OCTOBER 6, 8, 9

Concerts of Thursday, October 6, 2022, 8:00pm Saturday, October 8, 2022, 8:00pm Sunday, October 9, 2022, 3:00pm NATHALIE STUTZMANN, conductor

TALISE TREVIGNE, soprano JENNIFER JOHNSON CANO, mezzo-soprano ROBIN TRITSCHLER, tenor LEON KOŠAVIĆ, baritone

ATLANTA SYMPHONY ORCHESTRA CHORUS

NORMAN MACKENZIE, Director of Choruses LUDWIG VAN BEETHOVEN (1770–1827) Ah! perfido, Op. 65 (1796) 13 MINS

Talise Trevigne, soprano HILARY PURRINGTON (b. 1990) Words for Departure (2020) 15 MINS

I. Nothing was remembered, nothing forgotten

II. I have remembered you

III. You have learned the beginning Atlanta Symphony Orchestra Chorus INTERMISSION 20 MINS

LUDWIG VAN BEETHOVEN Symphony No. 9 in D Minor,

Op. 125 (“Choral”) (1824) 68 MINS

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Finale: Presto. Allegro assai Talise Trevigne, soprano Jennifer Johnson Cano, mezzo-soprano Robin Tritschler, tenor Leon Košavic, baritone Atlanta Symphony Orchestra Chorus

Words for Departure was commissioned by the League of American Orchestras with the generous support of the Virginia B. Toulmin Foundation.

This weekend’s concerts are dedicated to SHEILA L. & JONATHAN J. DAVIES in honor of their extraordinary support of the 2021/22 Annual Fund.

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

by Noel Morris

Program Annotator

Ah! perfido, Op. 65 In addition to the soprano solo, Ah! perfido is scored for flute, two clarinets, two bassoons, two horns and strings.

About half a mile from the Prague Castle stands a terracotta-colored Baroque building with a terracotta roof. A plaque by the door sports a stern-looking bronze of Beethoven scowling down at anyone who pauses to read its inscription: “Here at the Inn of the Golden Unicorn lived the famous music composer Ludwig van Beethoven in February 1796.” In fact, Beethoven is not the only famous composer to have stayed there. When he moved to Vienna as a 21-year-old pianist, Beethoven fell into the orbit of a classical music superfan, Prince Karl Lichnowsky, a friend of Mozart and Haydn. (Famously, Lichnowsky worked through C.P.E. Bach, son of Johann Sebastian, to amass a collection of the elder Bach’s manuscripts and write the first biography of the composer.) When Beethoven landed in Vienna in November of 1792, Lichnowsky offered him an attic apartment and took him under his wing. Showing off his young protégé, Lichnowsky took Beethoven on a trip to Prague, a city where Mozart had made a tremendous splash. In fact, it had only been seven years since Lichnowsky had traveled there with Mozart, Beethoven’s musical hero. Returning with Beethoven in 1796, the prince guided the younger composer to the Golden Unicorn, staying in the very same room where Mozart had slept. With Mozart on the brain, Beethoven secured a piano and wrote the concert scene Ah! perfido for soprano and orchestra, mirroring a work that Mozart had written for a local musician. Back in 1787, Mozart had been in Prague for the premiere of Don Giovanni and stayed at the country house of his friends Franz and Josefa Duschek. Josefa was a formidable soprano, inspiring Mozart to write Bella mia fiamma. When Beethoven traveled to the Czech capital in 1796, he wrote Ah! perfido for the same singer. Infused with fiery melodrama, rapid mood shifts and virtuosic flourishes, Ah! perfido takes us into the emotional torrent of a woman spurned, vacillating between rage, vengeance, devotion, grief and indignation. Josefa Duschek sang the premiere in Leipzig later that year.

First and most recent ASO performances: October 20, 1955 Henry Sopkin, conductor Zinka Milanov, soprano

WIKIMEDIA

NARA GAISINA

Words for Departure Words for Departure is scored for mixed chorus, two flutes (one doubling piccolo), two oboes (one doubling English horn), two

These are world premiere clarinets (one doubling bass clarinet), two bassoons, performances. four horns, three trumpets, three trombones, tuba,

timpani, percussion, harp, piano and strings.

Hilary Purrington is a living composer of chamber, vocal and orchestral music. Her work has received recognition from the American Academy of Arts and Letters; the American Society of Composers, Authors and Publishers (ASCAP); the International Alliance for Women in Music; and the National Federation of Music Clubs (NFMC), among others. Purrington’s orchestral and chamber works have been performed by many distinguished ensembles, including the Peabody Modern Orchestra, the American Modern Ensemble, Voices of Change and the Chicago Harp Quartet. Recent commissions include new works for the New York Youth Symphony, American Composers Orchestra, the Philadelphia Orchestra and the River Oaks Chamber Orchestra. For the 2018/19 season, Purrington was named the Sioux City Symphony Orchestra's Composer of the Year and served as composer-in-residence for the Musical Chairs Chamber Ensemble. She is a 2020 recipient of an orchestral commission from the League of American Orchestras' Women Composers Readings and Commissions program, supported by the Virginia B. Toulmin Foundation. Also an accomplished vocalist, Purrington has developed a reputation as a skilled composer of solo and choral music. Her song For your judicious and pious consideration was premiered by mezzo-soprano Adele Grabowsky on the 2016 NY Phil Biennial’s New Music New Haven concert. In 2015, the Eric Stokes Fund commissioned Purrington to compose a new song cycle about the devastating effects of climate change. The resulting work, A Clarion Call, was premiered at the 2017 Conference for Ecology and Religion hosted by the Yale Divinity School. Recent vocal commissions include new works for the Melodia Women’s Choir of NYC, Yale Glee Club, inFLUX, and the Bowers/Fader Duo. In April 2019, C4: The Choral Composer/Conductor Collective premiered John Eason Stops Preaching, a new work with words by contemporary poet Julia Bouwsma. She recently completed a new opera for New Camerata Opera, created in collaboration with librettist Hannah

McDermott and animation studio Catarata.

Originally from western Massachusetts, Purrington lives and works in Durham, North Carolina. She holds degrees from the Yale School of Music, The Juilliard School and the Shepherd School of Music at Rice University.

From the composer:

Words for Departure (2020) is a three-movement choral symphony featuring poetry by 20th century writer Louise

Bogan. Over the course of three poems, Bogan describes and reflects on the end of a romantic relationship.

I began writing Words for Departure in January 2020 and completed it during the initial months of the COVID-19 pandemic. As a society, we were reaching out to friends near and far and finding new ways to support and connect with one another. Words for Departure, which began as an analysis of an imagined relationship, became a meditation on the importance of investing in others and examining how we treat one another.

During an initial reading of Bogan’s “Words for departure,”

I was captivated by the three poems’ visceral imagery and

Bogan’s ability to create a complete narrative through just a few impactful lines. At first, I overlooked the set because the topic seemed too “small” to explore in the context of a choral symphony; however, the first few months of the pandemic dramatically changed my perspective. We had collectively come to the realization that relationships are actually the most significant and essential areas of our lives—certainly worth the scale and drama of a symphony.

Symphony No. 9 in D Minor, Op. 125 (“Choral”) Symphony No. 9 is scored for soprano, alto, tenor, and bass soloists, mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion and strings.

What can one say about Beethoven’s Ninth Symphony? Epic, magnificent, monumental, revolutionary—the 19th-century German philosopher Friedrich Nietzsche suggested this: “At a certain place in Beethoven’s Ninth Symphony,” he wrote, “[one] might feel that he is floating above the earth in a starry dome, with

First ASO performance: October 19, 1967 Robert Shaw, conductor Most recent ASO performances: April 11–14, 2019 Thomas Søndergård, conductor

the dream of immortality in his heart; all the stars seem to glimmer around him, and the earth seems to sink ever deeper downwards.” The Ninth Symphony does feel otherworldly. It occupies a space beyond our everyday experience. Indeed, it was written by a deaf man. Through more than an hour’s worth of music, Beethoven had no auditory point of reference. It all billowed from a singular imagination. And so the Ninth Symphony stood alone, becoming a piece that people perform at moments of great significance. Leonard Bernstein, for example, conducted Beethoven’s Ninth to mark the fall of the Berlin Wall in 1989. And, closer to home, the Atlanta Symphony Orchestra and Chorus present it here at the start of a new era for the ensemble (and for women aspiring to top conducting jobs)—the tenure of Nathalie Stutzmann. Often, we skip to the end of the Beethoven story: a composer loses his hearing but writes one masterpiece after another. We spend less time thinking about a man—a musician—coping with an especially cruel disability. Beethoven had moved to Vienna in 1792, ostensibly to study composition with Franz Josef Haydn. The two did not exactly click. The Viennese nobility latched onto the younger composer. With Europe’s “who’s who” looking on, Beethoven dazzled the Viennese from the piano and came to see Haydn as a distraction. Beethoven’s improvisations were legendary and served as a wellspring for his ideas. By the end of the decade, he was aware of a problem in the left ear.

For all the astonishing architecture associated with his music— massive works that grow from tiny bits of material—composition was a scattered enterprise. Beethoven’s sketchbooks contain ideas for many different works, side-by-side, that would sometimes take years to germinate. During his first two decades in Vienna, he cranked out reams of music, often centering around his piano playing. He presented his first four piano concertos featuring himself as soloist. By the time he presented the Fifth in 1811, his hearing was too far gone to play in public. The Seventh and Eighth Symphonies followed in 1812, and then Beethoven hit a dry spell. Over the next few years, he acquired various ear trumpets while pressuring instrument builders to design a louder piano. He even devised a contraption to amplify the instrument, but his connection to the piano—to the instrument that had been an extension of his soul—was falling away.

Probably Beethoven had always been a difficult person, but hearing loss exacerbated his personality quirks. He had a hot temper. He was a horrible boss and tended to hurl insults at people. But he did have friends and was frequently seen dining with them in restaurants and sharing laughs about things jotted down on pieces of paper. From his conversation books, we know a lot about his daily life. He chronically suffered from gastrointestinal problems and various infections. For years, he fought to gain custody of his nephew, Carl. Medical bills, various therapies, and Carl’s tuition all led to financial distress. In response, Beethoven wrote what he called trifles, little compositions, in an attempt to make some money, but years passed before he hit his stride again as a composer. Twelve years separate the Eighth and Ninth Symphonies. Born in 1770, Beethoven was a child of the Enlightenment. Through all his misery, he held fast to Enlightenment principles celebrating what he believed to be a God-given capacity for reason, science, progress, liberty, and equality. These values, he thought, were the key to happiness, not just for himself but for all humanity. Enter Friedrich Schiller.

Schiller published a poem in 1786 called “An die Freude,” Ode to Joy, that spread like wildfire among those who had a taste for revolution. According to Beethoven-biographer Jan Swafford, “The poem’s essence was the Enlightenment cult of happiness as the goal of life, the conviction that the triumph of freedom and joy will bring humanity to an epoch of peace and universal brotherhood, the utopia he called Elysium.” The poem is written in the style of the geselliges Lied—a song that might be sung with beer steins hoisted in the air.

Three years after the poem’s publication, French subjects stormed the Bastille. In 1792, officials named Schiller an honorary citizen of the newly constituted French Republic. However, it must be said that Schiller was horrified by the ensuing bloodbath and soon revised and distanced himself from his poem. Beethoven, on the other hand, never forgot it; throughout his adult life, he talked about setting it to music. Beethoven found his footing around 1819 when he began work on his Diabelli Variations and his Solemn Mass. He completed the first movement of his Ninth Symphony in early 1823 and finished the piece in 1824. The Ninth Symphony is a journey. It begins in a fury and makes its way toward the celestial light of the finale, proclaiming Schiller’s poem with four vocal soloists and a full chorus.

Beethoven conducted the premiere of the Ninth Symphony on May 7, 1894 (sort of). In truth, he followed the score and indicated tempos in front of conductor Michael Umlauf who had instructed the performers not to look at the composer. Beethoven “flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts,” recalled one witness. When it was over, contralto Caroline Unger reportedly approached the composer and turned him to face the cheering crowd.

TEXT AND TRANSLATION

Ah! perfido

Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son questi gl’ultimi tuoi congedi? Ove s’intese tirannia più crudel? Va, scellerato! va, pur fuggi da me, L’ira de’ numi non fuggirai. Se v’è giustizia in ciel, se v’è pietà, Congiureranno a gara tutti a punirti! Ombra seguace, presente, ovunque vai, Vedrò le mie vendette, Io già le godo immaginando. I fulmini ti veggo già balenar d’intorno. Ah no! Fermate, vindici Dei! Risparmiate quel cor, ferite il mio! S’ei non è più qual era, son io qual fui, Per lui vivea, voglio morir per lui! Per pietà, non dirmi addio! Di te priva che farò? Tu lo sai, bell’idol mio! Io d’affanno morirò.

Ah crudel! Tu vuoi ch’io mora! Tu non hai pietà di me? Perchè rendi a chi t’adora Così barbara mercè? Dite voi se in tanto affanno Non son degna di pietà?

Ah! You treacherous

Ah! You treacherous, faithless, barbaric traitor, you leave? And is this your last farewell? Where did one hear of a crueller tyranny? Go, despicable man! Go, flee from me! You won’t flee from the wrath of the gods. If there is justice in heaven, if there is pity, all will join forces in a contest to punish you. I follow your trail! I am wherever you go, I will live to see my revenge, I already take my delight in it in my imagination. I already see you surrounded by flashes of lightning. Alas! Pause, avenging gods! Spare that heart, wound mine! If he is not what he was, I am still what I was. For him I lived, for him I want to die! Have mercy, don’t bid me farewell, what shall I do without you? You know it, my beloved idol! I will die of grief. Ah, cruel man! You want me to die! Don’t you have pity on me? Why do you reward the one who adores you in such a barbaric way? Tell me, if in such a grief I do not deserve pity?

Translation by Bertram Kottmann

Words for Departure by Louise Bogan 1 Nothing was remembered, nothing forgotten. When we awoke, wagons were passing on the warm summer pavements, The window-sills were wet from rain in the night, Birds scattered and settled over chimneypots As among grotesque trees. Nothing was accepted, nothing looked beyond. Slight-voiced bells separated hour from hour, The afternoon sifted coolness And people drew together in streets becoming deserted. There was a moon, and light in a shop-front, And dusk falling like precipitous water. Hand clasped hand Forehead still bowed to forehead— Nothing was lost, nothing possessed There was no gift nor denial. 2 I have remembered you. You were not the town visited once, Nor the road falling behind running feet. You were as awkward as flesh And lighter than frost or ashes. You were the rind, And the white-juiced apple, The song, and the words waiting for music.

3 You have learned the beginning; Go from mine to the other.

Be together; eat, dance, despair, Sleep, be threatened, endure. You will know the way of that. But at the end, be insolent; Be absurd—strike the thing short off; Be mad—only do not let talk Wear the bloom from silence.

And go away without fire or lantern Let there be some uncertainty about your departure.

TEXT AND TRANSLATION

Symphony No. 9 in D Minor, Op. 125 (“Choral”) Baritone Solo, Soloists and Chorus

O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen und freudenvollere!

Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Baritone Solo, Soloists and Chorus

Oh friends, no more these sounds! Let us sing songs that are more cheerful and full of joy! Joy, lovely divine spark, Daughter of Elysium, With fiery rapture, We approach your sanctuary! Your magic reunites, What stern custom separated; All men shall be brothers, Under your gentle wings.

Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

Tenor Solo and Chorus

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. (The first stanza is repeated)

Tenor Solo and Chorus

Gladly, as His suns fly Through the mighty path of heaven, So, brothers, run your course, Joyfully, like a hero on his conquest. (The first stanza is repeated)

Chorus and Soloists

Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder! Über’m Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen. Whoever has enjoyed the great fortune

Of being a friend to a friend, Whoever has won a dear wife, Join in our chorus of jubilation! Yes, even if he has but one soul On this earth to call his own! And whoever has not, let him steal away Tearfully and alone. Every creature drinks joy At nature’s breast. Everyone, good and bad Follows in her rosy path. She gave us kisses and the fruit of the vine, And a friend, faithful until death; Even the worm can feel contentment, And the cherub stands before God!

Chorus and Soloists

Be embraced, you millions! This kiss is for all the world! Brother! Above this tent of stars There must dwell a loving Father. Do you kneel, you millions? Do you sense your Creator, world? Seek Him above in the tent of stars! Above the stars He must dwell.

Translation by Ken Meltzer

TALISE TREVIGNE, SOPRANO

Career highlights for American soprano Talise Trevigne include her celebrated portrayal in the title role Porgy and Bess at The

Atlanta Opera; she returned as a TAO Company Principal Artist in Season 2020-21 as Nedda I Pagliacci. Miss Trevigne played the role of Sunny desert in for Boston Lyric Opera in their exciting new episodic opera drama devised for the small screen, curated and directed by James Darrah. Previous highlights include her return appearance with CBSO for Tippett’s A Child of our Time in performances in the

UK and Germany, conducted by Mirga Gražinytė-Tyla. Future engagements include Violetta La Traviata at Calgary Opera, and Mimi La bohème at Cincinnati Opera, alongside the title role in Gregory Spears’ new work, Castor and Patience. JENNIFER JOHNSON CANO, MEZZO-SOPRANO

Anaturally gifted singer known for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. With more than 100 performances on the stage at The Metropolitan Opera, her most recent roles have included Nicklausse, Emilia, Hansel and Meg Page. Cano undertakes a balance of orchestral, opera and chamber music performances each season. She appears with major orchestras and conductors, and has collaborated on numerous projects with the Cleveland Orchestra and Franz Welser-Möst as well as the Los Angeles Philharmonic and Gustavo Dudamel in both the US and Europe. She has performed with the New York Philharmonic in both New York and Vail, as well as the Pittsburgh Symphony and Manfred Honeck. A native of St. Louis, she earned degrees from Rice University and from Webster University, where she was honored as a distinguished alumna and commencement speaker in May 2017. ROBIN TRITSCHLER, TENOR

Irish tenor Robin Tritschler has garnered praise from critics and audiences for his performances. He graduated from the Royal Academy of Music and was a BBC New Generation Artist. In concert, Tritschler has appeared with many leading orchestras including the London Philharmonic Orchestra (Yannick NézetSéguin, Nathalie Stutzmann and Vladimir Jurowski), L’Orchestre

National de Lyon (Yutaka Sado), Gulbenkian Foundation Lisbon, the Hong Kong Philharmonic Orchestra (Edo de Waart), the Rotterdam Philharmonic Orchestra (Philippe Herreweghe), the Moscow Virtuosi (Vladimir Spivakov), and the BBC Philharmonic (Juanjo Mena). With the RTE Concert Orchestra, Tritschler performed Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State and gave the UK premiere of CPE Bach’s St. John Passion with the Bournemouth Symphony Orchestra under Kirill Karabits. LEON KOŠAVIĆ, BARITONE

The young Croatian baritone Leon Košavić began his vocal training at the age of 12. He completed his master’s degree at the Music Academy in Zagreb in the singing class of Giorgio Surian. In 2011 he began his musical career as Papageno at the Croatian National Opera, where he sang Masetto and Moralès and Malatesta in the following years. In 2015 he made his debut at the Finnish National Opera as Malatesta (Don Pasquale). In the same year, Kosavic won the Croatian Theatre Prize for “outstanding performances by young artists under 30” for his sensational performance of Don Giovanni. Since then, he has appeared at numerous European opera houses such as the Royal Opera House London (Ping in Turandot), Stuttgart State Opera (Don Giovanni), Liège (Figaro in Nozze di Figaro), Antwerp (La Juive), Lausanne (Masetto in Don Giovanni) and Strasbourg (Figaro in Barbiere di Siviglia).

ATLANTA SYMPHONY ORCHESTRA CHORUS

The Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an all-volunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have garnered 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). The Chorus performs large symphonic choral works under the direction of Music Director Nathalie Stutzmann and Principal Guest Conductor Sir Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.

GARRETH WONG WEB

NORMAN MACKENZIE, DIRECTOR OF CHORUSES As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately Assistant Choral Conductor.

Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings, works closely with the Music Director on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® Awards. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

ATLANTA SYMPHONY ORCHESTRA CHORUS

Norman Mackenzie

director of choruses The Frannie & Bill Graves Chair Jeffrey Baxter

choral administrator The Florence Kopleff Chair Peter Marshall

accompanist

SOPRANO 1

Ellen Abney Khadijah Davis Liz Dean* Laura Foster Michelle Griffin* Erin Jones* Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Mary Martha Penner Susan Ray Samaria Rodriguez Emily Salmond Lydia Sharp Susie Shepardson Chelsea Toledo Brianne Turgeon** Deanna Walton Erika Wuerzner Wanda Yang Temko**

SOPRANO 2

Debbie Ashton Sloan Atwood* Jessica Barber Tierney Breedlove Barbara Brown Maggie Carpenter Martha Craft Gina Deaton Erika Elliott Mary Goodwin Amanda Hoffman Melissa Mack Mary Mulvey Heidi Padovano Lindsay Patten Murray Chantae Pittman Tramaine Quarterman Marianna Schuck Anne-Marie Spalinger Emily Tallant Cheryl Thrash** Donna Weeks**

ALTO 1

Pamela Amy-Cupp Deborah Boland** Emily Campbell Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman* Cynthia Harris Unita Harris Beverly Hueter* Janet Johnson** Susan Jones Kathleen KellyGeorge* Virginia Little* Staria Lovelady* Alina Luke Frances McDowellBeadle** Sara McKlin Linda Morgan** Natalie Pierce Kathleen Poe Ross Noelle Ross Camilla Springfield** Nancy York*

ALTO 2

Nancy Adams* Angelica BlackmanKeim Elizabeth Borland Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament* Alyssa Harris Joia Johnson Nicole Khoury* Lynda Martin Lalla McGee Sharon Simons* Virginia Thompson* Cheryl Vanture Kiki Wilson** Diane Woodard**

TENOR 1

Jeffrey Baxter** Christian Bigliani David Blalock** LaRue Bowman John Brandt** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell* Keith Langston* Christopher Patton* Stephen Reed # Jeremiah Robinson

TENOR 2

Matthew Borkowski Steve Brailsford Charles Cottingham # Phillip Crumbly* Steven Dykes Joseph Few** Sean Fletcher John Harr Keith Jeffords** David Kinrade Michael Parker Timothy Parrott Marshall Peterson* Thomas Slusher Scott Stephens**

BASS 1

Dock Anderson William Borland Russell Cason** Jeremy Christensen Joshua Clark Trey Clegg* Rick Cobb Michael Cranford Thomas Elston Jon Gunnemann* Jason Hamlet Noah Horton Nick Jones # Frank Kingsley Jameson Linville Peter MacKenzie Jason Maynard Jackson McCarthy John Newsome Hal Richards Peter Shirts John Terry Marshall Todd Edgie Wallace*

BASS 2

Philip Barreca Marcel Benoit Jacob Blevins John Carter Joel Craft** Paul Fletcher Timothy Gunter* Thomas Hanrahan Philip Jones Tamir Mickens Michael Nedvidek Joel Rose John Ruff* Jonathan Smith* George Sustman Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt*

* 20+ years of service ** 30+ years of service # Charter member (1970)