Contents FALL 2013
ISSUE 2
OCTOBER 15-NOVEMBER 3, 2013 A3 ARTS NOW: ANDREA CHEESEMAN A4 RALEIGH CIVIC CHAMBER ORCHESTRA A7 THE ADVENTURES OF ALVIN SPUTNIK: DEEP SEA EXPLORER A10 CHORAL COLLAGE CONCERT A13 TURTLE ISLAND QUARTET WITH NELLIE MCKAY A16 ARTS NC STATE LEADERS DISCUSS SUPPORT FOR THE ARTS A17 PMC LECTURE: MARK EVAN BONDS A18 MARTHA REDBONE ROOTS PROJECT A19 OLGA KLEIANKINA FACULTY RECITAL
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NC STATE WIND ENSEMBLE
P R O G R A M N OT E S ARTS NOW SERIES
MUSIC @ NC STATE AND THE ARTS NOW SERIES PRESENT
ANDREA CHEESEMAN, CLARINET ARTS NOW SERIES DR. RODNEY WASCHKA II, DIRECTOR TUESDAY, OCTOBER 15, 2013 AT 7PM Titmus Theatre Andrea Cheeseman displays great versatility in her clarinet playing. She can present the classics of the clarinet repertoire from two hundred years ago with accuracy and zest, and she can play the latest compositions for her instruments with aplomb and deep understanding. Her dedication to performing the works of contemporary composers extends to works that include electronic and visual elements, making her a rare and important performer. Previously, Dr. Cheeseman performed on the Arts NOW Series as part of a show that featured the works of composer/performer Mark Snyder. She returns to us now with a wide-ranging program of pieces that features composers born in Finland, England, and the United States including
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Kirsten Volness, Traci Mendel, Kimmo Hakola and Nicola Resonavic. The music includes unaccompanied clarinet music, music for bass clarinet, pieces with video or slide projections, and several pieces involving electronic music. Dr. Cheeseman is associate professor of clarinet at Appalachian State University. An active and engaging performer, she has received invitations to perform at colleges and universities throughout the country as a soloist and chamber musician. She has performed for diverse festivals such as College Music Society Annual Meetings, the Montana/Idaho Clarinet Festival, the Michigan Contemporary Clarinet Festival and the Oklahoma Clarinet Symposium and electroacoustic festivals such as SEAMUS and the Electroacoustic Barn Dance. Prior to her appointment at Appalachian, Dr. Cheeseman was on the faculties of Delta State University, Alma College and Hillsdale College. She earned the Doctorate of Musical Arts and Master of Music degrees in clarinet performance from Michigan State University, and the Bachelor of Music degrees in clarinet performance and music education from Ithaca College. Her principal teachers have included Elsa LudewigVerdehr and Michael Galván. When not teaching or performing, Dr. Cheeseman spends her time studying musicians’ occupational health, swimming, and practicing ashtanga yoga.
JOIN US FOR A FREE OUTDOOR CONCERT BY THE
NC State Jazz Ensemble THURSDAY, OCTOBER 17, 2013 AT 6PM Pullen Park 520 Ashe Avenue (between Ashe Avenue and Pullen Road)
Bring your blankets or chairs to the lawn between Lake Howell and the Pullen Park Carousel. Fall 2013 Issue 2 A3
MUSIC @ NC STATE IN CONJUNCTION WITH THE RALEIGH CIVIC SYMPHONY ASSOCIATION PRESENTS
RALEIGH CIVIC CHAMBER ORCHESTRA SUNDAY, OCTOBER 20, 2013 AT 4PM Titmus Theatre J. MARK SCEARCE, GUEST CONDUCTOR
Program Benediction (1993) Orchestral Suite No. 3 in D, BMV 1068 (1730) Ouverture Air Gavottes I & II Bouree Gigue
J. Mark Scearce (b. 1960) J.S. Bach (1685-1750)
RALEIGH CIVIC SYMPHONY ASSOCIATION Mary Sherk, Executive Director Adam Burke, President www.raleighcivicsymphony.org
Intermission
WE THANK OUR SPONSORS
Pulcinella Suite (1920, rev 1949) Sinfonia (Ouverture) Serenata Scherzino Tarantella Toccata Gavotta (con due variazioni) Vivo Minuetto & Finale
Igor Stravinsky (1882-1971)
The Raleigh Civic Symphony and Chamber Orchestra are the student/community orchestras of NC State University, sponsored jointly by ARTS NC STATE, through Music @ NC State and the Raleigh Civic Symphony Association (RCSA), a nonprofit organization. RCSA is funded in part by the City of Raleigh, based upon the recommendations of the Raleigh Arts Commission, grants, business sponsorships, and private donations.
THANKS ALSO TO:
Annabelle Lundy Fetterman Concertmaster Endowment
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THANK YOU!
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Matching Employee Contributions from: Art Tech, Hewlett-Packard, and IBM Corporation
BY J. MARK SCEARCE
BENEDICTION We moved to Raleigh 25 years ago this fall. During that first tour of duty, my wife sang with the National Opera Company sponsored by the Fletcher Foundation; I taught on the adjunct faculties of St. Aug’s, Fayetteville State, and Shaw; and I was Composer-in-Residence at NC State long before I ever became Director of the Music Department. One of the first works I wrote for the Raleigh Civic Symphony was this one, celebrating its 20th anniversary this season. The work memorializes the son of one of the first (and dearest) people I met at State: Soloana Ingram. Its most notable feature, the three antiphonal trumpets echoing their Taps-like salutes bringing to mind our own personal benedictions in such a moment of reflection.
BACH ORCHESTRAL SUITE NO. 3
three singing parts but kept nearly all the music, rearranging it into eight roughly recognizable movements (though the third, the Scherzino, is itself in three parts; and the sixth, the Gavotta, is a theme with two variations). This same music was refashioned into the popular Suite Italienne for Violin and Piano (though it can also be
found in a version for Cello and Piano and a version for Violin and Cello!). Musically, this is an important work, as well as a delightful one, as Stravinsky himself writes: “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible.” There’s a message in that.
P R O G R A M N OT E S RALEIGH CIVIC CHAMBER ORCHESTRA
Program Notes
The four suites, called ouvertures by Bach himself, were modeled after the French overture and its majestic dotted rhythms. In Germany during the Baroque, however, the term also meant a suite of dance pieces in French Baroque style of which the overture was merely the opening number. While Bach wrote several such suites for solo instruments, he was not as interested in what was this most popular form of his day – surviving examples from other composers run into the hundreds to Bach’s four. Moreover, these four, while grouped together were not conceived as a set in the way the Brandenburg Concertos were. In fact, their composition seems to have been a family affair with, in this Third Suite, Bach writing the first violin and continuo parts; his son C.P.E. writing the trumpet, oboe, and timpani parts; and his trusted student Krebs writing the second violin and viola parts! [We should all have a Krebs.] It does, however, contain one of the most famous pieces of Baroque music, now commonly known as “The Air on a G String,” which we dedicate in our performance to Maestro Randolph Foy.
STRAVINSKY PULCINELLA SUITE Pulcinella is a ballet by Stravinsky based on characters from Commedia dell-arte and utilizing what was thought at the time to be music by the early 18th century Italian composer Pergolesi. Stravinsky rewrote the earlier music with modern rhythms, cadences, and harmonies, and truly made it his own. Pulcinella is often considered the first of Stravinsky’s neo-classical influenced works. The Suite derived from the ballet removed the
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P R O G R A M N OT E S RALEIGH CIVIC CHAMBER ORCHESTRA ...continued
RCSA DONORS CONDUCTOR $500 PLUS
Ann Wheeler Grigg IBM Corporation – Community Grant Dr. J Mark Scearce Qualcomm Incorporated J. Russell & Linda Hill
CONCERTMASTER $300-499
CHAMBER ORCHESTRA PERSONNEL GUEST ARTISTS
Don Eagle, trumpet David Oh, cello Leonid Finkelshteyn, double bass
FLUTE
SECTION LEADER $100-299
Nathan Olawsky Lecia Cecconi-Roberts
Anonymous (2) Adam Burke Jeff Cates Allison Fluitt Denise Franz Hans Kellner Patricia Kirkpatrick Alan & Janice Lipson Patrick Liu Qualcomm Community Foundation Ghazala Sadiq Mara Shea Mary & Eric Sherk Munindar Singh Kathy Silbiger Deborah & Theodore Wagner
CONTINUO
Daniel Kim
OBOE
Maggie Rahmoeller Ryan Cinoman
PERCUSSION
Leah Shull Benjamin Russell
Mary Mitchell Erin Munnelly
John & Nancy Lambert Richard & Mary E. Mitchell Triangle United Way
TIMPANI
Candy Pahl
VIOLINS
Lindi Wang, concertmaster Jessica Acito Wesley Allen Connie Chen Nadia Drabick Francine Hunter Patrick Liu Erin Walsh
CLARINET
BASSOON
Russ Hill Amy DiDomenico
VIOLA
Grace Blackley Emily DeHority Miranda Forman
HORN
Bill McHenry Mary Ruth Roth
CELLO
TRUMPET
Sonny Enslen Lilly Jan Amika Singh
Gary Martin Elora Forgie
TROMBONE
DOUBLE BASS
Brandon Cashion
Kevin Durso
MUSICIAN UNDER $100
Michael & Kimberly Bridgers Cindy Chastang Patrick Haggerty Francine Hunter Robert Upchurch
NC STATE STUDENTS AND THEIR MAJORS Jessica Acito, Criminology Wesley Allen, Engineering Grace Blackley, Biological Sciences Brandon Cashion, Accounting Connie Chen, Technical Communications grad student Ryan Cinoman, Mathematics Emily DeHority, Biological Engineering Amy DiDomenico, DVM Professional Degree Program, Veterinary Medicine
^ music minor
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Nadia Drabick, Polymer and Color Chemistry, Medical Textiles Elora Forgie, Animal Science Miranda Forman, English grad student Lilly Jan, Engineering Daniel Kim^, Biological Engineering Gary Martin, Aerospace Engineering grad student Maggie Rahmoeller, Mathematics grad student Erin Walsh, Chemical Engineering
NCSU CENTER STAGE PERTH THEATRE COMPANY PRESENTS A WEEPING SPOON PRODUCTION
THE ADVENTURES OF ALVIN SPUTNIK: DEEP SEA EXPLORER BY TIM WATTS
P R O G R A M N OT E S THE ADVENTURES OF ALVIN SPUTNIK: DEEP SEA EXPLORER
#AlvinSputnik
THURSDAY-SUNDAY, OCTOBER 24-27, 2013 Titmus Theatre PERFORMER: St John Cowcher or Sam Longley PRODUCTION AND TOURING MANAGER: Libby Klysz CREATOR / ANIMATOR: Tim Watts CREATIVE ADVISOR: Arielle Gray TECHNICAL ADVISOR: Chris Isaacs PRODUCER: Perth Theatre Company, Nic Clark, General Manager EXCLUSIVE REPRESENTATION IN NORTH AMERICA: Elsie Management, Laura Colby, Director This performance is approximately 50 minutes in length. No intermission.
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THANK YOU! Fall 2013 Issue 2 A7
P R O G R A M N OT E S THE ADVENTURES OF ALVIN SPUTNIK: DEEP SEA EXPLORER ...continued
HISTORY OF The Adventures of Alvin Sputnik Alvin began in a puppetry workshop with Spare Parts Puppet Theatre in Fremantle, Australia, in 2007. He was a humble little puppet, just a buoy and a white glove that I instantly had a fondness for. His big head, wide eye, and funny little body – he couldn't be anything but a curious deep sea diver. Friends who saw the little guy in the workshop encouraged me to make a show with him. So with that, and a desire to make a highly tourable, yet still visually interesting show, I created The Adventures of Alvin Sputnik: Deep Sea Explorer for a slot at the Blue Room Theatre program in Perth, Australia, in May 2009. It was a thrilling and exhausting process. I collaborated with Arielle Gray, did lots of experiments and little shows for friends, trying to get as much feedback and ideas as possible as to what was fun and what worked. I got my dad, Anthony Watts, to build the set and all the gadgets and just managed to pull the whole thing off in time. We got rave reviews, performed to sell-out crowds and won awards for Best Production, Best Production Team, and Member’s Choice.
Since then, with the assistance of Perth Theatre Company as producers, Alvin Sputnik has toured all over the world, experiencing more sold-out shows, winning more awards, and getting overwhelming responses from audiences and reviewers alike. The show won Outstanding Solo Show at the New York International Fringe Festival in 2009, Best Puppetry at the 2010 Adelaide Fringe Awards, Best Theatre at the Auckland Fringe in 2011, Best Male Performer at the Dublin Fringe, and was nominated for Australia’s top performance prize, the Helpmann Award, in 2012. So far, Alvin Sputnik has been performed in the USA, New Zealand, India, South Korea, the UK, Denmark, Ireland, Hong Kong, Malta, Taiwan, Japan, and all over Australia. It has been a long journey – and we still continue to develop and improve the show as we tour. I am determined to keep it a continual, creative process. If you have any thoughts or feedback, I would love to hear them. Just shoot me an email: tim@weepingspoon.com. Thank you for coming, and I hope you enjoy the show. – Tim Watts (Creator)
This North American tour of The Adventures of Alvin Sputnik: Deep Sea Explorer includes performances in Wentatchee, WA at the Performing Arts Center of Wenatchee; in St. Louis, MO at the Edison Theatre, in Costa Mesa, CA at Segerstrom Center for the Arts; in Raleigh, NC at North Carolina State University. Perth Theatre Company will also be premiering in North America It’s Dark Outside, created by Tim Watts, Arielle Gray and Chris Isaacs, in Pittsburgh, PA. This tour has been supported by the Australia Council for the Arts.
ABOUT PERTH THEATRE COMPANY Perth Theatre Company creates new work that is fearless, playful, responsive, adventurous, entertaining and ultimately human. We connect Western Australians with artists at the forefront of Australian theatre practice, and engage a national and global audience through unique stories and collaborations. www.perththeatre.com.au @PerthTheatreCo | www.facebook.com/perththeatrecompany
ABOUT WEEPING SPOON PRODUCTIONS Weeping Spoon Productions is a multi-award winning independent theatre company based in Perth, Western Australia. Since forming in 2005, they have created and toured original productions all around the world to international acclaim. www.weepingspoon.com @AlvinSputnik | www.facebook.com/AlvinSputnik
Biographies ST JOHN COWCHER (Performer) St John is an actor, writer and theatre practitioner from Western Australia. A graduate of Edith Cowan University (AUS), in Contemporary Performance, he was a founding member of performance company The Wet Weather Ensemble and an associate artist with the Spare Parts Puppet Theatre. His involvement in theatre productions has included Adam and Eve (2011), The Bearskinner (for which he won Blue Room Theatre Audience Award), Spellbound (2010), A Reptile Dreamed
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(2009), The Human Voice (2009), and Happy Buddha at the UNIMA World Puppetry Festival in 2008. In film, he was involved in The Road to the Sandman (2010) and Alice (Remix) (2010). St John also performs in improvised comedy groups for The Big HOO-HAA. SAM LONGLEY (Performer / Technical) Sam has been working as an actor, comedian, writer and director since the mid-90s. He has performed everything from a Shakespearian drunkard to an eight-year-old delinquent. Some of his highlights include Horse Head at the Blue Room Theatre, DIY: Disaster Movie at The Awesome Arts Festival, Thisbe at the new Heath Ledger Theatre, Not Like Beckett, for Deck Chair Theatre, Bindjareb Pinjarra, a comedy about a massacre, and the feature film Where The Wild Things Are with Spike Jonze. Sam has written plays, hosted TV shows and is the creator of the improv comedy show, The Big HOO-HAA!, that is now in its eleventh sellout season in Perth. LIBBY KLYSZ (Production and Touring Manager) Libby has worked as a performer, director, writer, manager, teacher, producer and consultant for a wide variety of companies over the past decade, such as Perth Theare Company, Lunchbox Productions UK, Black Swan State Theatre Company, Barking Gecko Theatre Company, the Western Australian Academy of Performing Arts and The Blue Room Theatre (of which she is very proudly the Chair of the Board). She most recently directed See Ya, Sailor Man for The Blue Room Summer Nights, which was nominated for Best Theatre Show in Perth Fringe World 2013. Libby is known for her extensive work in improvisational theatre both locally and nationally, and has worked with a number of key international practitioners in this area. She was a founding cast member of and continues to perform in Cut Snake Comedy’s cult-hit improv comedy show The Big HOO-HAA!. With her background and love of arts education she also works closely with many schools and has developed a number of highly successful performing arts educational resources. Libby champions Western Australian performing arts at every opportunity, and is thrilled to be looking after Alvin Sputnik around the globe. TIM WATTS (Creator) Tim is a performer, deviser, director, producer, puppeteer and animator. He is a founding member of Weeping Spoon Productions, and is the artist-in-residence at Perth Theatre Company. He has created and toured theatre all around Australia and the world, winning numerous awards and critical acclaim along the way. Since
Biographies (continued) graduating from Notre Dame University, Fremantle with a Bachelor of Performing Arts in 2005, he has participated in workshops all around the world, including studying clown and physical comedy with Dell’Arte International in Blue Lake California, as well as Puppetry workshops with Spare Parts Puppet Theatre in Fremantle, Western Australia, and Blind Summit in the UK. In 2009 he created The Adventures of Alvin Sputnik: Deep Sea Explorer, which has since toured all over the world. In 2012 he co-created It’s Dark Outside, which was commissioned by Perth Theatre Company. Most recently presented at the 2013 Sydney Festival, It’s Dark Outside will receive its US premiere in Pittsburgh at the Festival of Firsts. Other creative credits include co-creating and performing in The Wives of Hemingway (Fringe World 2013), Deathtrap (PICA, Perth) The World Inspite of Itself (China), Greed (Canada Fringe), Hope is the saddest (Brisbane Festival), Duck Duck Goose (The Blue Room, Perth), Oscar (Perth) and Heart of Gold (PICA, Perth), as well as directing Pollyanna (Fringe World 2012) and Red Lashes (UNIMA 2008). Tim currently lives in Perth, Western Australia. @halhawker ARIELLE GRAY (Creative Advisor) Arielle Gray graduated in 2005 with a BA (Contemporary Performance) in Perth. She is a performer/ theatre-maker/puppeteer/improviser. Arielle’s theatre credits include creating and performing in It’s Dark Outside in Perth 2012 and at Sydney Festival in 2013, devising and performing in Pollyanna, a large scale interactive, promenade work first performed at FringeWorld 2012, performing in They Ran ‘Til They Stopped with The Duck House, Black Swan State Theatre Company’s A Midsummer Night’s Dream directed by Kate Cherry, Hope Is The Saddest for Mythophobic Productions at the Brisbane Festival ‘Under the Radar’, Duck, Duck, Goose! (Winner ‘Member’s Choice’ at The Blue Room Theatre Awards), & solo show Nobody Cares But You at The Blue Room Theatre & Adelaide Fringe Festival (for which she was nominated ‘Best Actress’ at The Actor’s Equity Guild Awards). Arielle also assisted in the creation of The Adventures of Alvin Sputnik: Deep Sea Explorer with Tim Watts. In 2009, Arielle was a part of The Black Swan State Theatre Company’s HOTBED program, performing in Pool [No Water] by Mark Ravenhill & The Darkroom by Angela Betzien (nominated ‘Best Supporting Actress’ for both shows at the Actors Equity Guild Awards). Arielle is also a member of THE BIG HOO HAA improvised comedy group, and has been a proud member of equity since 2007. Arielle lives in Perth, Western Australia. http://ariellegray.com | @ArielleGray CHRIS ISAACS (Technical Advisor) Chris graduated with a BA Double Major in English and Writing from Edith Cowan University in Perth in 2006. Since then he has worked in independent and professional theatre. Chris has credits as a writer, stage manager, mechanist and lighting designer. As Creator and Performer he worked on Perth Theatre Company’s It’s Dark Outside (Perth 2012, Sydney Festival 2013) and on Weeping Spoon Productions’ Pollyanna (2012). As Stage Manager, he has worked with Perth Theatre Company on David Williamson’s The Removalists (2010). He has also worked for Black Swan State Theatre Company and HotHouse Theatre on Kate Mulvany’s The Web (Albury/Wodonga and Perth Seasons 2009). He has worked as Assistant Stage Manager on Black Swan State Theatre Company’s Cyrano (2008), Who’s Afraid of Virginia Woolfe (2008) and Jandamarra (2008). He has worked for Matt Lutton’s ThinIce Productions as a mechanist on The Goose Chase (2007). As Lighting Designer he has worked on Weeping Spoon Productions and Side Pony Productions’ The Wives of Hemingway (2013), The Duck House’s Oscar (2008), Mythophobic Productions’ Hope is the Saddest (Brisbane 2008, Perth 2007) and Rusulka Thread (2008), Longwood Productions’ Horsehead (2008), Red Lashes Artist’s Red Lashes (2008 UNIMA International Puppet Festival), and Weeping Spoon Production’s A Night of Pleasure ... From Outer Space (2006). Chris lives in Perth, Western Australia. @Chris_Isaacs
Nic Clark (General Manager) Nic has been General Manager of Perth Theatre Company, a resident company at the State Theatre Centre of Western Australia since 2010. He has produced several national and international tours into Asia (South Korea, Taiwan, Hong Kong, Japan), Europe, United Kingdom and the United States. Nic has served on the committee for the Ticketing Professionals conference (AUS) since 2011. Previous positions include Artistic Director of Riverina Theatre Company in North South Wales (AUS), Creative Producer at the Courthouse Youth Arts Centre in Geelong (AUS), and General Manager of Theatreworks in Melbourne (AUS). Nic graduated from the University of Adelaide in 1992, Western Australian Academy of the Performing Arts in 1996 and completed post-graduate studies at the Victorian College of the Arts in 2000 on the Barbara Manning Scholarship. Nic currently lives in Perth, Western Australia. @NicClark71 Laura Colby (Director, Elsie Management) established Elsie Management in 1995, an artist management company representing a global roster of dance, theater, world music, and special attractions including the celebrated interactive family theater company Polyglot Theatre (Melbourne) and the renowned outdoor spectacle company Australia’s Strange Fruit. She served as the President of NAPAMA (2007 & 2008, North American Performing Arts Managers and Agents), was the founding Chair of the Dance/USA Agents Council, and currently serves on the board of the Association of Performing Arts Presenters. Since forming Elsie, Laura has represented over twenty-five performing arts touring companies from five continents, coordinating tours to over two hundred global venues. She was the initiating facilitator between Dr. Edward Fishkin, Medical Director at Brooklyn’s Woodhull Hospital and Medical Center and the performing arts community in the creation of ArtistAccess, the groundbreaking healthcare program for artists and arts workers begun in May of 2005. A frequently invited speaker for panels, workshops, and educational sessions, Laura began her arts administration career as a manager for several independent contemporary choreographers. She has had the pleasure of representing Perth Theatre Company’s work since 2011. www.elsieman.org | www.facebook.com/ElsieManagement | @elsieman61
Music Please don't leave me tonight, written by Tim Watts Welcome song, written by Tim Watts Down and Down, written by Tim Watts Aquatic Dance by Vangelis, courtesy of Emi Music Publishing Australia Rachel’s Song by Vangelis, courtesy of Warner Chappell Music Australia Story Time by Daniel Elfman, courtesy of Emi Music Publishing Australia Ain’t No Stopping Us Now by J. Cohen, G. McFadden & J. Whitehead, courtesy of Warner Chappell Music Australia Together in Electric Dreams by P. Oakey & G. Moroder, courtesy of Emi / Warner Chappell Music Australia Happy Ending by Mika, courtesy of Rondor Music Australia THANK YOU to Sharon Moore and the staff and crew at NCSU Center Stage for making these performances possible! THANK YOU to everyone at Perth Theatre Company, Elsie Management, The Department of Culture and the Arts, The Blue Room Theatre, The City of Perth, ARTRAGE, FringeNYC, HERE Arts Centre, Ron Lasko at Spin Cycle, Sam Longley and Lazy Suzans, terraNOVA and the undergroundzero festival, Phillip Mitchel and Michael Barlow at Spare Parts Puppet Theatre, Fi McCurdy and Ed Bartlam from Underbelly in the UK, and everywhere we have toured so far.
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MUSIC @ NC STATE PRESENTS
CHORAL COLLAGE CONCERT FRIDAY, OCTOBER 25, 2013 AT 7PM Holy Trinity Evangelical Lutheran Church
Vox Accalia The Singing Statesmen The NC State Chorale
Nathan Leaf, conductor John Noel, piano Joe Kitchen, organ
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Silence your cell phone No photography No texting
THANK YOU!
Program Vox Accalia Cantate Domino Loch Lomond Bumble Bee El Vito The Singing Statesmen Drink to Me Only With Thine Eyes A La Una Yo Nasi Last Letter Home, Opus 71 Shenandoah All I Need is the Girl, from Gypsy The NC State Chorale Northern Lights Rejoice in the Lamb, Opus 30 Bogoroditse Devo, from Vespers Cells Planets
Heinrich Schütz (1585-1672) Scottish Folksong, arr. Brian Dean Anders Edenroth Spanish Folk Song, arr. Joni Jensen
English Folk Song, arr. Brian Dean Ladino Folk Song, arr. Michael Isaacson Lee Hoiby (1926-2011) American Folk Song, arr. Kevin A Memley Jule Styne, arr. Shackley
Ēriks Ešenvalks (b.1977) Benjamin Britten (1913-1976) Sergei Rachmoninoff (1873-1943) Erika Lloyd, arr. Peterson
Texts and Translations Cantate Domino Cantate Domino canticum novum Quia mirabilia fecit. Salvavit dextera sua et brachio sancto suo
Sing to the Lord a new song For he has done marvelous things. His right hand and holy arm hath earned the victory.
El Vito Con el vito vito vito con el vito vito va Yo no quiero que me miren que me pongo colorá Las solteras son de oro las sasadas son de plata. Las viuditas son de cobre, y las Viejas do hojalata.
With the vito, vito, vito with the vito, vito, it goes. I don’t want them to look at me for I blush. Single ladies are of gold, Married ladies are of silver. The windows are of copper, And the old ones are of tin.
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No me mires a la cara que me pong colorá Yo no quiero que me mires que me vas a enamorar. Una malagueña fue a Sevilla a ver los toros Y en la mitad del camino la cautivaron los moros.
Don’t look straight at my face for I blush. I don’t want you to look at me For I’m going to fall in love A Malaguean lady went to Sevilla to see the bulls. And in the middle of the way The Moors captured her.
Bogoroditse Devo Boboróditse Devo, raduysia Blagodatnaya Mariye, Ghospod s Toboyu. Blagoslovenna Ti v zhenah, i blagosloven Plod chreva Tvoyego, yako Spasa rodila yesi dush nashih.
Rejoice of Virgin Theotokos Mary full of grace, the Lord is with Thee Blessed art Thou among women, and blessed is the Fruit of Thy womb, for thou hast born the Savior of our souls.
Rejoice in the Lamb Rejoice in God, O ye Tongues; Give the glory to the Lord, And the Lamb. Nations, and languages, And every Creature In which is the breath of Life. Let man and beast appear before him, And magnify his name together. Let Nimrod, the mighty hunter, Bind a leopard to the altar And consecrate his spear to the Lord. Let Ishmail dedicate a tyger, And give praise for the liberty In which the Lord has let him at large. Let Balaam appear with an ass, And bless the Lord his people And his creatures for a reward eternal. Let Daniel come forth with a lion, And praise God with all his might Through faith in Christ Jesus. Let Ithamar minister with a chamois, And bless the name of Him That cloatheth the naked. Let Jakim with the satyr Bless God in the dance, Dance, dance, dance. Let David bless with the bear The beginning of victory to the Lord, To the Lord the perfection of excellence. Hallelujah, hallelujah, Hallelujah from the heart of God, And from the hand of the artist inimitable, And from the echo of the heavenly harp In sweetness magnifical and mighty. Hallelujah, hallelujah, hallelujah. For I will consider my cat Jeoffry. For he is the servant of the living God. Duly and daily serving him. For at the first glance Of the glory of God in the East He worships in his way.
For this is done by wreathing his body Seven times round with elegant quickness. For he knows that God is his saviour. For God has bless'd him In the variety of his movements. For there is nothing sweeter Than his peace when at rest. For I am possessed of a cat, Surpassing in beauty, From whom I take occasion To bless Almighty God. For the Mouse is a creature Of great personal valour. For this is a true case-Cat takes female mouse, Male mouse will not depart, but stands threat'ning and daring. If you will let her go, I will engage you, As prodigious a creature as you are. For the Mouse is a creature Of great personal valour. For the Mouse is of An hospitable disposition. For the flowers are great blessings. For the flowers are great blessings. For the flowers have their angels, Even the words of God's creation. For the flower glorifies God And the root parries the adversary. For there is a language of flowers. For the flowers are peculiarly The poetry of Christ. For I am under the same accusation With my Savior, For they said, He is besides himself. For the officers of the peace Are at variance with me, And the watchman smites me With his staff. For the silly fellow, silly fellow,
Is against me, And belongeth neither to me Nor to my family. For I am in twelve hardships, But he that was born of a virgin Shall deliver me out of all,
P R O G R A M N OT E S CHORAL COLLAGE CONCERT
Texts and Translations (continued)
For H is a spirit And therefore he is God. For K is king And therefore he is God. For L is love And therefore he is God. For M is musick And therefore he is God. For the instruments are by their rhimes, For the shawm rhimes are lawn fawn and the like. For the shawm rhimes are moon boon and the like. For the harp rhimes are sing ring and the like. For the harp rhimes are ring string and the like. For the cymbal rhimes are bell well and the like. For the cymbal rhimes are toll soul and the like. For the flute rhimes are tooth youth and the like. For the flute rhimes are suit mute and the like. For the bassoon rhimes are pass class and the like. For the dulcimer rhimes are grace place and the like. For the clarinet rhimes are clean seen and the like. For the trumpet rhimes are sound bound and the like. For the trumpet of God is a blessed intelligence And so are all the instruments in Heav'n. For God the Father Almighty plays upon the harp Of stupendous magnitude and melody. For at that time malignity ceases And the devils themselves are at peace. For this time is perceptible to man By a remarkable stillness and serenity of soul. Hallelujah, hallelujah, Hallelujah for the heart of God, And from the hand of the artist inimitable, And from the echo of the heavenly harp In sweetness magnifical and mighty. Hallelujah, hallelujah, hallelujah.
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P R O G R A M N OT E S CHORAL COLLAGE CONCERT ...continued
Rosters VOX ACCALIA
THE SINGING STATESMEN
Nathan Leaf, Conductor John Noel, Accompanist Roma Agrawal, Computer Science Azlyn Arnett, Paper Science Cassandra Backman, Zoology Katherine Baker, Business Charlie Belk#, International Relations Ariana Betts, Animal Science Krystal Carter, Environmental Technology Melissa Clason, Geology Amanda Clayton, Economics Elizabeth Eichen#, English Education Alexandra Gardiner^, Zoology Kamaria Hardy, Computer Science Lexi Hergeth, Business Administration Jacqueline Iadicicco, Zoology Larissa Jones, Biochemistry Jisu Kim, Fashion and Textile Management Catherine Kubtschek, Undeclared Hayley Lemmons, English Arina Loghin, Cultural Anthropology Rachel Mann, Business Admin./Spanish Emilie Mathura, Biology Laura McCusker*, History Candace McKoy, Middle Grades Lang. Arts and Social Studies Ayana McLemore#, International Studies Joanna Ngnepi, Finance Flore Paka, Business Pamela Pareja, Sociology Lauren Presley, Undeclared Makayla Smith, Animal Science Anna Solini, Physics & Nuclear Engineering Elf Tarney, Zoology Emma Thiria, Chemical Engineering and PSE Tracy Thomasson, Horticultural Sciences Clare Vestal, History Haley Wells*, Polymer and Color Chemistry Rosie Zitawi, Psychology & Communications
Nathan Leaf, Conductor John Noel, Accompanist Justin Baker, Civil Engineering Conner Bolen, Engineering Tyler Clayton, Computer Engineering Jordan Coleman, Aerospace Engineering Andrew Farkas, Engineering Nate Gay, Undergraduate Studies Martin Gerlach, Electrical Engineering Josh Johnstone, Mechanical Engineering Maylon Kirby, Business Administration Tanner Lalonde, Management Blair Lamason, FYC Zachary Leonard, Mechanical Engineering Aaron Martin, Electrical Engineering Areon Mobasher, FYC Jeffrey Nesbit*, Animal Sciences Taylor Russell^, Biochemistry Chan-Su Simmons, Computer Science Peter Sherk, Psychology & Biology Kenny Yi^, Communication
THE NORTH CAROLINA STATE UNIVERSITY CHORALE Nathan Leaf, Conductor John Noel, Accompanist
SOPRANO Hadley Bryan, Human Biology Emma Eble, Graphic Design Amanda Holton, Education Kathryn Hornaday^+, Biological Sciences Aruna Iyer, Microbiology Allison Kenlan, Environmental Sciences Christine Kidd, Political Science Megan Lomonaco+, Engineering Lucia Malaver, Psychology Kallie McNamara+, Spanish Education Paulina Ragunas^, French Leanne Stoltzfus, Textile Technology Arielle Vari, Nutrition Science Emily White*, Zoology
+ section leader | ^ music minor | # choir officer | * member of Mu Beta Psi National Musical Fraternity
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ALTO Cara Adrian, Biology Blair Downs, Zoology Lauren Frederick, Industrial Engineering Brenna Garner, Environmental Technology Anna Griffin, Religious Studies Ellyse Hampshire, Marketing Zoë Holmes, International Business Georgina Ishak, Human Biology Jeanne Lunsford+, Engineering Cailin Moore, Biology Anna Owens, Middle Grades Science Education Tiana Salas-Ali, Engineering Jasmin Telfer#+*, Animal Science Madison Thompson, FYC Haley Wells*, Polymer and Color Chemistry
TENOR Tyler Bass, Business Administration Conner Bolen, Engineering Logan Buchanan+, Business Administration Dixon Crews^+, Computer Science Zach English*, Mathematics Calvin Ferguson, Engineering Joshua Harford, Biomedical Engineering Alexander Herndon, Biomedical Engineering Woongchan Jeon, Economics Bobby Keefe, Textile Technology & Polymer Chemistry Zakarya Masmoudi, Religious Studies Jeffrey Nesbit*, Animal Sciences Peter Sherk, Psychology & Biology Colin Williams, Business Administration
BASS Justin Baker, Civil Engineering Michael Brews+, Chemical Engineering Scott Clouse, Electrical Engineering Andrew Farkas, Engineering Nicolai Gritta, First Year College Teylor Jenkins, Computer Engineering Josh Johnstone+, Mechanical Engineering Iosif Makhatadze, Computer Science and Statistics Matthew McEntire, Human Biology John Millsaps^, Computer Science Victor Walker, Electrical Engineering Mitchell Weston, FYC
P R O G R A M N OT E S TURTLE ISLAND QUARTET WITH GUEST NELLIE MCKAY
NCSU CENTER STAGE PRESENTS THE
TURTLE ISLAND QUARTET WITH GUEST NELLIE MCKAY TUESDAY, OCTOBER 29, 2013 AT 8PM A.J. Fletcher Theater Pre-show discussion with members of Turtle Island Quartet, 7pm, 2nd floor lobby David Balakrishnan – violin, baritone violin Mark Summer – cello Mateusz Smoczynski – violin Benjamin von Gutzeit – viola Nellie McKay – vocals, piano, ukulele
A Flower is a Lovesome Thing Singer, songwriter, and multi-instrumentalist Nellie McKay joins forces with the two time GRAMMY® award winning Turtle Island Quartet to present a delightfully kaleidoscopic view of the music of Billie Holiday, Billy Strayhorn, and the Weimar cabaret of the 1920s. While the combination of voice and strings has long been a staple of the classical genre as well as of contemporary music, Nellie McKay’s talents on piano, mallets, and ukulele and Turtle Island’s famed innovative rhythmic techniques unleash an unprecedented range of possibilities. A healthy dose of original music, for which both Ms. McKay and the Turtle Island Quartet are renowned, rounds out this sweeping concert. The multi-award winning Turtle Island Quartet has released numerous recordings and toured internationally for more than a quarter of a century. The ensemble has collaborated with some of the most sought-after artists of our day including; Paquito d’Rivera, The Assad Duo, Cyrus Chestnut, and Leo Kottke. Nellie McKay, who performed on Broadway in The Three Penny Opera, here, performs music of 1920s Berlin as well as jazz standards made famous by Billie Holiday. Some of these pieces transcend time and genre: well known standards such as “Street Of Dreams,” “The Very Thought of You,” “I Cover The Waterfront” and “These Foolish Things,” to the more offbeat, such as Marlene Dietrich’s sultry version of “Black Market,” and “Alabama Song,” the German Cabaret tune revisited in modern times by the Doors. Also included is a touch of Doris Day, whose music was so evocatively revisited by Nellie McKay on her recent recording Normal as Blueberry Pie. Songs by the great Billy Strayhorn complete a night of intoxicating revelry. Tonight’s performance will be announced from the stage. There will be a short intermission. Turtle Island Quartet Recordings: Telarc, Koch International Classics, Windham Hill, Chandos, CC&C Records, GRP, BMG
Turtle Island Quartet is represented by:
721 Hyde Park | Doylestown PA 18902 p. 267-880-3750 | f. 267-880-3757 | www.baylinartists.com
Nellie McKay is represented by:
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THANK YOU! Fall 2013 Issue 2 A13
P R O G R A M N OT E S TURTLE ISLAND QUARTET WITH GUEST NELLIE MCKAY ...continued Photo: Bill Reitzel
Biographies Its name – derived from creation mythology found in Native American Folklore, the Turtle Island Quartet, since its inception in 1985, has been a singular force in the creation of bold, new trends in chamber music for strings. Winner of the 2006 and 2008 GRAMMY® Awards for Best Classical Crossover category, Turtle Island fuses the classical quartet esthetic with contemporary American musical styles, and by devising a performance practice that honors both, the state of the art has inevitably been redefined. Cellist nonpareil Yo-Yo Ma has proclaimed TIQ to be “a unified voice that truly breaks new ground – authentic and passionate – a reflection of some of the most creative music-making today.” The Quartet’s birth was the result of violinist David Balakrishnan’s brainstorming explorations and compositional vision while writing his master’s thesis at Antioch University West. The journey has taken Turtle Island through forays into folk, bluegrass, swing, be-bop, funk, R&B, new age, rock, hip-hop, as well as music of Latin America and India … a repertoire consisting of hundreds of ingenious arrangements and originals. It has included over a dozen recordings on labels such as Windham Hill, Chandos, Koch and Telarc, soundtracks for major motion pictures, TV and radio credits such as the Today Show, All Things Considered, Prairie Home Companion, and Morning Edition, feature articles in People and Newsweek magazines, and collaborations with famed artists such as clarinetist Paquito D’Rivera, vibraphonist Stefon Harris, guitar legends Leo Kottke and the Assad Brothers, The Manhattan Transfer, pianists Billy Taylor, Kenny Barron, Cyrus Chestnut and Ramsey Lewis, singers Tierney Sutton and Nellie McKay, the Ying Quartet and the Parsons and Luna Negra Dance Companies. Another unique element of Turtle Island is their revival of venerable improvisational and compositional chamber traditions that have not been explored by string players for nearly 200 years. At the time of Haydn’s apocryphal creation of the string quartet form, musicians were more akin to today’s saxophonists and keyboard masters of the jazz and pop world, i.e., improvisers, composers, and arrangers. Each Turtle Island member is accomplished in these areas of expertise as well as having extensive conservatory training. Original members Balakrishnan and Mark Summer, arguably the finest cross genre cellist of the modern age, are joined by the elite of the young alternative string players from Europe, Polish jazz violin phenom Mateusz Smoczynski, and violist Benjamin Von Gutzeit, of German descent, who recently completed a master’s program in jazz studies at Manhattan School of Music.
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As Turtle Island members continue to refine their skills through the development of repertory by some of today’s cutting edge composers, through performances and recordings with major symphonic ensembles, and through a determined educational commitment, the Turtle Island Quartet stakes its claim as the quintessential “New World” string quartet of the 21st century. For Turtle Island’s recent Telarc recording, Have You Ever Been…, they tackle works by legendary guitarist, songwriter and performer Jimi Hendrix, along with other compositions reflective of and inspired by Hendrix’s music including TIQ founder David Balakrishnan’s new composition “Tree of Life,” an exploration of the longstanding controversy that Darwin’s theory of evolution sparked – namely, the spirit world versus the natural world, religion versus science. David Balakrishnan (violin, baritone violin) graduated from UCLA with a B.A. in music composition and violin and earned a master’s degree in music composition at Antioch University West. The Turtle Island founder developed the template for the TIQ revolutionary compositional style – based on the principle of stylistic integration applied to bowed string instruments – that in addition to the group awards has earned him GRAMMY® nominations in the arranging/composing categories and led to numerous grants, both from private sources such as conductor Marin Alsop, who commissioned his piece for violin and orchestra, “Little Mouse Jumps,” as well as national service organizations such as the National Endowment for the Arts and Meet The Composer foundations. In 2005 he received a MTC/ASOL “Music Alive” residency with the Nashville Chamber Orchestra for which he composed six orchestral works, the last being a concerto for Turtle Island cellist Mark Summer. The NCO also commissioned Balakrishnan’s composition “Darkness Dreaming,” which premiered in April 2004 with guitarists Sharon Isbin and John Jorgenson. His piece, “Spider Dreams” (1992), has been widely performed and recorded throughout the world by a diverse array of musical organizations, including a live recording by Turtle Island with the Detroit Symphony conducted by Neeme Järvi on Chandos Records. A 2002 commission awarded by a consortium of presenters headed by the Lied Center of Kansas resulted in a string octet entitled “Mara’s Garden Of False Delights,” which is featured on Turtle Island’s Grammy winning Telarc release, 4+Four. His most recent commission is again from the Lied Center, for which Balakrishnan composed a full-length
Biographies (continued) work involving theatre, dance, poetry, video, and Turtle Island with the KU wind ensemble that is an artistic response to the socio/political issues concerning the various theories of evolution, both scientific and cultural, titled “The Tree Of Life.” Mark Summer (cello) is a founding member of Turtle Island and is widely regarded, thanks not least to his phenomenal percussion and pizzicato techniques, as one of the outstanding cellists of our time. A graduate of the Cleveland Institute of Music, and a recipient of their 2008 Distinguished Alumnae award, Summer was a tenured member of the Winnipeg Symphony for three years, before leaving the orchestra to perform in several Canadian contemporary and Baroque ensembles, as well as his own group, The West-End String Band. Asked to perform at the Winnipeg Folk Festival in 1985, the group went on to record Summer’s original music for CBC Radio. That same year, Summer visited the Bay Area where he was invited by David Balakrishnan to help form the quartet. He continued to touch base with his classical roots, performing with the Chamber Symphony of San Francisco, the Oakland Symphony, Oakland Ballet, and the contemporary music ensemble, Earplay. In the 26 years since embarking on an improvisational musical odyssey, Summer has continued to develop a unique and multi-timbered style, which incorporates virtuoso jazz soloing, distinctive bass lines, and extensive percussive techniques adapted from the guitar, bass and drums. He has been the subject of feature articles in Strings and Bass Player magazines, and has published two pieces for solo cello, one of which, “Julie-O,” was recently featured on two episodes of NBC's Parenthood. In addition to composing and performing with Turtle Island, Summer performed for several years in a trio with clarinet virtuoso Paquito D’Rivera, participating in the trio’s 2005 Grammy-nominated recording The Jazz Chamber Trio. He has been recorded for numerous motion picture soundtracks and performed and appeared on albums with singers Linda Ronstadt, Toni Childs, guitarist Jeff Tamelier of Tower of Power, saxophonist Kirk Whalum, and guitarist Will Ackerman. In 2011, Mark made his debut as an orchestral soloist, premiering David Balakrishan's cello concerto, “Force of Nature.” His more notable cello exploits include performing the Brahms Clarinet Trio in a sandstone grotto by the banks of the Colorado River in Moab, Utah, and a performance on Taos Mountain at 11,000 feet on a cello made of ice. Mateusz Smoczynski (violin) is a graduate of the Frederic Chopin Academy of Music in Warsaw, Poland. A student of Andrzej Gebski, he made his jazz debut in 1999 in Jazz Camping Kalatowki with the Jacek Namyslowski Quintet. Mateusz has collaborated with such renowned Polish musicians as Urszula Dudziak, Tomasz Stanko, Krzesimir Debski, Zbigniew Namyslowski and Jaroslaw Smietana. Together with Joachim Kuhn, Janusz Stefanski and Bronislaw Suchanek, he took part in the premiere of legendary jazz violinist Zbigniew Seifert’s Jazz Concerto for Violin, Symphony Orchestra and Rhythm section. Mateusz leads his own quintet with which he recorded his first CD Inspirations, dedicated to his two biggest music influences, John Coltrane and Zbigniew Seifert. After the success of his first album in 2007, Mateusz received the Minister of Culture and National Heritage Scholarship, and in June 2008 was awarded "Jazz Oscar" in the category "Music Lovers’ Hope of 2007." In 2008, his second recording Expressions was released to popular acclaim. In 2009, Mateusz formed a band with his brother Jan on Hammond organ and the Russian drum star Alexander Zinger called New Trio. In 2010 they released their first CD Simultaneous Abstractions, which was nominated for "Best Recording Debut of the Year" for a Fryderyki award (“the Polish Grammy”). That same year Mateusz cofounded the Atom String Quartet, the very first Polish jazz string quartet. They have recorded two CDs, Fade In and Places, and received first prize for the Bielska Zadymka Jazzowa Competition, the most important jazz competition in Poland. The Atom Quartet was also nominated in 2012 for a Fryderyki award. In 2011, Mateusz had the opportunity to play with pianist Richie Beirach, trumpeter Ack van Rooyen, bassist Glen Moore, and drummer Janusz Stefanski, performing at the Zbigniew Seifert in Memoriam-Berlin Festival.
Benjamin von Gutzeit (viola) was born into a musical family. One of his sisters recently became the principal cellist of the Berlin Radio Symphony Orchestra, and his father is the director of the Mozarteum in Salzburg, Austria. He began playing the viola at the age of 4, beginning on a very small violin that was outfitted with viola strings. Taught by his father until he turned 12, he then studied with Emile Cantor, the viola player of the Orpheus String Quartet. In 1992 and 1994 he won first prize in the final of the German youth Competition Jugend Musiziert; the 1994 win led to a concert tour in Japan performing in a string quartet at the age of 12. When he turned 15, he developed an interest in popular music as well and started to play the electric bass in jazz bands. In 1997, he studied for one year as a student at the Bruckner Conservatory in Linz. While attending the Gymnasium in Austria, In 2001 he began his jazz studies with jazz violinist Andi Schreiber from Vienna, later moving to the Netherlands in 2004 to study jazz at the Conservatory of Amsterdam with Dutch saxophone icon Ferdinand Povel and guitarist Jesse van Ruller. While living in Holland, he took an active part in the Dutch jazz and improvised music scene and performed on numerous festivals such as the famed North Sea Jazz Festival. In 2010 he was awarded a full scholarship to attend the Manhattan School of Music, where he has pursued his master’s degree until the present. He has worked with teachers Phil Markowitz, Garry Dial and John Riley. Benjamin has performed and recorded with many great musicians including jazz violinist Mark Feldman, electronic music virtuoso Matthew Herbert, cellist Ernst Reijseger, composer and bandleader Martin Fondse and jazz saxophonist Dave Liebman. Nellie McKay (vocals, piano and ukulele) Hailed by the New Yorker as “funny and touching, ceaselessly clever and scarily talented,” Nellie just finished an extended run in the off-Broadway hit Old Hats (winner of the Lucille Lortel award for Outstanding Alternative Theatrical Experience and Drama Desk award for Outstanding Revue), and has written two acclaimed musical biographies, Silent Spring: It's Not Nice to Fool Mother Nature, an exploration of environmental pioneer, Rachel Carson; and I Want to Live!, the story of Barbara Graham, third woman executed in the gas chamber at San Quentin. “McKay’s virtually unlimited gifts as a singer, songwriter, actress, pianist, ukulele player, mimic, satirist and comedian into a show that is much deeper than its surface might suggest,” writes the New York Times. “In the most lighthearted way they evoke a heartless environment of social injustice in which people who fall through the cracks are invisible to everyone else.” Nellie produced her critically acclaimed, debut double album Get Away From Me with Beatles' engineer Geoff Emerick, followed by Pretty Little Head, Obligatory Villagers, Normal as Blueberry Pie: A Tribute to Doris Day, ("among the killer overhauls of American standards” - New York Times), and her latest, Home Sweet Mobile Home. She has won a Theatre World Award for her portrayal of Polly Peachum in the Broadway production of The Threepenny Opera and performed onscreen in the film P.S. I Love You, as well as writing original music for the Rob Reiner film Rumor Has It and contributing to the New York Times Book Review. Her music has also been heard on the TV shows Mad Men, Weeds, Grey’s Anatomy, NCIS, Privileged and Nurse Jackie, and Nellie has appeared on numerous TV shows including Late Show with David Letterman (with the Brooklyn Philharmonic), The View, Late Night with Conan O’Brien, Late Late Show with Craig Ferguson, Live with Regis & Kelly and CBS Saturday Morning. In 2010, the Chase Brock Experience produced a ballet of her third album, Obligatory Villagers, while Nellie recently finished contributing to the soundtrack for the HBO series Boardwalk Empire. A recipient of The Humane Society’s Doris Day Music Award in recognition of her dedication to animal rights, Nellie is known as an outspoken and fierce advocate for feminism, civil rights and other deeply felt progressive ideals.
Fall 2013 Issue 2 A15
Photos (L-R): Ron Foreman, Ben Scott Photography, George Thomas
ARTS NC STATE leaders SAY WHY YOU should support the arts at NC State At our fall FRIENDS of ARTS NC STATE Board of Advisors meeting, we asked board members to answer the following questions:
What excites you about ARTS NC STATE? Or, why do you choose to support ARTS NC STATE? What would you say to convince others to lend their support? We received the following heartfelt responses, and we hope that they will inspire you to renew your support for – or give for the very first time to – ARTS NC STATE. TOM CABANISS: I support ARTS NC STATE to enhance the reputation of the university and to provide opportunities for current students to have a well-rounded experience at NC State and a good start in life. PAUL FOMBERG: Right in our own backyard we have such a rich opportunity to be exposed to such a variety of music, theatre, dance, and art that is not offered elsewhere in the Triangle. Where else can you be exposed to such a diverse offering of arts at such a reasonable cost, and have the opportunity to interact with students? REBEKAH GIVENS, STUDENT REPRESENTATIVE: ARTS NC STATE creates a universal forum that bridges together people from various backgrounds. It allows people to broaden their horizons and explore new ways of expression. The arts provide a unique way for students to unlock their creative potential and present beautiful works of arts for the community. ARTS NC STATE allows students to be creative outside of their majors and create meaningful works of art. It is a passion that lets people blossom. GARY GREENE: At Greene Resources [where Gary is CEO], we are in the business of recruiting talent. Regardless of the career, skills such as problemsolving, critical thinking, communication, presentation, team-building, and creativity are required. These skills are all gained through the arts. SAMANTHA HATEM: We love the arts and want to do what we can to support the arts through NC State. Love the potential of the Gregg Museum! It will be a Raleigh gem when completed!
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KYLE HELD: ARTS NC STATE brings to the community that special and rare mix of professional-level talent, presented with the energy and humility that only students, slightly unaware, can. I love ARTS NC STATE for the same reason I love sports at NC State – it's simply the best of both worlds. BERNIE HYMAN: It is important to expand the horizon for students, faculty, and the public concerning what NC State is about. The arts are the heart of any successful story. MEREDITH ROSE: I strongly believe in giving students the opportunity and equipment to experience the arts first hand. There are so many talented individuals who never share or realize just how talented they are. Providing this outlet to express themselves and share and develop their talent produces individuals who have a more creative outlook on life and give back to the community with their works. BING SIZEMORE, CHAIR ELECT: What excites us [Bing and his family] about ARTS NC STATE is the opportunity to learn and to interact with the arts in a manner that is enjoyable and educational. We support ARTS NC STATE, because we have the ability to impact the education of our future leaders. We would convince others to give by telling them, “As the commission on the Humanities and Social Services advocated, the arts help ‘foster a society that is innovative, competitive and strong.’” PATRICIA TECTOR: The value of having arts programs at this university for the students to be exposed to and benefit from is priceless! The benefits while on campus are numerous and the benefits for the rest of their lives are boundless! I would encourage others to give by asking, “Did you enjoy the event you attended? The arts programs would greatly benefit and continue with your verbal and financial support!”
DAVID THOMPSON, CHAIR: I support ARTS NC STATE to nurture the artistic side of STEM students and to create renaissance talents in the image of Da Vinci. NICOLE TYRA: We live in a time in our history where, academically, we’ve passed over much of the school subjects with a focus on broadening our intellectualism to replace them with those meant for immediate practical purpose: concentration on facts, foundations, and hard work. I believe it’s important to support those programs (or subjects) that aid in building character and increase our intelligence and awareness. The arts programs are invaluable outlets for creativity and launching pads for confidence and character, a way for students to learn about self and others. I would convince others to give by saying, “If you agree that these programs have an intrinsic value for students (as I stated above), then no matter whose art program you support, or how you go about it, I would encourage you to do so.” DOUG WITCHER: Because of the difference ARTS NC STATE is making in the lives of our students. ARTS NC STATE assists in providing our students a holistic educational experience. ARTS NC STATE also provides our community and state the ability to experience the arts both visually as well as through participating in performing arts events and in programs at
the Crafts Center, with a focus of our mission statement being outreach. I feel this makes ARTS NC STATE very unique as well as makes a profound difference in the lives of all who live in our state. By supporting this program you will be making a substantial investment in the lives of our students in the area of the arts. It is imperative that our students receive a holistic educational experience. MARTHA ZAYTOUN: When I moved to Raleigh in 1960, I discovered Friends of the College. Here was this industrial, agricultural, engineering school that brought the best artists in the world to Raleigh for students and for the public. We paid $7 for seven concerts. NC State shouldn’t be an “arts school,” but the arts are a part of life, and ARTS NC STATE understands that.
Thank you to all of the FRIENDS of ARTS NC STATE board members who participated! We hope you will join our leaders and support ARTS NC STATE’s six visual and performing arts programs. If you are reading this, then you already know something about what makes our programs so special! To learn more about giving to ARTS NC STATE, please contact Sara Seltzer in the development office at 919-515-6160 or skseltze@ncsu.edu.
DR. MARK EVAN BONDS, UNC CHAPEL HILL DEPARTMENT OF MUSIC: BEETHOVEN, TAYLOR SWIFT, AND THE IDEAL OF SELF-EXPRESSION WEDNESDAY, OCTOBER 30, 2013 AT 7PM Titmus Theatre When we talk about expression in music, exactly what is it is being expressed? One prominent view – arguably the prominent view today – holds that we are hearing the innermost soul of the composer, be it Beethoven and his struggles with deafness and fate, or Taylor Swift and her struggles with boyfriends. But the idea of a musical work as an expression of the innermost self is in fact a quintessentiallnineteenthcentury construct, one that cannot be traced back much earlier than ca. 1830 and that has remained under serious attack from modernist critics and composers since the early twentieth century. This talk will survey the rise, fall, and enduring presence of self-expression as an artistic ideal. Mark Evan Bonds (Cary C. Boshamer Distinguished Professor) received a B.A. in music and German from Duke University in 1975; an M.A. in musicology from the Universität Kiel (West Germany) in 1977; and a Ph.D. in musicology from Harvard University in 1988. He taught at Boston University before joining the faculty at the University of North Carolina at Chapel Hill in 1992. His research interests include music of the eighteenth and nineteenth centuries, particularly instrumental music and aesthetic theory. The recipient of grants from the NEH and the ACLS, he has recently begun a book on the concept of musical expression since the Enlightenment.
P R O G R A M N OT E S PMC LECTURE WITH DR. MARK EVAN BONDS
MUSIC @ NC STATE AND THE PMC LECTURE SERIES PRESENT
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THANK YOU! Fall 2013 Issue 2 A17
NCSU CENTER STAGE PRESENTS THE
MARTHA REDBONE ROOTS PROJECT SATURDAY, NOVEMBER 2, 2013 AT 5PM & 8PM Titmus Theatre Martha Redbone – vocals, percussion Aaron Whitby – keyboards, melodica Alan “AB” Burroughs – dobro, background vocals Teddy Kumpel – guitar, banjo, background vocals Fred Cash – acoustic bass
Photo: Fabrice Trombert
Martha Redbone The "charismatic indie-soul diva" (Time Out New York) Martha Redbone is an Independent Music Award-winning musician of Cherokee, Choctaw, Shawnee and African-American descent. Since bursting onto the scene at the 2002 Native American Music Awards, she has established a solid history of performing, educating, and mentoring across Native North America and in some cases abroad. Martha's new album The Garden of Love: Songs of William Blake (co-written by Aaron Whitby and produced by Nitty Gritty Dirt Band founder and multiple Grammy Award Winner John McEuen) is an unexpected twist to the Appalachian music of Martha's childhood years with her grandparents in Black Mountain, Kentucky. It is a “brilliant” (New Yorker) fusion of Martha's magnificent voice, Blake's immortal words and a cornucopia of roots music (folk, country, piedmont blues, gospel, honkytonk, bluegrass, soul and traditional Native). Redbone is a mesmerizing and dynamic live performer thrilling audiences and critics alike, with rave reviews from All Music Guide to Sing Out! She is also building a national radio presence including features on NPR’s All Things Considered, WNYC’s Soundcheck and New Sounds, and Sirius Satellite (Mary Sue Twohy’s and Bob Edwards’ shows). Currently, she leads and tours with Martha Redbone Roots Project, a band ranging from trio to septet. Her shows include performances from the acclaimed new album as well as a unique gumbo of roots, blues, soul and funk. She’s become respected from concert halls such as City Winery (NYC and Chicago), to prominent Native American events like Smithsonian's National Museum of the American Indian's Inaugural Ball in 2013.
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"...startling...lovely." – John Schaefer, WNYC, Soundcheck “Martha Redbone is a charismatic indie-soul diva whose sound is a just-right mix of retro and modern.” – Time Out New York
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"Poised to be Americana’s next superstar"
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– Village Voice
OLGA KLEIANKINA FACULTY RECITAL JOINED BY GUEST ARTISTS
OLGA KLEIANKINA (PIANO) GUEST ARTISTS: LEONID FINKELSHTEYN (DOUBLE BASS) & ANATOLY LARKIN (PIANO) SUNDAY, NOVEMBER 3, 2013 AT 4PM Titmus Theatre
Program
P R O G R A M N OT E S OLGA KLEIANKINA FACULTY RECITAL
MUSIC @ NC STATE PRESENTS
Sonata #2 in E minor, opus 6 for Double Bass and Piano...................................................Adolf Mišek 1. Con Fuoco........................................................................................................................... (1875-1955) 2. Andante Cantabile 3. Furiant. Allegro Energico 4. Finale. Allegro Appassionato Antatoly Larkin
Oriental Dance, Op. 2 .................................................................................................. Sergei Rachmaninoff ..................................................................................................................................................... (1873-1943) Elegy No. 1............................................................................................................................ Giovanni Bottesini ..................................................................................................................................................... (1823-1889) Variations on Nel cor piu non mi sento......................................................................... Giovanni Bottesini from Paisiello's La Molinara..................................................................................................................................
Olga Kleiankina
Olga Kleiankina, piano Leonid Finkelshteyn, double bass Intermission The Carnival of the Animals..........................................................................................Camille Saint-Saëns ..................................................................................................................................................... (1835-1921) (accompanied by poems by Ogden Nash) Olga Kleiankina, piano Anatoly Larkin, piano Mazzi Ghoddoussi, narrator
Leonid Finkelshteyn
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THANK YOU! Fall 2013 Issue 2 A19
P R O G R A M N OT E S OLGA KLEIANKINA FACULTY RECITAL ...continued
OGDEN NASH: VERSES FOR CAMILLE SAINT-SAËNS’ Carnival of the Animals INTRODUCTION
THE ELEPHANT
PIANISTS
Camille Saint-Saëns Was wracked with pains, When people addressed him, As Saint Sanes. He held the human race to blame, Because it could not pronounce his name. So, he turned with metronome and fife, To glorify other kinds of life. Be quiet please - for here begins His salute to feathers, fur, and fins.
Elephants are useful friends, Equipped with handles at both ends. They have a wrinkled moth-proof hide. Their teeth are upside down, outside. If you think the elephant preposterous, You've probably never seen a rhinosterous.
Some claim that pianists are human, And quote the case of Mr Truman. Saint Saëns, upon the other hand, Considered them a scurvy band. A blight they are, he said, and simian, Instead of normal men and womian.
KANGAROOS
FOSSILS
The kangaroo can jump incredible, He has to jump because he is edible. I could not eat a kangaroo, But many fine Australians do. Those with cookbooks as well as boomerangs, Prefer him in tasty kangaroomeringues.
At midnight in the museum hall, The fossils gathered for a ball. There were no drums or saxophones, But just the clatter of their bones, A rolling, rattling carefree circus, Of mammoth polkas and mazurkas. Pterodactyls and brontosauruses Sang ghostly prehistoric choruses. Amid the mastodonic wassail I caught the eye of one small fossil, "Cheer up sad world," he said and winked, "It's kind of fun to be extinct."
ROYAL MARCH OF THE LION The lion is the king of beasts, And husband of the lioness. Gazelles and things on which he feasts Address him as your highoness. There are those that admire that roar of his, In the African jungles and velds, But, I think that wherever the lion is, I'd rather be somewhere else.
HENS AND ROOSTERS The rooster is a roistering hoodlum, His battle cry is "cock-a-doodleum". Hands in pockets, cap over eye, He whistles at pullets, passing by.
WILD ASSES Have ever you harked to the jackass wild, Which scientists call the onager? It sounds like the laugh of an idiot child, Or a hepcat on a harmoniger. But do not sneer at the jackass wild, There is a method in his heehaw. For with maidenly blush and accent mild The jenny-ass answers shee-haw.
TORTOISES Come crown my brow with leaves of myrtle, I know the tortoise is a turtle, Come carve my name in stone immortal, I know the turtoise is a tortle. I know to my profound despair, I bet on one to beat a hare. I also know I'm now a pauper, Because of its tortley, turtley, torper.
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AQUARIUM Some fish are minnows, Some are whales. People like dimples, Fish like scales, Some fish are slim, And some are round, They don't get cold, They don't get drowned. But every fishwife Fears for her fish. What we call mermaids They call merfish.
CHARACTERS WITH LONG EARS In the world of mules There are no rules.
THE CUCKOO IN THE MIDDLE OF THE WOOD Cuckoos lead bohemian lives, They fail as husbands and as wives, Therefore, they cynically dispariage Everybody else's marriage.
AVIARY Puccini was Latin, and Wagner Teutonic, And birds are incurably philharmonic, Suburban yards and rural vistas Are filled with avian Andrew Sisters. The skylark sings a roundelay, The crow sings "The Road to Mandalay," The nightingale sings a lullaby, And the sea gull sings a gullaby. That's what shepherds listened to in Arcadia Before somebody invented the radia.
THE SWAN The swan can swim while sitting down, For pure conceit he takes the crown, He looks in the mirror over and over, And claims to have never heard of Pavlova.
FINALE Now we've reached the grand finale, Animale carnivale. Noises new to sea and land, Issue from the skillful band. All the strings contort their features, Imitating crawly creatures. All the brasses look like mumps From blowing umpah, umpah, umps. In outdoing Barnum and Bailey, and Ringling, Saint-Saëns has done a miraculous thingling.
Biographies Bassist Leonid Finkelshteyn enjoys an active career as a performer and teacher. Currently principal bassist of the North Carolina Symphony, which he joined in 1996, and the Eastern Music Festival Orchestra in North Carolina since 1999, Mr. Finkelshteyn also serves on the faculty of East Carolina University, North Carolina State University and the Eastern Music Festival; in addition to maintaining a large private studio. As a soloist, he has made numerous concerto appearances with the North Carolina Symphony, Eastern Music Festival Orchestra and the Peninsula Music Festival Orchestra in Wisconsin including works by Bottesini, Bruch, Koussevitsky and Tubin. Mr. Finkelshteyn has also performed the North American premiere of Gareth Glyn’s Microncerto and the world premiere of J.Mark Scearce’s Antaeus, a concerto for double bass and orchestra which the NorthCarolina Symphony commissioned for Mr. Finkelshteyn. Upon arriving here in the U.S., Mr. Finkelshteyn attended the Aspen Music Festival where he won the E. Nakamichi Double Bass Competition, performing the Koussevitsky Concerto with the Festival orchestra. Other artistic pursuits have included tours with the Chicago Symphony, the New York Philharmonic, and the Philharmonia Hungarica. In addition, Mr. Finkelshteyn has appeared with the St. Louis, Cincinnati and Dallas Symphonies as guest principal bassist and recently served as principal bassist of the Mostly Mozart Festival Orchestra, led by Louis Langree at Lincoln Center in New York. He has also performed with the Lyric Opera of Chicago, the Milwaukee Symphony, the Baltimore Symphony and most recently appeared with the All Star Orchestra under the direction of Gerard Schwarz as part of a series of programs for PBS set to air in 2013. Mr. Finkelshteyn has performed with a number of conductors throughout his career, namely, Daniel Barenboim, Pierre Boulez, Alan Gilbert, Marris Jansons, Neeme and Paavo Jarvi, Louis Langree, Lorin Maazel, Andrew Manze, Zubin Mehta, Riccardo Muti, Gerard Schwarz, Yannick Nezet-Seguin, Yuri Temirkanov, and Osmo Vanska. An avid chamber musician, Mr. Finkelshteyn has participated in the South Hampton Arts Festival in NY and continues to appear as part of the Four Seasons Festival at East Carolina University, the Eastern Music Festival Chamber Music Series, and the North Carolina Symphony Chamber Music series. He has collaborated with his brother, cellist Ilya Finkelshteyn, Julia Fischer, Mark Kosover, Adam Neiman, Awadagin Pratt, and Elina Vahala among others. A committed teacher, Mr. Finkelshteyn was recently invited to give masterclasses at Yale University and in NYC for students from the Manhattan School of Music and the Mannes College of Music. He makes a point of being involved within his community as well, leading sectionals for local Youth Philharmonic Orchestras and the NC All State Orchestra. In addition, Mr. Finkelshteyn works with local music teachers with their double bass students offering masterclasses and sectionals. A native of Leningrad in the former Soviet Union, he joined the Symphony Orchestra of the Leningrad Philharmonic at only 19 years of age, while still a student at the Leningrad Conservatory from which he earned a M.M., graduating with honors. His primary teachers were Peter Weinblatt and Sergei Akopov. Eventually, he became principal bassist of the Symphony Orchestra and was a prize winner of the Soviet Union Bass Competition before emigrating to the U.S. in 1990. Born in 1979, Russia, Anatoly Larkin has been studying and making music from around the age of 4. After undergraduate studies at the Guildhall
School of Music and Drama in London, UK, Anatoly completed his doctoral studies in Piano Performance at the University of Minnesota, under the advice of Alexander Braginsky. During his years in Minnesota, he was a member of the new-music ensemble, Zeitgeist, which allowed him to fulfill his passion for contemporary and avant-garde music. With Zeitgeist, Anatoly had premiered works by composers such as Paul Dresher, Scott Miller, Amy Wurtz, Jerome Kitzke, Bill Banfield, Anthony Gatto, Kathy Jackanich, Justin Rubin, Michael Wittgraf and many more. He was (and continues to be) active as an improviser, having collaborated with trombonist Patrick Crossland, clarinetist Pat O'Keefe and violinist Yuri Merzhevsky. In 2005, he moved to Raleigh, NC, to join Zenph, a music technology company. There he developed a software/manual process, subsequently trademarked as "Re-Performance®", that made it possible to hear performances of golden age pianists in famous audio recordings (such as those on wax cylinders, or from 78s) live again, with the help of state-of-the-art reproducing piano technology. He oversaw the recordings of critically acclaimed albums such as, for example, "Bach: The Goldberg Variations 1955 Performance", "Rachmaninoff Plays Rachmaninoff " or "Oscar Peterson: Unmistakable". In 2010 and 2012, his re-creation of Rachmaninoff 's and Marvin Hamlisch's pianism (respectively) was featured in 'Live from Lincoln Center' PBS telecast, in collaboration with violinist Joshua Bell. Anatoly continues to perform, as well as, occasionally, compose music. He is an enthusiastic music teacher who sees learning of music akin to learning a spoken language and also sees benefit in judicial combining of traditional methods with computer-based technology to enhance the learning process. In 2013, his upcoming projects include an overview presentation of "Russian composers in their early 30s", recording of the same, performance of a 2-piano version of Stravinsky's "The Rite Of Spring" with the Carolina Ballet, as well as the continuing collaboration with composers John Starosta and Craig Bove. Olga Kleiankina’s talents both as a pianist and composer were marked early when at the age of ten she won the Republic of Moldova’s National composition contest. Following her early successes, she received degrees from St. Neaga College of Music in Kishinau, Moldova, and the Academy of Music Gh. Dima in Cluj-Napoca, Romania. She continued her musical training by receiving a Master of Music from Bowling Green State University and a Doctorate of Musical Arts from the University of Michigan. Over her career, Dr. Kleiankina has obtained various awards and prizes for performance, accompanying, chamber music, jazz, composition and arrangements. Dr. Kleiankina is currently the Assistant Professor of Piano at North Carolina State University. She has presented numerous lectures, lecturerecitals, and master classes internationally and in the United States at events such as the 2008 MTNA Conference in Denver and the 2011 CMS Conference in Richmond. Dr. Kleiankina is an active solo and chamber music performer with an international career. She has performed with orchestras from Moldova, Romania, United States and Russia with conductors Emil Simon, Robert Houlihan, Zsolt Janko and Randolph Foy. In November 2010, Dr. Kleiankina performed at the Glinka Hall of St. Petersburg Philharmonic in Russia, where she, accompanied by the St. Petersburg Chamber Orchestra conducted by Jeffrey Meyer, premiered a Piano Concerto written by NCSU composer, Dr. Rodney Waschka. In June 2012, she performed the Waschka piano concerto with the State Radio and Television Symphony of Moldova in Chisinau, Moldova.
Fall 2013 Issue 2 A21
MUSIC @ NC STATE PRESENTS THE
NC STATE WIND ENSEMBLE THURSDAY, NOVEMBER 7, 2013 AT 7PM Titmus Theatre Dr. Paul Garcia, director Selections to be announced from stage.
Roster FLUTES
Rebecca Burton^, Environmental Science Amy Bradshaw^, Zoology Kristie Kusibab, FYC Laura Owczarski, Electrical Engineering/Arts Applications Luke Hansen^, Paper Science Kathryn Hornaday^ (Piccolo), Biological Sciences
HORNS
Michael Scanlan, Meteorology Nash Stallings, Applied Math and Physics Robert Beaver, Zoology
TRUMPETS
CLARINET
Grant Shoaf, Chemical Engineering Deion Oakes*, Environmental Technology Joshua Rhodes, Genetics Michael Giggard, Civil Engineering Joey Van Niman, FYC
SAXES
Sean Blye, Civil Engineering Jay Hornaday, Non Degree Studies Peter Lin, Industrial Engineering Sawyer Walters, Chemical Engineering Nick Sheeran, Fashion and Textile Management Jacob Lasky, Biomedical Engineering Charles Coley, FYC Sarah Strozesk, Criminology Cory Temple*, Physics Charles Jennings, Mechanical Engineering Spencer Monaco, Polymer and Color Chemistry
Ben Markoch, Graphic Design Victoria Cheng, Biological Sciences Steven Nugent, Biological Engineering William Hoffman, Chemical Engineering Sarah Stephens, Human Biology Megan Dunton, Genetics/English Christian Sutherland, Chemistry Patrick Stapleton*, English/Spanish
Anisa Traish (Alto), Zoology Nathan Misenheimer (Alto), Civil Engineering Zach Verbos* (Tenor), Aerospace Engineering Nathan Titus (Tenor), Biomedical and Electrical Engineering Chad Griffin (Bari), Aerospace Engineering/ Meteorology
OBOES
TROMBONES
EUPHONIUMS
Ian Chapman, Biological Sciences Autumn Lyell, Animal Science/Zoology Katy Shawkey, Meteorology
Kelley Wheeler, FYC Colin Hunt, History
BASSOON
David Williams^, Chemical Engineering Mark D’Ermes, Mechanical Engineering Hannah Seddon, FYC
Paul Archer, Chemical Engineering
BASS CLARINET
Josh Holder, Engineering (Biological) Tim Clark, Science Education/ Zoology
Please,
DURING THE PERFORMANCE Silence your cell phone No photography No texting THANK YOU!
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TUBAS
PERCUSSION
Megan Daughtridge, International Studies Christine Gusman, Civil Engineering Steven Hamilton, Civil Engineering Amber Robinson, Nuclear Engineering Michaela Settle, Mechanical Engineering Thomas Francis, Engineering
STRING BASS
Kevin Quick^*, Sociology/Psychology ^ music minor | * member of Mu Beta Psi National Honorary Musical Fraternity