiaopei Lee, viola Dr. Alexander Russakovsky, cello Dr. Marcos Machado, bass Dr. Nicholas Ciraldo, guitar WOODWINDS Dr. Danilo Mezzadri, flute Dr. Pablo Hernandez, oboe Dr. Jackie McIlwain, clarinet Dr. Kim Woolly, bassoon Dr. Dannel Espinoza, saxophone BRASS Dr. Rob Detjen, horn Dr. T.J. Tesh, trumpet Dr. Ben McIlwain, trombone Dr. Richard Perry, tuba PERCUSSION Dr. John Wooton, percussion PIANO Dr. Michael Bunchman, piano Dr. Ellen Elder, piano Dr. Hongzuo Guo, staff pianist Dr. Elizabeth Moak, piano Zhaolei Xie, staff pianist ORCHESTRAL ACTIVITIES Dr. Gregory Wolynec CHORAL ACTIVITIES Dr. Gregory Fuller Dr. Jonathan Kilgore VOICE Dr. Kimberley Davis Dr. Taylor Hightower Dr. Meredith Johnson Dr. Jonathan Yarrington MUSIC EDUCATION Dr. Ashley Allen Dr. Melody Causby Dr. Ian Cicco Dr. Kellie Clark

UNIVERSITY BANDS Dr. Catherine Rand Dr. Travis Higa Dr. Cody Edgerton JAZZ STUDIES Larry Panella MUSIC HISTORY Dr. Vanessa Tonelli Dr. Edward Hafer Dr. Joseph Jones MUSIC THEORY Dr. Danny Beard Dr. Joseph Brumbeloe Dr. Douglas Rust DIRECTOR Dr. Colin McKenzie ASSOCIATE DIRECTORS Dr. Joseph Jones Dr. T.J. Tesh ASSISTANT TO THE DIRECTOR Laurie Rinko FINANCE AND ADMINISTRATION SPECIALIST Jennifer Knue ADMINISTRATIVE SPECIALISTS Sinetta Bolton Dr. Kevin Ledgewood ACADEMIC ADVISEMENT COORDINATOR Kristin Sheppard GRADUATE COORDINATOR Dr. Melody Causby PR/MARKETING AND EVENT COORDINATOR Dr. Mike Lopinto PIANO TECHNICIAN Carlos Boza

ORCHESTRA PERSONNEL Violin 1 Kevin Andre Zerrate Aria* Juan Lincango Allyson Gomes Dexter Rodkey Keyu Zheng Katarzyna Gwiazda João Vitor Gonzaga Amelia Brencick Paul Armijos Yambay Christian Onyewuche

Bass Daniel Magalhaes* Marcus Silva Matheus Ferreira de Souza Jose Cuellar Manuel Jara JaLaan Dubose

Violin 2 Carlos Suarez* Ethne Killgore Paulo Victor Alves Lucas Gonzalez Sofia Araujo Paloma Vieira Guillory Elizabeth Brown Veronica Morales Grace Pineda Katelynn Ferguson

Flute Hallie Ward* David Reyes Erin Russell Gracie McDonald

Viola Rene Espinal Reyna* Christian Avila Adelle Paltin Panella Renata Andrade Natalia Escobedo Jordan Wayne Violoncello Cristian Sanchez* Evelin Lopez Gabriel Barros Mauricio Unzueta Salas Vivian Herring Itzel Orellana Kassandra Henriquez Frank Palomino

Harp Kristina Finch* Tess Fullerton

Piccolo David Reyes Gracie McDonald Oboe Geordie Nabors* Joshua Strobel

Horn Abby Loftin* Chance Rootes Gracie Bridges Eli Wright Kallie Olivarez Trumpet Mariah Atwood* Rob Smith Anthony Leggio Clayton Jacocks* Kyle Matthees Trombone Brandon Domingue* Belle Tadlock Alex Handley Bass Trombone Jonathan Henneveld Tuba Clenon Hartzog*

English Horn Juan Carlos Piedra Carvajal*

Timpani Nathan Wright*

Clarinet Brad Pilcher* Nicole Johnston

Percussion Yu Chih Cherry Chen* Malachi Collins George Walker Conner Counts

Eb Clarinet Matt Barron Bass Clarinet Cameron Nix Bassoon Zachary Howell* Gabe Flores Nancy Diaz Contrabassoon Osvaldo Redondo Alfaro * denotes principal players

Piano Margaleth Espinoza Fernandez* Celesta Erick Diaz Quispe

CHORAL PERSONNEL Sopranos Sophia Adams Morgan Anderson Jilli Grace Asa Morgan Burroughs Brynna Carpenter Tristen Coleman Jaynie Darby Danielle Gray Suzanna Haddox Aliah Hammack Rhiannon Harris Kathryn Hasenkampf Jo Huff AnneMarie Jeffers Paetyn Johnson Alyssa Kindhart Bonnie Littlejohn Leah Lott Bitsy Browne Miller Amanda Moreira Kailey Owen Amber Ozbun Marietta Paterson Lily Purvis Lila Reed Avery Smith Rachael Smith Zoey Smith Kennedi Sparkman Ellie Spencer Nykenah Stallworth Hallie Stavinoha Amelia Sutherland Allison Tharp Abigail Thiele JosEllen Turrentine Reese Walker Carlyn White Grace Wilbourn Altos Christine Banes Emily Beall Lici Beveridge Cleo Bourne Abi Bouzigard Judith Collins Nakayla Cornelius

Kaylee Cripple Jayla Davis Deja Gatlin Christine Heath Bianca Ingraham Christine King Lorinda Krhut Anna Kate Long Kayla Mason Jordyn Nellum Briley Nelson Bailey O’Boyle-Shambra Luisa Ortega Connie Payne Tara Piggott Lacey Prater Rebekah Presswood Ruthie Ramsey Natalie Raybourn Kennedy Richardson Kennedi Robinson Madeline Russell Grace Salmon Rebecca Sanderson Amiee Schacherer Ashawndra Simmons Lauryn Spell Liz Sudduth Alvia Walker Emma Walker Dakota Westbrook Kelby Wingo Jaylah Woodson Helen Yang Riley Young Tenors Russell Bearden Noah Brand Cameron Broome Parker Burns Bo Campbell Reese Carothers Paul Clark Paul Dunn Tanner Green Caden Keith Mark Keyl Jay Koozer

Katelynn Langley Mijan Magar Patrick Martin Jr. Jaiden McGloster Jamari McGloster Bob Mendel John Meyer Jack Moeller Chase Moore Shervon Moore Nick Perez Ty Rogers Omari Thigpen Blake Tolbert Omari “Momo” Walker Casey Wood Bass Asa Aylor Rodger Banes Alvon Brown Mark Castracane Jaylan Clay Lucien Coker Sam Crump Gavin Davis Remy Davis August Duncan Faizon Ellis Fhoenix Ellis Colorado Fultz Joshua Garmon Aubrey Glenn Tyrese Hardy Bob Heath Julian Herr Jerry Johnson Devin Jones Hayden Ketchum Aiden Luttrell Katon Maurice Marvin Miller Sean Murphy Lucus Orndorff Jarvis Russell Blaise Taylor Justin Thompson Van Voorhies

ABOUT THE ARTISTS Gregory Fuller is a professor of music and the director of Choral Activities at The University of Southern Mississippi.

He conducts the Southern Chorale and the Hattiesburg Choral Union, teaches graduate conducting courses, and supervises candidates in the master’s and doctoral conducting program. Previously, Professor Fuller held conducting appointments at The University of Missouri in Columbia, Missouri, and Briar Cliff University in Sioux City, Iowa.

Fuller has appeared as a conductor or clinician in many locations around the world. His performance record includes numerous refereed performances, including podium appearances at national conferences of American Choral Directors Association (ACDA), Music Educators National Conference (MENC), and the National Collegiate Choral Organization (NCCO). In addition, Fuller has appeared on many concert series performances and festivals in North America, Central America, Scandinavia, the Baltic States, Western Europe, Japan, Korea, and Russia. He has served the Mississippi Chapter of American Choral Directors Association as college and university chair, convention site coordinator, and president.

Dr. Fuller has remained active as a conductor in orchestral and wind settings. That includes numerous oratorios, orchestral works, and a five-year appointment with the professional Sioux City Municipal Band (formally the Monahan Post Band). He has become known as a champion of new extended works, including many U.S. and world premieres over the last three decades.

Important performances include the works of Tõnu Kõrvits, Richard Burchard, and John Cheetham. Other notable performances include engagements on Japanese National Public Television, Estonian Public Radio, and the ordination of Bishop Daniel DiNardo, now Cardinal DiNardo, retired Archbishop of the Galveston-Houston Diocese.

Gregory Wolynec is in his second year as director of Orchestral Activities at The University of Southern Mississippi. He directs the Symphony Orchestra, oversees the graduate program in orchestral conducting, and conducts performances of the Southern Opera and Musical Theatre Company. He is also the founder and music director emeritus of Middle Tennessee’s acclaimed Gateway Chamber Orchestra (GCO), which he directed for 17 years. Wolynec previously served as director of instrumental ensembles at Austin Peay State University (APSU) in Clarksville, Tenn., from 2003-24.

Wolynec has sought to revolutionize the potential of the 21st century orchestra. His unique programming philosophy received national attention with GCO producer Blanton Alspaugh receiving two GRAMMY nominations and a win as Classical Producer of the Year. Ambitious multi-media family concerts have been recognized by the National Endowment for the Arts and the League of American Orchestras. He spearheaded pandemic projects, including the Magical Music & Timeless Tales video series, the YouTube broadcast of the Beethoven @250: Humanity in 2020 concert, and America’s Haydn Festival in May of 2021, featuring performances by GCO, as well as the St. Lawrence String Quartet, pianist Henry Kramer and hosted by Bill McGlaughlin. In 2021, Wolynec also worked with composer Cristina Spinei to successfully launch the first NFT of a musical work commissioned by an American orchestra. This was profiled on NPR’s Marketplace Money. He also oversaw a multi-year project in collaboration with Nashville Ballet to create a new Nutcracker employing the music of Tchaikovsky, Duke Ellington and Vinico Meza. In 2025, Wolynec oversaw the groundbreaking release of recordings of Osvaldo Golijov’s massive La Pasión según San Marcos in audio, video and virtual reality formats.

Wolynec holds a BM in music education and clarinet performance from SUNY Potsdam’s Crane School of Music, as well as the MM and DMA in instrumental conducting from Michigan State University. He was a recipient of a Fulbright Grant to Prague, Czech Republic, where he studied conducting at the Prague Conservatory. There he also worked with the Karlovy Vary Symphony.

Symphony Patrons, This past fall, we launched a series of ambitious new projects and an annual fundraising campaign to support them. Through the generosity and vision of several donors, we are hard at work “Bringing Mississippi to the World.” This season, our talented musicians already shared the stage with internationally acclaimed jazz pianist, Aaron Diehl, and his trio in a program featuring Mary Lou Williams’ Zodiac Suite. Our livestream programs now feature sound produced by a GRAMMY-winning engineer.

This past Tuesday, the Symphony performed its first performance out of Hattiesburg in several years. We are just getting started. In the months ahead, we will announce plans for new touring and recording activities that will educate our students while celebrating the cultural vitality of our wonderful community.

Please consider joining the USM Foundation’s “Bringing Mississippi to the World” fund with a one-time or multi-year gift. I can think of no better cultural ambassadors for our great state than our gem here in Hattiesburg!

With gratitude, Gregory Wolynec, DMA Director of Orchestral Activities

BRINGING MISSISSIPPI TO THE WORLD

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Silver Legacy Society - $12,500 Dr. Shannon Campbell Tammy and Arthur Martin Pam and Doug Rouse

Bronze Legacy Society - $5,000 Alexander Brady Foundation Linda Boutwell-Griffith and John Griffith Jennifer Brannock and Dr. David R. Davies Dr. Amy Chasteen Iris Easterling Erin and Dennis Granberry Lt. Col. Jason Hillman in honor of Carole Marshall Amy and Don Hinton Carole Marshall in memory of John Ivany Marshall Stace and Andy Mercier Drs. Stacey and Michael Miles Ruth and Dr. Lance Nail Dr. and Mrs. Joe Paul Eula and Dr. Roderick Posey Dee and Toddy Tatum in memory of Dr. and Mrs. A.T. Tatum Becky and Doug Vinzant

ANNUAL MEMBERS

PRESIDENT’S CIRCLE - $5,000+ Cadence Bank Beverly Dale

GRAND BENEFACTOR - $2,500 Catherine and Donald Cotten Dr. and Mrs. Chris Winstead

BENEFACTOR - $1,000

Myrle-Marie Bongiovanni Gwen and Perry Combs Mo and Dick Conville Iris Easterling HCS Trading, LLC Dr. and Mrs. Lawrence Leader Jane and Charles Lewis The Linda Becker Smith Revocable Trust Dr. Keith and Carolyn McLarnan Dr. Steven and Anita Murphey Dr. and Mrs. Tom Puckett Southern Miss Alumni Association Mrs. Sandra and Dr. R. Greer Whitacre

Dr. Chris and Missy Crenshaw Drs. Jeremy Deans and Alyson Brink Allyson Easterwood Althea and Raoul Jerome in memory of Dr. Patricia Malone Lee-Way Financial Robert Lochhead John M. and Carolyn Lopinto Sr. Missy Warren McGee Mrs. Virginia W. Morris Kathryn and Robert Morrow Pinebelt Realty Enterprises, LLC and Mason and Magnolia Real Estate Kathy and Randy Pope Rion Snowden Architect, PLLC Dr. Edward Sayre Russ Willis

DONOR - $250

Linda and Larry Basden Mary Glenn and Todd Bradley Lt. Col. Raylawni Branch Drs. Marvin and Bitsy Browne Miller Rachel and Nicholas Ciraldo Joelle Crook in memory of George T. Crook Kimberley Davis Beejee and Andy Dickson Katherine and Chad Driskell Kim Gallaspy Cheryl L. Goggin Dr. and Mrs. Robert Heath Rebekah and Jeff Johnson Richard and Elizabeth Johnson Dr. Mike Lopinto in honor of Carolyn and John Lopinto Tammy and Steve Mansfield Carole Marshall Maureen K. Martin in honor of Dr. and Mrs. Aubrey K. Lucas Cody and Joan McKeller Dr. Colin and Mandie McKenzie Becky and Doug Montague Drs. Suzanna and Andrew Nida Hal E. Odom Dr. Derek and Mrs. Stephanie Patton Denise and Richard Ratcliffe Mr. and Mrs. William K. Ray Dr. and Mrs. Douglas M. Rust Mary and Eric Sumrall Martha and Tommy Thornton Debra and Richard Topp Carey and Sharon Varnado Sharon Weathersby

CONTRIBUTOR - $150 Anonymous Dr. Jenna and Mr. Daniel Barton Dennis Baum Mitch and Marcia Cochran Dr. Veronica Dzugan

Barbara Jane Foote Howard and Liz Fromkin John and Susan Howell LuAnn Knight Lorinda Krhut Vicki R. Leggett Milo McCarthy Bebe McLeod and Bill McLeod in memory of Dr. John A. McLeod III LTC and Mrs. E. Walker Nordan Betty and Bob Press George and Jann Puckett in honor of DeAnna Douglas Ann and Bill Simmons in honor of Dr. Jay Dean and Dr. Mary Ann Kyle Carol and Ken Simpson David Sliman Nancy Steen

FRIEND - $50

Anonymous Donors Elizabeth and Chris Bedenbaugh Drs. Diana and Joshua Bernstein Dr. Cherie and Mr. Lance Bowe Joe Brumbeloe Darcie Conrad Jennifer Courts Mr. and Mrs. Charles Daughdrill Bethanie and Jerry DeFatta Diane Dobson Carol and Gardner Fletcher Lauren and J.R. Gerhart Harry and Marcia Goff Heather and Ken Graves in memory of Jeremy Lespi

Bridget Hayden Brenda Hesselgrave Clark and Kathia Hicks Emily and Dale Holmes Dr. Luis A. Iglesias Jane W. Jones Nicolle Jordan and Tom O’Brien Linda and Mike Kuykendall Karen LeBeau Hsiaopei Lee Linde and Jeff Lynn Marcos Machado Jackie and Ben McIlwain Louise and John Meyer Danilo Mezzadri Dr. Mark Miller Jeremiah Parker Ellen Price-Elder Terry and Julie Puckett Julie Reid Sherrie Mitchell Richmond Mark Rigsby and Melanie Eubanks Barbara Ann Ross Dr. Alexander Russakovsky Joseph Steadman Susan Straus Lorraine A. Stuart Jennifer Torres Joanne Tran Donnie and Barbara Tynes Brittney Westbrook Cory R. Williams Dr. John Wooton

If you would like to join PFTA, visit usm.edu/partners-arts or call 601.266.5095.

EOE/VETS/DISABILITY