THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents
FACULTY CHAMBER RECITAL Featuring
Marcy Stonikas, soprano Ben Sung, violin
Monday, February 1, 2021 Seven-thirty in the Evening Opperman Music Hall Live: wfsu.org/fsumusic
PROGRAM Kafka Fragments, Op. 24 Part I Part II Part III Part IV
Gyรถrgy Kurtรกg (b. 1926)
Marcy Stonikas, soprano Ben Sung, violin
ABOUT THE ARTISTS Assistant Professor of Voice Marcy Stonikas has performed with major opera houses and symphony orchestras across North America, Europe, and Australia. During the 20202021 COVID-19 affected season, the soprano’s engagements include Leonore in Fidelio with the South Dakota Symphony Orchestra (cancelled), Mahler’s Symphony No. 2 with the Kalamazoo Symphony, a gala concert with Berkshire Opera Festival (cancelled), Santuzza in Cavalleria Rusticana with Seattle Opera (cancelled), and a recital with Seattle Opera as part of the company’s autumn digital offerings. Original engagements during the COVID-19 shortened 2019-2020 season included covering the title role in Tosca with the Metropolitan Opera (completed). With the Minnesota Opera, she debuted the role of Chrysothemis in Elektra (performed), and with San Diego Opera she appeared in the role of Gertrude in Hansel and Gretel (performed). In the previous season, Stonikas joined Seattle Opera as Miss Jessel in The Turn of the Screw and the South Dakota Symphony for Mahler’s Symphony No. 8. During the 2017-2018 season Stonikas made a company debut with Arizona Opera as the title role in Tosca, returned to Seattle Opera as the High Priestess in Aida, and joined Cincinnati Opera as Senta in Der fliegende Höllander. She also joined the roster of the Lyric Opera of Chicago to cover the titular Turandot. The previous season included anticipated role and company returns, as well as company debuts for Stonikas. She began the season as Gertrude in Seattle Opera’s Hansel and Gretel, then sang the titular Turandot in debuts with Atlanta Opera and Opera Naples, returned to the role of Ariadne in Ariadne auf Naxos at the Berkshire Opera Festival, and bowed as Lenore in Fidelio with the Princeton Festival. The 2015-2016 season’s performances included a significant company debut with Washington National Opera in their critically praised Ring Cycle, singing Gerhilde in Die Walküre and Third Norn in Götterdämmerung. The 2015-2016 season also included Beethoven’s Ninth Symphony with the San Antonio Symphony, and Donna Anna in Don Giovanni with Opera Santa Barbara. Stonikas’s 2014-2015 season showed performances with the West Australian Symphony Orchestra for Beethoven’s Symphony No. 9, conducted by Asher Fisch. She then returned to the Volksoper Vienna for Leonore in Fidelio, and to Seattle Opera for the title role in Ariadne auf Naxos. She concluded the season with Cincinnati Opera in the title role in Turandot.
During the 2013-2014 season, Stonikas appeared with Utah Opera in a role debut as Salome; Opera Santa Barbara as Tosca; in a return to Seattle Opera as Magda Sorel in Menotti’s The Consul; and the Vienna Volksoper for Fidelio. During the 2012-2013 season, Stonikas debuted the title roles in productions of Turandot and Fidelio at Seattle Opera, to great acclaim. Also in that season Stonikas performed a recital under the auspices of the Wolf Trap Opera Company. Over two summers, Stonikas performed Donna Anna in Don Giovanni, Antonia in Les contes d’Hoffmann, and Rosaura in Wolf-Ferrari’s rarely performed Le donne curiose, with Wolf Trap Opera Company. Stonikas also performed the roles of Irene and Mary in the American premiere of Jerry Springer – the Opera (Thomas) at the Bailiwick Repertory Theatre in Chicago. On the concert stage, highlights included Blumenmädchen in Parsifal (Wagner) with the Cleveland Orchestra, conducted by Pierre Boulez. Stonikas is a recipient of the Richard F. Gold Career Grant from the Shoshana Foundation, winner of the 2009 Elgin Opera Vocal Competition, and was a winner of the 2006 International Meistersinger Competition. Associate Professor of Violin Benjamin Sung is also a Faculty Artist and violin coordinator at the Brevard Music Center, and principal second violin of the Brevard Music Center Orchestra. Recent concert highlights include the 2018 Brevard Music Festival; a complete Beethoven cycle with pianist David Kalhous; an appearance with the FSU University Symphony Orchestra in Piazzolla’s Estaciones Portenas for the 2016 ASTA National Conference; and a TED talk for TEDx Fargo. Mr. Sung has an upcoming new solo album featuring works by Sciarrino, Berio, Maderna, and Schnittke; in the 2019-2020 season, he had engagements to play Paganini’s 24 Caprices in Canada, Taiwan, Brazil, and throughout the United States. Sung has performed as soloist with numerous orchestras, including the Camerata Romeu of Havana, Cuba, the Virtuosi of Festival Internacionale de Musica in Recife, Brazil, and the National Repertory Orchestra. He is equally in demand as a chamber musician, having shared the stage with great performers including pianist Monique Duphil, and cellists Antonio Meneses and Marcio Carneiro. He is a past winner of the Starling Award of the Eastman School of Music and the Violin Fellowship of the Montgomery Symphony, and an Aaron Copland Fund Recording Grant. An enthusiastic advocate of contemporary music, Sung has recorded the music of composers Steve Rouse and Marc Satterwhite for Centaur Records, has performed and taught for Studio 2021 at Seoul National University, and has worked with many of the greatest composers of this generation, including John Adams, Pierre Boulez, George
Crumb, and Helmut Lachenmann. In 2012, he released an album of new American works entitled FluxFlummoxed on Albany Records, a recording hailed by Fanfare Magazine as “a brilliant performance of four superb works” with “impeccable intonation and tone production.” Sung holds a Bachelor’s degree from the Eastman School of Music, where he studied with Oleh Krysa, and Master’s and Doctoral degrees from the Indiana University Jacobs School of Music, from the studio of Nelli Shkolnikova. Sung also studied at the Professional Training Program at Carnegie Hall, the Lucerne Festival Academy, the New York String Seminar, and the Chamber Music Residency at The Banff Centre. NOTES ON THE PROGRAM Kurtág: Kafka-Fragments In a fragment—in the suddenness and the rough breaks—we may see more than in something whole and finished. Simply by separating the short texts here from their context, making them into fragments, Kurtág lets these extracts from Kafka’s private writings expand, so that a tiny anecdote, or even just a few words, can bulge with meaning. Aligning so many of them, he allows a whole view of life to emerge in shards and spaces. Then, in setting them to music, he makes them speak. Each is a quick glance into the mirror that Kafka’s writing gave him, the mirror of an artist whose edges are his own: between irony and anxiety, between withdrawal and explosion, between creative potency and indecision. Kurtág is, as Kafka was, someone for whom the practice of an art is a way of being, demanding total devotion, sustained through periods when very little is achieved. There is no time off. To put it another way, there is no escape. Everything is required from the artist—but not in the interests of autobiography, which is only a story about the self, whereas in Kurtág’s lean compositions and in Kafka’s similarly economical prose we meet a self entire. A voice is speaking. What it says may be fable and paradox, but those are ways to the truth. There are other connections. Both the writer and the composer stand within a rich central European Jewish tradition, which they at once radicalize and honor. Both ask us searching questions about what we are, and about where we think we are going. Both invite us—forcibly, sinuously—to share their dedication and their honesty. Their conjunction, in this work, seems inevitable—though Kurtág was 60 before he was ready for it to happen. Most of his earlier music was, like the Kafka-Fragmente, for a small number of per¬formers. For 20 years, until the time of this work, he was professor of chamber music at the Liszt Academy in Budapest, coaching student ensembles and therefore in daily contact with music as conversant voices, voices talking to one another in a small room. Most of his earlier music was, too, lyrical, consisting either of vocal settings or of instrumental songs.
Apart from a viola concerto, dating from when he was himself in training at the Liszt Academy, his earliest published work is a string quartet, which he wrote in 1959, after a year in Paris. He had gone there to study with Olivier Messiaen and Darius Milhaud, but he gained much more from a psychotherapist, Marianne Stein, who helped him at what was a time of crisis. To go further with even this capsule biography risks irrelevance, for what is important about Kurtág is all in his art, not his life. Nevertheless, there is some justification for considering this a crucial moment, if only because he himself did so in the only interview he has allowed to be published: “I realized to the point of despair that nothing I had believed to constitute the world was true... I was staying with another pupil of Marianne Stein, an American actress, and instead of paying rent I would walk her two children in the park. The park in question was the Parc Montsouris—a magnificent place, with fantastic trees. The impression made on me by these trees in winter was maybe then my first reality. That lasted until spring, and the appearance of my second reality: birds.” This almost reads like a Kafka fragment that Kurtág could have set. In gratitude to Stein, he dedicated his quartet, his Opus 1, to her. Nearly 30 years later, he dedicated to her another work, his longest so far, his Opus 24: the Kafka-Fragmente. That is one mark of this score’s importance. Slow to make what he could regard as a real beginning (he was 33 years old when he finished the quartet), he was slow to continue. A wind quintet came next, in the same year of 1959, after which his creativity sputtered out in tiny instrumental pieces. He then took several years to complete his first vocal composition, The Sayings of Péter Bornemisza, a setting for soprano and piano of extracts from scalding sermons by the 16th-century preacher who was also one of the founders of Hungarian literature. Following that, he fell almost silent again, until, in 1973, he encountered unexpected delight in fulfilling a request for children’s piano pieces. He has gone on with this project, publishing so far seven published volumes of Jatékok (“Games”), all full of fantasy, challenge, humor and instruction. Writing for children not only unlocked his creativity but also indicated how he could produce adult music having those same qualities—though he was to go on writing slowly and circumspectly. The Kafka-Fragmente were gradually assembled through the years 1985–1987; other works have taken many years to find a final form. Most of his compositions since 1973 have been vocal settings—the word “songs” does not seem right for these intense utterances—to words by leading Hungarian poets ( János Pilinszky, Dezső Tandori), by a Hungarian writing in Russian (Rimma Dalos), and latterly by international writers in whose company he by now belongs: Friedrich Hölderlin, Anna Akhmatova, Samuel Beckett and, indeed, Franz Kafka. Since the late 1980s, now widely acclaimed, he has also written works on a larger scale, including most recently ...concertante... for violin, viola, and orchestra, his Opus 42.
The Kafka-Fragmente came as the great culmination of a period during which he had been working intensively with Hungarian soprano Adrienne Csengery. (It has been said that, with so much experience of coaching at the Liszt Academy, he treats students as if they were professionals and professionals as if they were students.) The work was written for her—in a sense, through her—and it demands from its singer an involvement paralleling the composer’s, an involvement, then, that vanishes into the task at hand. That task is to give the most vivid expression possible to the texts, which come from Kafka’s diaries and from his letters to his closest confidante, Milená Jesenská. This is all intimate writing. The voice is an interior one, the voice with which a great writer’s mind speaks to itself, or to its second self—which is no limitation on passion, volume or variety of tone. The voice is urgent, whimsical, stentorian, vulnerable, and often all of those at once. It now sings, of course, perhaps because this is what the spirit does. In its company is a violin, which is to some extent a twin or mirror in the same soprano register, though able to reach much higher. The violin can be an accompaniment, a bass, but more often it is above the voice, and very often what it offers is an image of what the voice is singing about, whether this be abstract or concrete: a completed circle or musicians on a tram, a pathway or furtive hiding places. The images are compressed. Many of these fragmentary texts are compacted tales; they are like those bits of crumpled paper which, when dropped into water (the music), unfold into flowers. Even when so unfurled in these settings, a lot of them are only around a minute long, and the shortest are over in ten seconds. A few pieces that are much longer serve to articulate the form. The 20th—“The True Path,” marking the halfway point—seems to reflect on all that has happened so far, and Kurtág isolates it as, by itself, the second of the work’s four parts. The third part returns to the disruption of the first, to end with an impression from life, touching on the whole work’s concerns with seemliness and needfulness: “Scene on the Tram.” Made largely of longer pieces, the fourth part is, as it were, the adagio finale, arriving at a resolute and strengthened clarity. One may note how often the imagery, in the music as in the text, is of journeying. The great song cycle of the early 19th century was a travelogue: Schubert’s Winterrese. Here, from the late 20th century, is a successor. The journey, though, is all within. Paul Griffths © 2005 The Carnegie Hall Corporation
TEXTS AND TRANSLATIONS Kafka-Fragmente, Op. 24 György Kurtág (b. 1926) Texts by Franz Kafka I. Teil 1. Die Guten gehn im gleichen Schritt… Die Guten gehn im gleichen Schritt. Ohne von ihnen zu wissen, tanzen die anderen um sie die Tänze der Zeit.
Part I 1. The good march in step… The good march in step. Unaware of them, the others dance around them the dances of time.
2. Wie ein Weg im Herbst Wie ein Weg im Herbst: Kaum ist er rein gekehrt, bedeckt er sich wieder mit den trockenen Blättern.
2. Like a pathway in autumn Like a pathway in autumn: hardly has it been swept clean, it is covered again with dry leaves.
3. Verstecke Verstecke sind unzählige, Rettung nur eine, aber Möglichkeiten der Rettung wieder so viele wie Verstecke.
3. Hiding places There are countless hiding places, only one salvation; but then again, there are as many paths to salvation as there are hiding places.
4. Ruhelos
4. Restless
5. Berceuse I Schlage deinen Manel, hoher Traum, um das Kind.
5. Berceuse I Wrap your overcoat, O lofty dream, around the child.
6. Nimmermehr (Excommunicatio) Nimmermehr, nimmermehr kehrst du wieder die Städte, nimmermehr tönt die grosse Glocke über dir.
6. Nevermore (Excommunicatio) Nevermore, nevermore will you return to the cities, nevermore will the great bell resound above you.
7. »Wenn er mich immer frägt« Wenn er mich immer frägt.« Das ä, losgelöst vom Satz, flog dahin wie ein Ball auf der Wiese.
7. “But he won’t stop asking me.” “But he won’t stop asking me.” That “ah,” detached from the second sentence, flew away like a ball across the meadow.
8. Es zupfte mich jemand am Kleid Es zupfte mich jemand am Kleid, aber ich schüttelte ihn ab.
8. Someone tugged at my clothes Someone tugged at my clothes but I shrugged him off.
9. Die Weissnäherinnen Die Weissnäherinnen in den Regengüssen.
9. The seamstresses The seamstresses in the downpourings.
10. Szene am Bahnhof Die Zuscheuer erstarren, wenn der Zug vorbeifahrt.
10. Scene at the station The onlookers freeze as the train goes past.
11. Sonntag, den 19. Juli 1910 (Berceuse II) (Hommage à Jeney) Geschlafen, aufgewacht, geschlafen, aufgewacht, elendes Leben.
11. Sunday, 19th July 1910 (Berceuse II) (Homage to Jeney) Slept, woke, slept, woke, miserable life.
12. Meine Ohrmuschel… Meine Ohrmuschel fühlte sich frisch, rauh, saltig an wie ein Blatt.
12. My ear… My ear felt fresh to the touch, rough, cool, juicy, like a leaf.
13. Einmal brach ich mir das Bein (Chassidischer Tanz) Einmal brach ich mir das Bei, es war das schönste Erlebnis meines Lebens.
13. Once I broke my leg (Hasidic dance) Once I broke my leg: it was the most wonderful experience of my life.
14. Umpanzert Einen Augenblick lang fühlte ich mich umpanzert.
14. Enarmored For a moment I felt enarmored.
15. Zwei Spazierstücke (AuthentischPlagal) Auf Balzacs Spazierstockgriff: Ich breche all Hindernisse. Auf meinem: Mich brechen alle Hindernisse. Gemeinsam ist das »alle.«
15. Two walking-sticks (Authenticplagal) On the stock of Balzac’s walking-stick: “I surmount all obstacles.” On mine: “All obstacles surmount me.” They have that “all” in common.
16. Keine Rückkehr Von einem gewissen Punkt an gibt es keine Rückkehr mehr. Dieser Punkt ist zu erreichen.
16. No going back From a certain point on, there is no going back. That is the point to reach.
17. Stolze (1910/15 November, zehn Uhr) Ich werde mich nicht müde werden lassen. Ich werde in meine Novelle hineinspringen und wenn es mir das Gesicht zerscheiden sollte.
17. Pride (15th November 1910, 10 o’clock) I will not let myself be made tired. I will dive into my story even if that should lacerate my face.
18. Träumend hing die Blume (Hommage à Schumann) Träumend hing die Blume am hohen Stengel. Abenddämmerung umzog sie.
18. The flower hung dreamily (Homage to Schumann) The flower hung dreamily on its tall stem. Dusk enveloped it.
19. Nichts dergleichen Nichts dergleichen, nichts dergleichen.
19. Nothing of the kind Nothing of the kind, nothing of the kind.
II. Teil 1. Der wahre Weg (Hommage-message à Pierre Boulez) Der Wahre Weg geht über ein Seil, das nicht in der Höhe gespannt ist, sondern knapp über den Boden. Es scheint mehr bestimmt, stolpern zu machen, als begangen zu werden.
Part II 1. The true path (Homage-message to Pierre Boulez) The true path goes by way of a rope that is suspended not high up, but rather just above the ground. Its purpose seems to be more to make one stumble than to be walked on.
III. Teil 1. Haben? Sein? Es gibt kein Habe, nur ein Sein, nur ein nach letztem Atem, nach Ersticken verlangendes Sein.
Part III 1. To have? To be? There is no “to have,” only a “to be,” a “to be” longing for the last breath, for suffocation.
2. Der Coitus als Bestrafung (Canticulum Mariæ Magdalanæ) Der Coitus als Bestrafung des Glückes des Beisammenseins.
2. Coitus as punishment (Canticulum Mariæ Magdalanæ) Coitus as punishment of the happiness of being together.
3. Meine Gefägnisszelle Meine Gefägnisszelle, meine Festung.
3. My fortress My prison cell, my fortress.
4. Schmutzig bin ich, Milená… Schmutzig bin ich, Milená, endlos schmutzig, darum mache ich ein solces Gechrei mit der Reinheit. Niemand singt so rein als die, welche in der tiefsten Hölle sind; was wir für den Gesang der Engle halten, ist ihr Gesang.
4. I am dirty, Milená… I am dirty, Milená, endlessly dirty, that it why I make such a fuss about cleanliness. None sing as purely as those in deepest Hell; it is their singing that we take for the singing of Angels.
5. Elendes Leben (Double) Geschlafen, aufgewacht, geschlafen, aufgewacht, elendes Leben.
5. Miserable life (Double) Slept, woke, slept, woke, miserable life.
6. Der begrenzte Kreis Der begrenzte Kreis ist rein.
6. The closed circle The closed circle is pure.
7. Ziel, Weg, Zögern Es gibt ein Ziel, aber keinen Weg; was wir Weg nennen, ist Zögern.
7. Destination, path, hesitation There is a destination, but no path to it; what we call a path is hesitation.
8. So fest So fest wie die Hand den Stein hält. Sie hält ihn aber fest, nur um ihn desto weiter zu verwerfen. Aber auch in jene Weite führt der Weg.
8. As tightly As tightly as the hand holds the stone. It holds it so tight only to cast it as far off as it can. Yet even that distance the path will reach.
9. Penetrant jüdisch Im Kampft zwischen dir und der Welt sekundiere der Welt.
9. Offensively Jewish In the struggle between yourself and the world, side with the world.
10. Verstecke (Double) Verstecke sind unzählige, Rettung nur eine, aber Möglichkeiten der Rettung wieder so viele wie Verstecke.
10. Hiding places (Double) There are countless hiding places, only one salvation; but then again, there are as many paths to salvation as there are hiding places.
11. Staunend sahen wir das Grosse Pferd Staunend sahen wir das grosse Pferd. Es durchbrach das Dach unserer Stube. Der bewölkte Himmel zog sich schwach entlang des gewaltigen Umrisses, und rauschend flog die Mähne im Wind.
11. Amazed, we saw the great horse Amazed, we saw the great horse. It broke through the ceiling of our room. The cloudy sky scudded weakly along its mighty silhouette as its mane streamed in the wind.
12. Szene in der Elektrischen, 1910 (»Ich bat im Traum die Tänzerin Eduardowa, sie möchte doch den Csárdás noch eimal tanzen.«) Die Tänzerin Eduardowa, eine Liebhaberin der Musik, fährt wie überall so auch in der Elektrischen in Begleitung zweier Violinisten, die sie Häufig spielen lät. Denn es besteht kein Verbot, warum in der Elektrischen nicht gespielt werden dürfte, wenn das Spiel gut, den Mitfahrenden angenehm ist und nichts kostet, das heisst, wenn nachher nicht eingesammelt wird. Es ist allerdings im Anfang ein wenig überraschend, und ein Weilchen lang findet jeder, es sei unpassend. Aber bei voller Fahrt, starkem Luftzug und stiller Gasse klingt es hübsch.
12. Scene on a tram, 1910 (“In a dream I asked the dancer Eduardowa if she would kindly dance the csárdás once more.”)
IV. Teil 1. Zu spät (22. Oktober 1913) Zu spät. Die Süssigkeit der Trauer und der Liebe. Von ihr angelächelt werden im Boot. Das war das Allerschönste. Immer nur das Verlangen, zu sterben und das Sich-noch-Halten, das allein ist Liebe.
Part IV 1. Too late (22nd October 1913) Too late. The sweetness of sorrow and of love. To be smiled at by her in a rowboat. That was the most wonderful of all. Always just the yearning to die and the surviving, that alone is love.
The dancer Eduardowa, a music lover, travels everywhere, even on the tram, in the company of two violinists whom she frequently calls upon to play. For there is no ban on playing on the tram, provided the playing is good, it is pleasing to the other passengers, and it is free of charge, that is to say, the hat is not passed around afterwards. However, it is initially somewhat surprising, and for a little while everyone considers it unseemly. But at full speed, with a powerful current of air, and in a quiet street, it sounds nice.
2. Eine lange Geschichte Ich sehe einem Mädchen in die Augen, und es war eine sehf lange Liebesgeschichte mit Donner und Küssen und Blitz. Ich lebe rasch.
2. A long story I look a girl in the eye and it was a very long love story with thunder and kisses and lightning. I live fast.
3. In memoriam Robert Klein Noch spielen die Jagdhunde im Hof, aber das Wild entgeht ihnen nicht, so dehr es jetzt schon durch die Wälder jagt.
3. In memoriam Robert Klein Though the hounds are still in the courtyard, the fame will not escape, no matter how they race through the woods.
4. Aus einem alten Notizbuch Jetzt am Abend, nachdem ich von sechs Uhr früh an geiernt habe, bemerkte ich, wie meine linke Hand die rechte schon ein Weilchen lang aus Mitleid bei den Fingern umfasst hielt.
4. From an old notebook Now, in the evening, having studied since six in the morning, I notice that my left hand has for some time been gripping the fingers of my right in commiseration.
5. Leoparden Leoparden brechen in den Tempel ein und saufen die Opferkürge leer; das wiederholt sich immer wieder; schliesslich kann man es vorausberechnen, und es wird ein Teil der Zeremonie.
5. Leopards Leopards break into the temple and drink the sacrificial jugs dry; this is repeated, again and again, until it is possible to calculate in advance when they will come, and it becomes part of the ceremony.
6. In memoriam Johannis Pilinszky Ich kann…nicht eigentlich erzählen, ja fast nicht einmal reden; wenn ich erzähle, habe ich meistens ein Gefüh, wie es kleine Kinder haben könnten, die die ersten Gehversuche machen.
6. In memoriam Johannis Pilinszky I can’t actually…tell a story, in fact I am almost unable even to speak; when I try to tell it, I usually feel the way small children might when they try to take their first steps.
7. Wiederum, wiederum Wiederum, wiederum, weit verbannt, weit verbannt. Berge, Wüste, weites Land gilt es zu durchwandern.
7. Again, again Again, again, exiled far away, exiled far away. Mountains, desert, a vast country to be wandered through.
8. Es blendete uns die Mondnacht Es blendete uns die Mondnacht. Vögel schrien von Baum zu Baum. In den Feldern sauste es. Wie krochen durch den Staub ein Schlangenpaar.
8. The moonlit night dazzled us The moonlit night dazzled us. Birds shrieked in the trees. There was a rush of wind in the fields. We crawled through the dust, a pair of snakes.
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Don Beeckler Norma T. Benton Mary S. Bert Carl and Marcia Bjerregaard Paul and Alice Blackhall Kip and Joan Carpenter Adele Cunningham Mrs. Joseph C. D’Annunzio Pamala J. Doffek John S. and Linda H. Fleming Nicole Folkert Dr. Fred Frank L. Kathryn Funchess Bruce and Luisa Gillander Ruth Godfrey-Sigler Julie Griffith Jerry and Bobbi Hill Anne R. Hodges Sally and Lincoln Jarrett Judith H. Jolly J.F. and Barbara Jones Frances Kratt / Judith Flanigan John and Marty Larson Donna Legare and Jody Walthall Joan Macmillan Alan and Marilyn Marshall Emoryette McDonald Michael and Joanne Mendez Mike and Pat Meredith
Patrons Ann and Don Morrow Drs. William C. Murray and Toni Kirkwood-Tucker Albert and Darlene Oosterhof Mr. and Mrs. Clyde Palmer Chris and Cyndi Panzarino Ann E. Parker Karalee Poschman and Jana Sterling Gloria Priest Penny Ralston and Chester Davis Amy Recht Edward Reid Nancy Stone Ross John and Carol Ryor Paula S. Saunders Jeanette Sickel Carey Smith Pat St. Angelo Richard Stevens Lee and Ramona Stewart Judy and Mike Stone James Streem George and Jackie Sweat Marjorie Turnbull Dr. Ralph V. Turner Paul Van Der Mark Sylvia B. Walford Geoffrey and Simone Watts Art Wiedinger
Associates Sam and Norma Adams John Dozier and Martha Paradeis Jayme Agee Sena and Jody Finklea Victoria Alberton Betty Foltz Patricia Applegate Gigi Foster and Betty Serow Jim and Kitty Ball Dr. Nancy Fowler Karl and Melissa Barton Mildred L. Fryman and W. V. McConnell Hillman and Lin Brannon Jean Fuller Harriet R. Chase Debbie Gibson Margaret A. Chase Laura L. Glenn David and Mary Coburn Deborah W. Glotzbach Carla Connors and Timothy Hoekman Harvey and Judy Goldman Joan and Dave Custis Sue Graham Dr. Bob Cutlip Margarita H. Grant * J. W. Richard Davis Mary Anne Gray and Marcia Humphress David Dickel Brenda Grindstaff and Steven Ferst
Associates cont’d Miriam R. Gurniak Mary Stuart Hartmann Donna H. Heald Madeleine Hirsiger-Carr Karolyn Holmes O. Dean Kindley Joseph Kraus Sylvia and John Labie Charles and Dian LaTour Ellen Lauricella William and Debora Lee John D. Lucasse Daniel and Arlene MacDonald Jerry and Terri Mast Jerry V. McBee Lealand and Kathleen McCharen Mr. and Mrs. Joe McGlothlin Leo L. Minasian, Jr. Marjorie M. Morgan Deborah Morningstar and Max Thompson The National Orchestral Association Karen Randolph Robert Reardon / Janet Lenz David Reed
Mark and Cynthia Repasky George Riordan and Karen Clarke Sanford Safron Drs. David and Winnie Schmeling Gerry Shubrick Sudarat Songsiridej and Mary Schaad Alice Spirakis Ted and Andréa Stanley Rick and Carole Stewart Joyce and Joe Toman Park and Linda Trammell C. Richard and Phrieda L. Tuten Steve Urse Vic and Mary Helen Venos Stephan von Molnár Scott and LaDonna Wagers Tom and Janie Weis Karen Wensing Erin Werner Adelaide Whitaker Barbara Wood Jeff Wright Doug Wussler
*University Musical Associates Executive Committee
The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 644-4744.