20240411_UPO

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC

Presents THE UNIVERSITY

PHILHARMONIA

Alexander Jiménez, Music Director and Conductor

William Whitehead, Graduate Associate Conductor featuring THE UNIVERSITY SINGERS

Kevin Fenton, Music Director

Sarita Gutstely-Olson, Graduate Associate Conductor

Jeremy Moore, Graduate Associate Conductor

Victoria Coey, Piano

Thursday, April 11, 2024

Seven-thirty in the Evening

Ruby Diamond Concert Hall

PROGRAM

Adagio for Strings

William Whitehead, conductor

Fallen Angels: A Choral Symphony

Samuel Barber (1910–1981)

Steven R. Lebetkin

Domine Deus (b. 1955)

Dies Irae

Donna Nobis Pacem — World Premiere —

INTERMISSION

Symphony No. 2 in D Major, Op. 43

Jean Sibelius

Allegretto (1865–1957)

Tempo andante, ma rubato

Vivacissimo

Finale. Allegro moderato

We dedicate this evening’s program to those we have lost due to senseless violence, and to those who continue on with the deep pain of such loss.

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

ABOUT THE MUSIC DIRECTOR AND CONDUCTOR

Alexander Jiménez serves as Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at the Florida State University College of Music. Prior to his appointment at FSU in 2000, Jiménez served on the faculties of San Francisco State University and Palm Beach Atlantic University. Under his direction, the FSU orchestral studies program has expanded and been recognized as one of the leading orchestral studies programs in the country. Jiménez has recorded on the Naxos, Neos, Canadian Broadcasting Ovation, and Mark labels. Deeply committed to music by living composers, Jiménez has had fruitful and long-term collaborations with such eminent composers as Ellen Taafe Zwilich and the late Ladisalv Kubík, as well as working with Anthony Iannaccone, Krzysztof Penderecki, Martin Bresnick, Zhou Long, Chen Yi, Harold Schiffman, Louis Andriessen, and Georg Friedrich Haas. The University Symphony Orchestra has appeared as a featured orchestra for the College Orchestra Directors National Conference and the American String Teachers Association National Conference, and the University Philharmonia has performed at the Southeast Conference of the Music Educators National Conference (now the National Association for Music Education). The national PBS broadcast of Zwilich’s Peanuts’ Gallery® featuring the University Symphony Orchestra was named outstanding performance of 2007 by the National Educational Television Association.

Active as a guest conductor and clinician, Jiménez has conducted extensively in the U.S., Europe, and the Middle East, including with the Brno Philharmonic (Czech Republic) and the Israel Netanya Chamber Orchestra. In 2022, Jiménez led the Royal Scottish National Orchestra in a recording of works by Anthony Iannaccone. Deeply devoted to music education, he serves as international ambassador for the European Festival of Music for Young People in Belgium, is a conductor of the Boston University Tanglewood Institute in Massachusetts and serves as Festival Orchestra Director and artistic director of the Blue Lake Fine Arts Camp in Michigan. Jiménez has been the recipient of University Teaching Awards in 2006 and 2018, The Transformation Through Teaching Award, and the Guardian of the Flame Award which is given to an outstanding faculty mentor. Jiménez is a past president of the College Orchestra Directors Association and served as music director of the Tallahassee Youth Orchestras from 2000-2017.

ABOUT THE FEATURED COMPOSER

Steve Lebetkin is an American composer and musical descendant of the late Jewish composer Karol Rathaus, a leading early 20th century film and classical composer that emigrated to America during the Third Reich.

Rathaus, a student of Franz Schreker, was a major influence on the three major American composers with whom Lebetkin studied – Gabriel Fontrier, Sol Berkowitz, and Leo Kraft. He also studied composition with Hugo Weisgal.

Among his recently completed works are Variations For Orchestra, Cycle of the Earth (ballet for symphony orchestra on the earth’s environmental life cycle), Symphonic Songs –Six Songs On Poems By Walt Whitman, Piano Concerto (The “Classical”), Concerto for Soprano Saxophone, Vibraphone and String Orchestra, Elegy For Double (or divided) String Orchestra, Piano Sonata, Libera Me – Fanfare for Freedom for Symphony Orchestra, Piano Sonata, Symphony for Band, and Concerto for Violin and Orchestra.

Lebetkin’s Violin Concerto, a broad and expansive work similar in scope to the Barber concerto, had its very successful world premiere on October 7, 2017 at Carnegie Hall, Momo Wong as soloist. Amy Andersson conducted Orchestra Moderne – NYC.

Lebetkin’s Piano Concerto had its premiere in 2018 with the Falcon Symphony (Coro, Venezuela) under the baton of Ruben Capriles. Several performances are being planned in Europe in 2019. Other works in the programming stages throughout the world include his Six Preludes and Fugues for Solo Piano, a version for concert band, Bagatelles for Solo Piano, art songs, Libera Me – Fanfare for Freedom with the Clemson Symphony Orchestra, a full production of Cycle of the Earth (ballet), Three Sunsets for a capella choir with the Hillsdale Chamber Choir, and numerous large scale commissions over the next two years.

Lebetkin also focuses on social justice pieces, including Parkland Choral Symphony in honor of those we lost at the Parkland School and others. This work is similar in scope to the Stravinsky Symphony of Psalms but of modest difficulty.

TEXTS AND TRANSLATIONS

Fallen Angels: A Choral Symphony

I Domine Deus

II Dies Irae

Dies Irae Dies illa

Solvat saclem in favilla

Teste David cum Sibyla

Quantus tremor est futurus

Quando Judex est venturus

Cuncta stricte discussurus

Tuba mirum spargens sonum

Per sepulchra regionum

Coget omnes ante thronum

Mors stupebit et natura

Cum resurget creatura

Judicanti responsura

Liber scriptus proferetur

In quo totum continetur

Unde mundus judicetur

Judex ergo cum sedebit

Quid-Quid latet, apparebit

Nil inultum remanebit

Quid sum miser tunc dicturus

Quem patronum rogaturus

Cum vix iustus sit securus

Rex tremendae majestatis

Qui salvandos salvas gratis,

Salva me, fons pietatis

Recordare, Jesu pie,

Quod sum causa Tuae viae

Ne me perdas illa die.

Quaerens me, sedisti lassus

Redemisti Crucem passus

Tantus labor non sit cassus.

Juste judex ultionis

Donum fac remissionis

Ante diem rationis.

I Lord God II Dies Irae

The day of wrath, that day, will dissolve the world in ashes: (this is) the testimony of David along with the Sibyl. How great will be the quaking, when the Judge is about to come, strictly investigating all things!

The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the

Death and nature will marvel, when the creature will rise again, to respond to the Judge. The written book will be brought forth, in which all is contained, from which the world shall be judged. When therefore the Judge will sit, whatever lies hidden, will appear: nothing will remain unpunished.

What then shall I, poor wretch [that I am], say? Which patron shall I entreat, when [even] the just may [only] hardly be sure?

King of fearsome majesty, Who saves the redeemed freely, save me, O fount of mercy. Remember, merciful Jesus, that I am the cause of Your journey: lest You lose me in that day. Seeking me, You rested, tired: You redeemed [me], having suffered the Cross: let not such hardship be in vain. Just Judge of vengeance, make a gift of remission before the day of reckoning.

Ingemisco tamquam reus

Culpa rubet vultus meus

Supplicanti parce, Deus

Qui Mariam absolvisti

Et latronem exaudisti

Mihi quoque spem dedisti

Preces meae non sunt dignae

Sed tu bonus fac benigne

Ne perenni cremer igne

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra

Confutatis maledictis

Flammis acribus addictis

Voca me cum benedictis

Oro supplex et acclinis

Cor contritum quasi cinis

Gere curam mei finis

Lacrimosa dies illa

Qua resurget ex favilla

Judicandus homo reus

Huic ergo parce, Deus

Pie Jesu Domine,

Dona eis requiem. Amen.

III Dona Nobis Pacem

NOTES ON THE PROGRAM

I sigh, like the guilty one: my face reddens in guilt: Spare the imploring one, O God.

You Who absolved Mary, and heard the robber, gave hope to me also.

My prayers are not worthy: but You, [Who are] good, graciously grant that I be not burned up by the everlasting fire.

Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.

Once the cursed have been silenced, sentenced to acrid flames, Call me, with the blessed.

[Humbly] kneeling and bowed I pray, [my] heart crushed as ashes: take care of my end.

Tearful [will be] that day, on which from the glowing embers will arise the guilty man who is to be judged: Then spare him, O God.

Merciful Lord Jesus, grant them rest. Amen.

III Grant us peace

Barber: Adagio for Strings

Only rarely has it happened this century that a piece of music appears whose context is so consistently expressive, its climaxes so telling, its proportions so right, its message so clear and convincing, that the musical public accepts it at once and wholeheartedly.

Such a piece is Samuel Barber’s Adagio for strings, which is the composer’s arrangement of a movement from his own string quartet. On completion of the work in 1937 Barber submitted the score to Toscanini for consideration, who returned it some time later without comment, much to Barber’s disappointment. Only later did he learn that the maestro had been so impressed that he had memorized the entire work.

It received its first performance, under Toscanini, on November 5, 1938. The Adagio has since become a classic of American music and has been played at numerous memorial concerts, including that of Barber himself. More recently it has been used in the soundtrack of the film “Platoon.”

– Richard Thompson

Used with permission of The Brandon Hill Chamber Orchestra of Bristol, UK

Lebetkin: Fallen Angels - A Choral Symphony

Fallen Angels is a three-movement choral symphony that hones in on three of the primary stages of grief of those that have lost children, family, and friends due to senseless gun violence. While there are many more stages of grief than are reflected in this work, I have selected three that are best suited towards the goal of music that embraces common ground. The three movements tell a unique story different from the unfolding of events and characters; this is about how we feel and how our emotions play out sequentially.

Word painting is generally known as the technique of composing music that reflects the literal meaning of the lyrics to a song, or pastoral scene in a painting or other story elements of program music. Fallen Angels is different. Grief is its own kind of journey and tells a different story about how we feel over time.

Some may take issue with the stages of grief and their sequence. There is no “one size fits all” in such matters. The path I have chosen begins with the deepest pain, then anger, and ultimately a spiritual way of coping and moving forward.

The first movement, “Domine Deus,” is a musical description of the most extreme kind of mental anguish. Its translation from Latin is “My God.” For me, the more descriptive translation is “Oh, my God!” The pain is unimaginable, and repeated words over everslowly changing music view this pain from a multitude of angles, all without answer as to why.

The second movement, “Dies Irae,” is a setting of the famous Dies Irae poem and its familiar tune. This is an angry piece directed to the perpetrators of such crimes against humanity and calls for the Day of Wrath (or reckoning).

The third and final movement, “Dona Nobis Pacem,” translates as “Grant Us Peace.” In this movement, those who have senselessly lost a loved one yearn for ways to cope and go on. Although it is not possible to achieve in its entirety, the music provides a warm embrace of peace and a path for the human spirit to continue and shine brightly, while never forgetful of the loss of someone loved. The music is based upon the ancient musical round, “Dona Nobis Pacem.” Each of the components of the round is played separately by a solo trumpet, selected for the sad fanfare-like quality of the instrument. The round is never played simultaneously as originally intended. It is played sequentially, and in a call and response with the choir. The choir ends the movement with the full orchestra by singing “Pacem,” or peace altogether. This work was composed in December, 2017 and

January, 2018.

Sibelius: Symphony No. 2

– Steven R. Lebetkin

The compositions of Jean Sibelius constitute a case study in the capriciousness of musical taste and the power of the artistic avant-garde. Pigeonholed by many as primarily a Finnish nationalist, whose dark, remote music was a shallow representative of Romanticism’s last gasps, Sibelius was nevertheless deemed the champion of American and British conservative musical tastes between the world wars. Typical was Olin Downes, music critic of the Times, whose relentless public support of Sibelius bordered on sycophancy. Likewise, Sergei Koussevitsky, conductor of the Boston Symphony Orchestra, programmed a cycle of Sibelius’s symphonies, and dogged the composer to finish the eighth—which he never did. But, those who favored the avant-garde of Stravinsky, Schönberg, and company— and that included most of continental Europe, and American intellectuals—were scathing in their contempt. One respected and well-known critic entitled an essay about Sibelius, “The Worst Composer in the World.” These controversies, and Sibelius’s life-long struggle with alcoholism and depression no doubt played a signal part in his composing nothing of significance from the 1930s until his death in 1957 at the age of 91.

But tastes change, and the current crop of composers and scholars now take a more balanced view of Sibelius’s compositions. His seven symphonies enjoy renewed respect, although the ever-popular second symphony has long been a repertory standard, and other than the evergreen Finlandia—is his most popular work. It is not incorrect, of course, to recognize the deeply informing role of nationalist Finnish elements in his music style. He consciously and assiduously studied and absorbed the musical and literary heritage of the Finnish culture and adroitly folded them into a unique personal style. He was completely taken by the Finnish national epic, the Kalevala, and early on his musical style reflected these cultural elements, from his melodic choices to the stories behind his tone poems. His symphonies are large soundscapes that surge and ebb, whose melodies often appear first as small kernels of a few notes whose significance is easily overlooked. But, as the music unfolds and these bits of melody appear in a kaleidoscope of identities, they meld together into great torrents of themes. Sibelius was a master of orchestration, and most listeners easily accept the inevitable comparisons to the bleak, cold, primeval landscapes of Finland.

Sibelius’s second symphony depicts, indeed, a defiant and bold stand for Finnish independence during its struggles with Russia around the turn of the twentieth century. Composed in 1902, the symphony is usually understood as a gesture of defiance in the face of the Tsar, although the composer never suggested this view. The first movement opens quietly in a fashion typical of the composer’s style—no big tunes to hear and remember, but, as alluded above, just some little fragments that gradually assemble themselves. Then the process reverses itself, and the bits close the movement peacefully. The second movement is a slow sonata form that begins with a remarkable pizzicato section in the cellos and double basses, followed by a somewhat sinister theme in the bassoons. In a

fashion traditional from Mozart on we next hear a lyrical contrasting theme in the strings. Most symphonies use a brisk dance form for third movements. Here Sibelius begins with energetic string figurations that soon are followed in the middle sections by a pastoral oboe solo. Then, as usual in these matters, the string section returns. This movement is blended right into the beginning of the famous last movement, one almost universally loved—well, at least known—by music lovers everywhere. Clear themes prevail, the most familiar one being the ascending three note stepwise motif. The movement closes heroically with a huge statement of this melody, with the complete brass section taking the lead. The careful listener will note that this little theme has appeared in many guises throughout the whole work. This is typical of Sibelius’s craftsmanship and integrated approach to composition. In many ways this glorious finale affords the composer the last laugh over his “sophisticated” detractors.

– © 2015 William E. Runyan

University Singers Personnel

Kevin Fenton, Conductor

Sarita Gutstely-Olson and Jeremy Moore, Graduate Associate Conductors

Soprano 1

Alissa D’Alton

Achsah Martin

Isabella Pinilla

Lizzie Robertson

Soprano 2

Sarita Gutstely-Olson

Keyaira Henderson

Annie Lane

Maddie Schneider

Lindsay VanAllen

Sara Vanderford

Alto 1

Shiloh DeFabia

Alyssa Jimenez

Candace Jones

Shayna Singer

Rebecca Smith

Caroline Wheeler

Artemis Xenick

Alto 2

Gabriella Berrios

Sophia Gannaoui

Bridg Gorder

Samantha Rivera

Tenor 1

Sean Barnette

Tobias Deggans

Anderson Lange

Jackson Roberts

Tenor 2

Seaira Anderson

Kevin Borges

Michael Haves

Kyle McDonald

Connor Mickey

Jeremy Moore

Alex Mortier

Isaiah Ramsey

Baritone

Cole Banfill

Ethan Bixby

Espen Brante

Owen Hillma

Jack Marshal

Everett Reed

Benjamin Reid

John Valencia-

Londono

Bass

Vincent Amiel Bagay

Grayson Dannelly

Ferris Kritzer

Christian Noel

Dylan Sneddon

Violin I

Amanda Marcy‡

Olivia Leichter

Hayden Green

Christopher Wheaton

Mariana Reyes Parra

Carlos Cordero

Peter Fenema

Mari Stanton

Eden Rewa

Sarah Biesack

Rose Ossi

Elizabeth Milan

Bailey Bryant

Will Purser

Myra Sexton

Violin II

Abigail Jennings*

Victoria Joyce

Alexander Roes

Sarita Thosteson

Delaney Reilly

Ruby Moore

Noah Johnson

Quinn French

Karolyne Lugo

Carlos Cabrera

Samuel Ovalle

Elina Nyquist

Kali Henre

University Philharmonia Personnel

Alexander Jiménez, Music Director and Conductor

William Whitehead, Graduate Associate Conductor

Viola

Harper Knopf*

Spencer Schneider

Jonathan Taylor

Kiran Hafner

Emma Patterson

Ruth Gray

Abigayle Benoit

Tyana McGann

Cello

Param Mehta*

Noah Hays

Natalie Taunton

Jake Reisinger

Zoe Thornton

Jaden Sanzo

Ryan Wolff

Abigail Fernandez

Caroline Keen

Sydney Spencer

Marina Edwards

Sophie Stalnaker

Bass

John Hermann*

Paris Lallis

Emma Waidner

Charles Storch

Layla Feaster

Harp

Ezekiel Harris

Flute

Paige Douglas*

Moriah Emrich

Sarah Elise Kimbro*

Piccolo

Talley Powell

Oboe

Loanne Masson*

Jordan Miller

Samantha Osborne

Sarah Ward*

Clarinet

Ethan Burke

Reymon Contrera

Morgan Magnoni*

Leah Price*

Bassoon

Hannah Farmer*

Hunter Fisher

Zach Martin

Timothy Schwindt

Horn

Emma Beth

Brockman

Alexandro Garcia*

Allison Kirkpatrick*

Isaac Roman

Isaí Santos

Trumpet

Sharavan Duvvuri

Jeremiah Gonzalez*

Grason Peterson

Trombone

Christian Estades*

Carter Wessinger

Bass Trombone

Tristan Goodrich

Tuba

Matthew Morejon*

Percussion

Kenneth Sharkey*

William Vasquez

Orchestra Manager

Melody Quiroga

Orchestra Stage Manager

Sierra Su

Orchestra Librarians

Will Whitehead

Guilherme Rodrigues

Administrative Assistant

Marina Akamatsu

‡ Concertmaster

* Principal

2023–2024 CONCERT SEASON

FALL

November 19, 2023

Elijah

Felix Mendelssohn

UNITY 17

January 28, 2024

Sounds of Cinema

Celebrating Tallahassee’s Bicentennial

SPRING

April 28, 2024

Lord Nelson Mass

Joseph Haydn

TICKETS: TCCHORUS.ORG OR 850-597-0603

All performances in Ruby Diamond Concert Hall, Florida State University Funded in part by

UNIVERSITY MUSICAL ASSOCIATES

2023-2024

Dean’s Circle

Les and Ruth Ruggles Akers

Richard Dusenbury and Kathi Jaschke

CarolAline Flaumenhaft

Drs. Charles and Sharon Aronovitch

Margaret and Russ Dancy

Louie and Avon Doll

Patrick and Kathy Dunnigan

Kevin and Suzanne Fenton

* Emory and Dorothy Johnson

Albert and Darlene Oosterhof

Stan Barnes

Marty Beech

Kathryn M. Beggs

Greg and Karen Boebinger

Beverley Booth

* Karen Bradley

Scott A. Brock

Donna Callaway

Brian Causseaux and W. David Young

Pete and Bonnie Chamlis

James Clendinen

Jody and Nancy Coogle

Jim and Sandy Dafoe

Patrice Dawson

Floyd Deterding and Kelley Lang

Diane Dowling and Jack Dowling

Segundo J. Fernandez

Susan and Jack Fiorito

Joy and James Frank

William Fredrickson and

Suzanne Rita Byrnes

William J. Gladwin, Jr.

Mario Gonzalez and Pierce Withers

Myron and Judy Hayden

Jim and Betty Ann Rodgers

Tate and Jo Todd

Gold Circle

Bob Parker

Todd and Kelin Queen

Karen and Francis C. Skilling

* Paula and Bill Smith

David and Jane Watson

Bret Whissel

Sustainer

* Marc J. and Kathryn S. Hebda

Katherine Henricks

Dottie and John Hinkle

Todd S. Hinkle

Holly Hohmeister

Karolyn and Ed Holmes

Alexander and Dawn Jiménez

Dr. Gregory and Dr. Margo Jones

William and DeLaura Jones

Martin Kavka and Tip Tomberlin

Howard Kessler and Anne Van Meter

Michael Killoren and Randy Nolan

Dennis G. King, Esq.

Robert and Karen Large

Dr. Annelise Leysieffer

Nancy and Jeff Lickson

Linda and Bob Lovins

Victoria Martinez

Kay and Ken Mayo

Robert and Patty McDonald

Duane and Marge Meeter

Dewitt Miller, III

Walter and Marian Moore

Ann W. Parramore

Sustainer cont’d

Robert and Caryl Pierce

* David and Joanne Rasmussen

Stephen and Elizabeth Richardson

* Ken and J.R. Saginario

Jonathan Jackson and Greg Springer

Nell and Marshall Stranburg

Joyce Andrews

MMary S. Bert

Malcolm Craig

Rochelle M. Davis

William H. Davis

Eunice Filar

Judith Flanigan

John S. and Linda Fleming

L. Kathryn Funchess

Debbie Gibson

Ruth Godfrey-Sigler

Bryan and Nancy Goff

Harvey and Judy Goldman

Michael Hanawalt

* William and Julie Hatfield

Albert Henry

Jerry and Bobbi Hill

Madeleine Hirsiger-Carr

Jane A. Hudson

Richard and Linda Hyson

Barbara James

Emily Jamieson

Sally and Dr. Link Jarrett

Ms. Judith H. Jolly

Mr. and Mrs. William A. Kaempfer

Dr. Alan R. Kagan

Arline Kern

William and Ma’Su Sweeney

Margaret Van Every and Joe Lama

* Alison R. Voorhees

John and Jeanie Wood

Kathy D. Wright

Patron

* Jonathan Klepper and Jimmy Cole

Frances Kratt

John and Silky Labie

Donna Legare

Mari-Jo Lewis-Wilkinson

Ann and Don Morrow

Dr. William C. Murray

Sandra Palmer

Ann E. Parker

Marjorie J. Portnoi

Karalee Poschman

David Reed

Edward Reid

Mark E. Renwick

John and Carol Ryor

Jill Sandler

Paula S. Saunders

Scott Scearce

Jeanette Sickel

Alice C. Spirakis

George Sweat

Marjorie Turnbull

Ed Valla

Paul van der Mark

Sylvia B. Walford

Geoffrey and Simone Watts

Jeff Wright

Jayme Agee

Patricia C. Applegate

Michael Buchler and Nancy Rogers

Mary and David Coburn

Adele Cunningham

Pamala J. Doffek

Clifford Dudley

The Fennema Family

Gene and Deborah Glotzbach

Barbara Hamby and David Kirby

Donna H. Heald

Carla Connors and Timothy Hoekman

Nicole and Kael Johnson

Steve Kelly

Dean Kindley

Pell and Angela Kornegay

Willa Almlof

Florence Helen Ashby

Mrs. Reubin Askew

* Tom and Cathy Bishop

Nancy Bivins

Ramona D. Bowman

André and Eleanor Connan

Janis and Russell Courson

* J.W. Richard Davis

Ginny Densmore

Joseph Kraus

Teresa Whitee Associate

Susan S. Lampman

Debora Lee

Jane LeGette

Chantal Littleton

Kathleen and Lealand McCharen

Katy McGlynn

Moncrief Flom Family

In Memory of Mrs. Dorothy S. Roberts

Dr. Luis R. Rosas Sperandio

Sanford A. Safron

Kelley Stam

Mr. and Mrs. Charles Tuten

Karen Wensing

Lifetime Members

Patsy Kickliter

Anthony M. Komlyn

Fred Kreimer

Beverly Locke-Ewald

Cliff and Mary Madsen

Ralph and Sue Mancuso

Meredith and Elsa L. McKinney

Ermine M. Owenby

Mike and Judy Pate

Jane Quinton

Nancy Smith Fichter and Robert W. Fichter

Carole D. Fiore

Patricia J. Flowers

Jane E. Hughes

Hilda Hunter

Julio Jiménez

Kirby W. and Margaret-Ray Kemper

Laura and Sam Rogers, Jr.

Dr. Louis St. Petery

Sharon Stone

Donna Cay Tharpe

Brig. Gen. and Mrs. William B. Webb

Rick and Joan West

John L. and Linda M. Williams

Corporate Sponsors

Beethoven & Company MusicMasters

Business Sponsors

WFSU Public Broadcast Center

*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 850-644-4744.

The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at 850-644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.