UTSA Department of Music presents LET ALL THE WORLD SING, October 14th, 2021

2021-2022 SEASON

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ANNOUNCING THE

MICHAEL VALDEZ

MEMORIAL ENDOWED SCHOLARSHIP

UTSA's Department of Music recently created the Michael Valdez Memorial Endowed Scholarship in recognition of our fellow roadrunner, Michael Valdez. Beloved by his peers, Michael was known for his authenticity and willingness to offer help when ever needed. This new memorial scholarship will celebrate his life and his love of music in perpetuity.

Thanks to the dedication of Michael's parents, Sarah and Reynaldo, and to the generosity of an anonymous donor, the scholarship has been funded at the minimum level required to establish the endowment. Now UTSA Music hopes to raise an additional $10,000 to aid music students in need of financial support.

"We started this scholarship fund for our son, Michael, because he loved UTSA. He had a passion for music.

We are hoping that his scholarship will assist future music majors with their passion."

- Sarah & Reynaldo Valdez Michael's parents

All dollars contributed to Michael's scholarship will be awarded to deserving undergraduate music majors whose principal instrument is in the brass family: (euphonium, trumpet, horn, trombone, and tuba. Students will be awarded vital funds from this special endowment starting in the Fall 2020 semester.

UTSA has begun a 45 day campaign to reach the $10,000 goal and we humbly ask you to consider joining the effort.

Your gift will honor Michael's own giving spirit and open doors for future music students to train at UTSA in the music department he loved.

The UTSA Music family kindly thanks you for your consideration.

45 days to give

OCTOBER 6 NOVEMBER 20 Please, don't miss your opportunity to give:

DONATE TO THE MICHAEL VALDEZ MEMORIAL ENDOWED SCHOLARSHIP

Let All the World Sing

Chamber Choir & Concert Choir conducted by Dr. Yoojin Muhn

October 14th, 2021 UTSA Recital Hall

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THE UNIVERSITY OF TEXAS AT SAN ANTONIO UTSA CONCERT CHOIR & CHAMBER SINGERS Thursday, October 14, 2021 UTSA Music Recital Hall 7:30 PM

_________________________________________________________________________________________ PROGRAM

UTSA Concert Choir and Chamber Singers Let All the World in Every Corner Sing (from Five Mystical Songs) Dr. Andrew Lloyd, organ

Ralph Vaughan Williams (1872 – 1958)

UTSA Concert Choir Arroz Con Leche (Rice with Milk)

arr. Carlos Guastavino (1912 – 2000)

The Road Home Isabel Alvarado, solo David Waterland, conductor Five Hebrew Love Songs 1. Temuná (A Picture) 2. Kalá kallá (Light Bride) 3. Laróv (Mostly) 4. Éyze Shéleg! (What Snow!)

5. Rakút (Tenderness)

Stephen Paulus (1949 – 2014)

Eric Whitacre (b. 1970)

Dr. Nicole Cherry, violin Ava Upshaw, solo Lindsey Reese, tambourine

Rejoice!

Emma Madalina and Jared Kellman-Medina, soloists

Jeffery Ames (b. 1969)

UTSA Chamber Singers Liebeslieder Walzer (Love Song Waltzes), op. 52, mvt 1-8 1. Rede, Mädchen, allzu liebes 2. Am Gesteine rauscht die Flut 3. O die Frauen 4. Wie des Abends schöne Röthe 5. Die grüne Hopfenranke 6. Ein kleiner, hübscher Vogel 7. Wohl schön bewandt war es 8. Wenn so lind dein Augen mir

Johannes Brahms (1833 – 1897)

Victoria Becker, Hannah Herrick, Joseph Rodriguez, Hector Tobar, solo quartet Dr. Tracy Cowden and Mary Lowder, piano

Exsultate Deo (Rejoice unto God)

Giovanni Pierluigi da Palestrina (1525 – 1594)

I Will Lift Up Mine Eyes

Yoojin Muhn (b. 1983)

El Guayaboso (The Liar)

Guido López-Gavilán (b. 1944)

UTSA Concert Choir and Chamber Singers Ndikhokhele Bawo (Lead Me Father)

True Colors

arr. Michael Barrett Lindsey Reese, djembe

Azziya Richardson, solo

* Please silence all electronics and refrain from using them during the concert.

arr. Matthew Brown (b. 1978)

Conductor Yoojin Muhn serves as the Director of Choral Activities at the University of Texas at San

Antonio, where she directs the UTSA Chamber Singers, Concert Choir, and teaches choral conducting for both undergraduate and graduate students. Prior to coming to Texas, Dr. Muhn has served as the Artistic Director at Tucson Masterworks Chorale in Tucson, Arizona and directed the Oriana Women’s Chorus, and led the Concert Choir as an assistant director at the University of Southern California. She recently has been invited to the TMEA Region Choirs as a guest clinician and conductor, Missouri Choral Directors Association as the All-State honor choir conductor and headliner, and appointed as a choral conducting faculty at the Music Across the Pond, a summer music program in England.

Dr. Muhn received a Doctor of Musical Arts degree in Choral Music with honors from the University of Southern California, the Master of Music degrees in Choral Conducting from the University of Cincinnati and in Sacred Music from Westminster Choir College where she graduated with distinction, and a Bachelor of Arts degree in Composition from SookMyung Women’s University in Seoul, Korea. _________________________________________________________________________________________

Acknowledgements Special thanks to the following for their ongoing support and dedication to the UTSA Choirs: Dr. Tracy Cowden, Chair, UTSA Department of Music Dr. Stacey Davis, Associate Chair, UTSA Department of Music Naomy Ybarra, Senior Administrative Associate Steven Hill, Administrative Associate Wesley Penix, Senior Events Manager Rebekah Alegria, Jason Guzman, Micha Rosenstein, Marketing and Publicity Mr. Donald Marchand, Music Program Specialist Prof. John Nix, Voice Area Coordinator Dr. Jourdan Howell, Prof. Crystal Johnson, Dr. William McCrary, Dr. Susan Olson, Voice Faculty Dr. Susan Dill, Music Education Area Coordinator Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Coordinators Dr. Kasandra Keeling, Keyboard Area Coordinator Prof. Ron Ellis, Director of Bands Dr. John Zarco, Director of Instrumental Ensembles Prof. Troy Peters, Director of Orchestras Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators UTSA Department of Music Faculty Carlos Cruz, Department of Music Librarian

Program Notes Compiled and Written by Yoojin Muhn

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Arroz Con Leche – Carlos Guastavino Carlos Guastavino was born in Santa Fe Province, Argentina. He was one of the foremost Argentine composers of the 20th century. His musical output amounts to over 200 works, most of which are songs for piano and solo voice. An accomplished pianist with an intense gift for melody, Guastavino’s style is conservative, always tonal, and romantic. His compositional style has influenced many of Argentina’s nationalist composers, such as Alberto Williams, Francisco Hargreaves, Eduardo García Mansilla, and Julian Aguirre.

Arroz Con Leche is a very popular children’s round, beloved by many throughout South America. Guastavino learned this tune from his mother. The composer cleverly takes the simple and cheerful melody and places it into a fugue form for this arrangement. However, at the end of the song, the polyphonic texture changes into a beautiful homophonic section, slowing the tempo and relaxing the dynamic.

[Program notes by Yoojin Muhn]

The Road Home – Stephen Paulus In the Spring of 2001 I received a commission from the Dale Warland Singers to write a short "folk" type choral arrangement. I had discovered a tune in a folk song book called "The Lone Wild Bird." I fell in love with it, made a short recording and asked my good friend and colleague, Michael Dennis Browne to write new words for this tune. The tune is taken from The Southern Harmony Songbook" of 1835. It is pentatonic and that is part of its attraction.

Pentatonic scales have been extant for centuries and are prevalent in almost all musical cultures throughout the world. They are universal. Michael crafted three verses and gave it the title "The Road Home." He writes so eloquently about "returning" and "coming home" after being lost or wandering. Again, this is another universal theme and it has resonated well with choirs around the world as this simple little a cappella choral piece has become another "best seller" in our Paulus Publications catalogue and now threatens to catch up with "Pilgrims' Hymn." It is just more evidence that often the most powerful and beautiful message is often a simple one.

[Program notes by the composer and stephenpaulus.com]

Five Hebrew Love Songs – Eric Whitacre In the spring of 1996, my great friend and brilliant violinist Friedemann Eichhorn invited me and my girlfriend-at-the-time Hila Plitmann (a soprano) to give a concert with him in his home city of Speyer, Germany. We had all met that year as students at the Juilliard School, and were inseparable. Because we were appearing as a band of traveling musicians, ‘Friedy’ asked me to write a set of troubadour songs for piano, violin and soprano. I asked Hila (who was born and raised in Jerusalem) to write me a few ‘postcards’ in her native tongue, and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in a small skiing village in the Swiss Alps, and we performed them for the first time a week later in Speyer.

In 2001, the University of Miami commissioned me to adapt the songs for SATB chorus and string quartet, and the Efroni Choir in Israel commissioned me to adapt them for SA, violin and piano, leaving me now with five (!) different versions of the same work: SATB and string quartet; SATB, violin, and piano; SA and string quartet; SA violin, and piano; and the original soprano, violin, and piano. The choral parts are exactly the same for the different accompaniments, so that if the choir wants to perform the version with string quartet, the chorus can sing from the piano/violin score and the conductor can lead from the quartet version.

Each of the songs captures a moment that Hila and I shared together. Kalá Kallá (which means ‘light bride’) was a pun I came up with while she was first teaching me Hebrew. The bells at the beginning of Éyze Shéleg! are the exact pitches that awakened us each morning in Germany as they rang from a nearby cathedral.

[Program notes from the composer]

Liebeslieder Walzer – Johannes Brahms Brahms settled in Vienna for good in 1869 after becoming thoroughly familiar with the great imperial city during the preceding years. He had given his first piano recital there in 1862 and directed four concerts of the Wiener Singakademie the following year, but then declined that organization’s offer to return for another season as director so that he could continue touring as a pianist. By 1869, however, the lure of Vienna, with its rich cultural life and the many friendships that he had made during earlier visits, proved irresistible. After living for several months in a hotel, in 1870 Brahms moved into the apartment in the Karlgasse that was to be his home for the rest of his life.

Among the first musical products of Brahms’ Viennese residency were the Liebeslieder Walzer, a cycle of pieces for vocal quartet and four-hand piano accompaniment on texts by Georg Friedrich Daumer (1800-75). These Love-Song Waltzes, giddy with the sensuous atmosphere of fin-de-siècle Vienna, were modeled on Schubert’s Deutsche Tänze (German Dances) and the dance music of Joseph Lanner and the Strauss family, but were infused with Brahms’ characteristic harmonic and

contrapuntal idiom. Their subject is love—its joys and sorrows, its fulfillments and disappointments—couched in the natural images of sun, moon, stars, birds, flowers, dark woods, stormy seas, and mountain torrents. Brahms, who usually dispensed only cheerfully belittling comments about his own works, spoke highly of this music, assuring his publisher, Fritz Simrock, “I will risk being dubbed an ass if our Liebeslieder do not bring joy to quite a few people.” They did, and Brahms returned to the genre five years later to produce the set of Neue [New] Liebeslieder, Op. 65.

All of the poems for both sets of Liebeslieder Waltzes, save only the final text of the Neue Liebeslieder (by Goethe), are from Polydora, Daumer’s 1855 translations and imitations of love poems and dance songs from such widely scattered regions as Turkey, Sicily, Russia, Spain, Poland, and southeast Asia. In these songs, simple in structure, immediate in appeal, and irresistibly lyrical, Brahms distilled what British musicologist Malcolm MacDonald, in his 1990 study of the composer, called “coy truisms and apothegms about love.”

[Program notes from the Schubert Club written by Richard E. Rodda]

I Will Lift Up Mine Eyes – Yoojin Muhn Psalm 121 is one of my favorite scriptures from the bible. The piece begins by outlining the shape of the “hill,” musically, which in turn symbolizes the challenges and successes during a life. The first part is set homophonically, followed by a second, contrasting section employing four-part polyphony, which move independently. At the climax of this work, the text “I will lift up,” is emphatically repeated three times, expressing a strong conviction that I will only lift up my eyes to hills, representing trust in God. [Program notes by Yoojin Muhn]

El Guayaboso – Guido López-Gavilán A Cuban composer and conductor, Guido López-Gavilán was sent abroad to Moscow in the thenSoviet Union to study at the Tchaikovsky Conservatory, where he graduated in 1973. El Guayaboso, which was first composed in the 1960s for a youth chorus, is what the composer terms a “choral guaguancó” referring to the most popular of the types of rumba, associated “almost always very jovial spirit and recount[ing] a humorous or festive happening” with only percussion accompaniment. In the 1980s, López-Gavilán made this arrangement for mixed chorus, which asks the singers to vocalize the percussion parts. His text comes from memories of poems his grandmother used to read him: “I remembered these disparate rhymes, which probably emerged in a country fiesta in Matanzas province in the last years of the nineteenth century, and they appeared many years later in the text of El Guayaboso.”

[Program notes from the Los Angeles Master Chorale written by Thomas May]

Texts and Translations Arroz Con Leche - Carlos Guastavino

Arroz con leche Me quiero casar Con una señorita de San Nicolás

Rice with milk.

I want to get married with a little lady From San Nicolas,

Que sepa coser Que sepa bordar Que sepa abrir la puerta para ir a jugar

Who knows how to sew, Who knows how to embroider, Who knows how to open the door to go play

Con esta sí con esta no con esta señorita me caso yo

Five Hebrew Love Songs - Eric Whitacre Poem by Hila Plitmann

With this one, yes, With this one, no, With this little lady I’ll get married.

1. TEMUNÁ Temuná belibí charuntá; Nodédet beyn ór uveyn ófel: Min dmamá shekazó et guféch kach otá, Usaréch al pańa’ich kach nófel.

A PICTURE A picture is engraved in my heart; Moving between light and darkness: A sort of silence envelopes your body, And your hair falls upon your face just so.

2. KALÁ KALLÁ Kalá kallá Kulá shelí, U’ve kalút Tishákhílí!

BRIGHT BRIDE Light bride She is all mine, And lightly She will kiss me!

3. LARÓV “Laróv,” amár gag la’shama’im, “Hamerchák shebeynéynu hu ad; Ach lifnéy zman alu lechán shna’im, Uveynéynu nishár sentiméter echad”

MOSTLY “Mostly,” said the roof to the sky, “the distance between you and I is endlessness; But a while ago two came up here, And only one centimeter was left between us.”

4. ÉYZE SHÉLEG! Ézye shéleg!

Kmo chalomót ktaníim Noflím mehashamá im.

WHAT SNOW! What snow!

Like little dreams Falling from the sky.

5. RAKÚT (TENDERNESS) Hu hayá malé rakút; Hi haytá kasha

TENDERNESS He was full of tenderness; She was very hard.

Vechól káma shenistá lehishaér kach, Pashút, uvlí sibá tová, Lakách otá el toch atzmó, Veheníach Bamakóm hachí rach.

And as much as she tried to stay thus, Simply, and with no good reason, He took her into himself, And set her down In the softest, softest place.

Liebeslieder Walzer, op. 52 mvt 1-8 – Johannes Brahms Poem by Georg Friedrich Daumer

1. Rede, Mädchen, allzu liebes, Das mir in die Brust, die kühle, Hat geschleudert mit dem Blicke Diese wilden Glutgefühle!

Willst du nicht dein Herz erweichen, Willst du, eine Überfromme, Rasten ohne traute Wonne, Oder willst du, daß ich komme?

Rasten ohne traute Wonne, Nicht so bitter will ich büßen.

Komme nur, du schwarzes Auge, Komme, wenn die Sterne grüßen!

Tell me, my sweetest girl, who with your glances have kindled in my cool breast these wild, passionate feelings!

Will you not relent, will you, with an excess of virtue, live without love’s rapture, or do you wish me to come to you?

To live without love’s rapture, is a bitter fate I would not suffer.

Come, then, with your dark eyes, come, when the stars beckon!

2. Am Gesteine rauscht die Flut Heftig angetrieben; Wer da nicht zu seufzen weiß, Lernt es unterm Lieben.

The wildly lashed waves dash against the rocks; whoever has not learnt to sigh will learn it when he loves.

3. O die Frauen, o die Frauen, Wie sie Wonne tauen!

Wäre lang ein Mönch geworden, Wären nicht die Frauen!

O women, o women, how they delight the heart!

I should have long since turned monk, were it not for women!

4. Wie des Abends schöne Röte Möcht ich arme Dirne glühn, Einem, Einem zu gefallen, Sonder Ende Wonne sprühn.

Like a lovely sunset I, a humble girl, would glow, and find favour with one alone, radiating endless rapture.

5. Die grüne Hopfenranke Sie schlängelt auf der Erde hin.

Die junge, schöne Dirne, So traurig ist ihr Sinn!

Du höre, grüne Ranke!

Was hebst du dich nicht himmelwärts?

Du höre, schöne Dirne!

Was ist so schwer dein Herz?

Wie höbe sich die Ranke Der keine Stütze Kraft verleiht?

Wie wäre die Dirne fröhlich, Wenn ihr der Liebste weit?

6. Ein kleiner, hübscher Vogel nahm den Flug

The green tendrils of the vine creep low along the ground.

How gloomy, too, the lovely young girl looks!

Why, green tendrils!

Why do you not stretch up to the sky?

Why, lovely girl!

Why is your heart so heavy?

How can the vine grow tall without support?

How can the girl be joyful, when her lover’s far away?

A pretty little bird flew off

Zum Garten hin, da gab es Obst genug.

Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte nicht, ich täte so wie der.

Leimruten-Arglist lauert an dem Ort; Der arme Vogel konnte nicht mehr fort.

Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte doch, ich täte nicht wie der.

Der Vogel kam in eine schöne Hand, Da tat es ihm, dem Glücklichen, nicht and.

Wenn ich ein hübscher, kleiner Vogel wär, Ich säumte nicht, ich täte doch wie der.

into a garden full of fruit.

Were I a pretty little bird, I’d not hesitate, I’d do the same.

But treacherous lime-twigs lay in wait; the poor bird could not fly away.

Were I a pretty little bird, I’d hesitate, not do the same.

The bird alighted on a fair hand, the lucky thing wanted nothing more.

Were I pretty little bird, I’d not hesitate, I’d do the same.

7. Wohl schön bewandt War es vorehe Mit meinem Leben, Mit meiner Liebe!

Durch eine Wand, Ja, durch zehn Wände, Erkannte mich Des Freundes Sehe.

Doch jetzo, wehe, Wenn ich dem Kalten Auch noch so dicht, Vorm Auge stehe, Es merkts sein Auge, Sein Herze nicht.

All seemed rosy at one time with my life, with my love!

Through a wall, through ten walls, my lover’s gaze would reach me.

But now, alas, I stand in front of his cool gaze, neither his eyes, nor his heart, takes note of me.

8. Wenn so lind dein Aug mir Und so lieblich schauet – Jede letzte Trübe fliehet, Welche mich umgrauet.

Dieser Liebe schöne Glut, Laß sie nicht verstieben!

Nimmer wird, wie ich, so true Dich ein andrer lieben.

When you gaze at me so tenderly and so full of love – all the gloom that assails me fades away.

Oh, do not let this love’s sweet ardour vanish!

No one will love you as truly as I. (Translations by Richard Stokes)

Exsultate Deo - Giovanni Pierluigi da Palestrina

Exsultate Deo adjutori nostro, jubilate Deo Jacob.

Rejoice unto God our helper, sing aloud unto the God of Jacob.

Sumite psalmum et date tympanum, psalterium jucundum cum cithara.

Take a psalm and bring hither the timbrel, the pleasant psaltery with the harp.

Buccinate in neomenia tuba, in insigni die solemnitatis vestrae.

Blow the trumpet in the new moon, on the noted day of your solemnity

El Guayaboso - Guido López-Gavilán

Yo ví bailar un danzón En el filo de un cuchillo, Un mosquito en calzoncillos Y una mosca en camisón

I saw dance a danzón On the edge of a knife A mosquito wearing trousers And a fly dressed in a shirt.

Yo ví un cangrejo arando Un cochino tocando un pito y una vieja regañando sentada en una butaca.

A una ternerita flaca Que de risa estaba muerta, Al ver una chiva tuerta Remendar una alpargata.

I saw a crab plowing, a pig blowing a whistle, and an old growling woman sitting in a armchair.

And a skinny little calf Die laughing Upon seeing a one-eyed goat Mending a sandal.

Yo ví bailar…

I saw a mosquito dancing…

Ndikhokhele Bawo – arr. Matthew Brown Traditional IsiXhosa

Ndikhokhele Bawo zundikokhele Ndikhokhele mmeli wami ezintsizini zalomhlaba Bawo Bawo ndiyabonga ngoba wena usandigcinile Hlal’Uhlele duze kwami

There for me father guide me there for me my protector from all the troubles this world brings father father I am grateful for your guidance you bring rest to me

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Upcoming Events Most events are in the UTSA Recital Hall and are free admission unless otherwise indicated.

Mon, October 18, 7:30 pm Thur, October 21, 7:30 pm Sunday, October 24, 3:00 pm Tues, October 26, 5:00 pm Thur, October 26, 5:00 pm Thur, October 28, 7:30 pm Fri, October 29, 5:00 pm

Faculty Recital: Dr. Kasandra Keeling, piano UTSA University Chorus Vocal Arts Series 2021-22 (First Baptist Church) OcTubas Fest Recital I OcTubas Fest Recital II UTSA Jazz Faculty Concert Trumpet Ensemble Recital

UTSA CONCERT CHOIR Dr. Yoojin Muhn, director David Waterland, graduate assistant director Mary Lowder, collaborative pianist Soprano I Isabel Alvarado Elisa Contreras Valarie Crawford Madeline Gutierrez Darby Hindmon Emma Nguyen Gineli Osorio Alex Sanchez Hannah Terwege Andrea Tovar Isabel Alvarado

Soprano II Bree Bell Alania Cordero Krystal Elliston Jamie Farmer Martha Garcia Alyssa Garza Alicia Guerrero Yajahira Herrera Tyrique Ivey Francheska Lugo Ana Marinelarena Ava Upshaw

Alto I Jihye Cheon JoLynn Creel Emma Madalina Alyssa Moreno Jazmin Snow Milena Sousa Casie Wages

Alto II Amelia Azadi Kyanna Clark Jude East Stefani Garcia Morgan Jensen Jessica Morales Folayemi Oyeleye Belissa Perea

Tenor I Justin Chappell Jared Kellman-Medina Raphael Mamaradlo

Tenor II Jordan Green Kainoa Valdez-Salinas Marco Romero Samuel Vargas David Waterland

Bass I Blake Bailey Matthew Pena Benjamin Telford Joshua Moncana Zoll Antonio Zubillaga

Bass II Christian Cortez Mason Day Abraham Gomez Carlos Suttles

Personnel roster is listed alphabetically to emphasize the important contribution made by each singer.

UTSA CHAMBER SINGERS Dr. Yoojin Muhn, director David Waterland, graduate assistant director Mary Lowder, collaborative pianist

Soprano I Victoria Becker Madison Blanco Mariah Martinez Mikaela Nichols

Soprano II Greta Glasscock Autumn Riley Kaylee Rios Callan Sramek

Alto I Hanna Aaly Sophie Andersen Sean Corbett Simone Remandaban

Alto II Ariana Bonilla Hannah Herrick Stelly Jimenez Johanna Kitchen Azziya Richardson

Tenor I Ollie Allen Klint Fabian Louie Ramos Joseph Rodriguez

Tenor II Nick Duran Lucas Moncada Zoll Frank Moran

Bass I Osvaldo Chacon Christian Stevens Hector Tobar David Waterland

Bass II Kyree Harrison Andrew Kimberly Alejandro Cuellar

Personnel roster is listed alphabetically to emphasize the important contribution made by each singer.

Let All the World Sing

Upcoming live concerts in the UTSA Recital Hall

10.18.21

10.21.21

10.24.21

Faculty Recital: Kasandra Keeling, piano 7:30PM University Chorus 7:30PM

10.28.21

UTSA Jazz Faculty 7:30PM

10.29.21

Trumpet Ensemble 7:30PM

11.07.21

University Band 3:00PM

Vocal Arts Series: Female Composers Concert FBC San Antonio 11.08.21 7:30PM

UTSA Orchestra 7:30PM

10.26.21

OcTuba Fest I 7:30PM

11.09.21

UTSA Jazz Ensemble I 7:30PM

10.27.21

OcTuba Fest II 7:30PM

11.10.21

Faculty Recital: Stephanie Westney, violin 7:30PM

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Audition Dates 2021-2022

November 6, 2021 (instruments only) November 13, 2021 (voice only) February 19th, 2022* March 5, 2022* May 7, 2022 (no keyboard) *scholarship audition date

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