THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
Presents THE UNIVERSITY
SYMPHONY ORCHESTRA
Alexander Jiménez, Music Director and Conductor
Bernard McDonald, Guest Conductor
featuring
SPEEDO GREEN, BASS-BARITONE
and College of Music faculty and students
Marcía Porter, soprano
Jeffrey Springer, tenor
Marcy Stonikas, soprano
Caitlin Ecuyer, soprano
Dawson Franzino, mezzo-soprano
Derek Hale, bass
Adam Henning, tenor
Carter Houston, bass-baritone
Anna Low, soprano
Friday, September 27, 2024
Seven-thirty in the Evening
Ruby Diamond Concert Hall
Symphony No. 4 in E Minor, Op. 98
PROGRAM
Johannes Brahms
Allegro non troppo (1833–1897)
Andante moderato
Allegro giocoso
Allegro energico e passionate
INTERMISSION
“Abendlich strahlt der Sonne Auge” Richard Wagner from Das Rheingold (1813–1883)
Ryan Speedo Green (Wotan)
“Peculiar Grace” Terence Blanchard from Fire Shut Up in My Bones (b. 1962)
Ryan Speedo Green (Charles)
“Je suis Escamillo” Georges Bizet from Carmen (1838–1875)
Jeff Springer (Don José)
Ryan Speedo Green (Escamillo)
“Là ci darem la mano”
Wolfgang Amadeus Mozart from Don Giovanni (1756–1791)
Ryan Speedo Green (Don Giovanni)
Marcía Porter (Zerlina)
“Nun sprecht wie ging es”
Ludwig van Beethoven from Fidelio (1770–1828)
Marcy Stonakis (Fidelio/Leonore)
Ryan Speedo Green (Rocco)
Act 1 Finale
Wolfgang Amadeus Mozart from Don Giovanni
In Order of Appearance:
Ryan Speedo Green (Don Giovanni); Derek Hale (Leporello)
Carter Houston (Masetto); Anna Low (Zerlina); Caitlin Ecuyer (Donna Anna)
Dawson Franzino (Donna Elvira); Adam Henning (Don Ottavio)
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.
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.
Bernard McDonald has worked with major opera companies in North America, Europe, and the Far East. International appearances have included engagements at the New National Theatre Tokyo, the Netherlands Opera, the Netherlands Radio Choir, the Dutch National Opera Academy in Amsterdam and The Hague, the Royal Conservatoire of Scotland in Glasgow, and productions of Carmen, La Bohème, Die Zauberflöte, and Le Nozze di Figaro for Opera Kelowna in British Columbia.
Upcoming engagements include Albert Herring with Opera Orlando, the professional world première of Evan Mack’s Ghosts of Gatsby, Trouble in Tahiti, and Gallantry at Mobile Opera, and West Side Story with Indianapolis Opera. Recent engagements include Rusalka with Opera Orlando and Rigoletto, Tosca, La Bohème, Suor Angelica, Gianni Schicchi, Il tabarro, Le Villi, and La Canterina with Mobile Opera. McDonald conducted the US staged première of Montemezzi’s L’incantesimo for Pittsburgh Festival Opera, where he also conducted productions of Gianni Schicchi, Le Nozze di Figaro, The Merry Widow, and The Magic Flute.
Professional training at the San Francisco Opera Merola Program led directly to an invitation to join the music staff of the New York City Opera. He was subsequently Head of Music and Chorus Master at the Florida Grand Opera in Miami. As chorus master at Glyndebourne, he prepared over twenty-five productions to great critical acclaim for a host of internationally renowned conductors including Idomeneo with Sir Simon Rattle, Die Zauberflöte with Sir Charles Mackerras, and Otello with Vladimir Jurowski.
Additional appearances include the Aspen Music Festival, the Indianapolis Symphonic Choir, Pittsburgh Opera, the Central Iowa Symphony, and Bay View Music Festival. He has worked as a vocal coach at the Manhattan School of Music, Indiana University Opera Theater, University of Cincinnati College-Conservatory of Music (CCM), and Royal Conservatoire of Scotland (RCS). He studied piano and collaborative piano at the RCS; opera coaching and accompanying at the Guildhall School of Music and Drama, London, and CCM; musicology at the University of Glasgow; and conducting at Indiana University. McDonald joined the FSU College of Music as Director of Opera Activities in the Fall of 2023.
Named “the real showstopper” by the New York Times, threetime Grammy Award winning bass-baritone Ryan Speedo Green has already established himself as an artist of international demand at the world’s leading opera houses and orchestras. The 2024-25 season sees Green’s role debut as Klingsor in a new production of Parsifal by Jetske Mijnssen with Robin Ticciati conducting the London Philharmonic Orchestra. Green also returns to the Metropolitan Opera for his thirteenth season with a role debut as Queequeg in Jake Heggie’s Moby Dick, marking the house première of the opera, as well as a reprise of Fernando in Il Trovatore and The Gesiterbote in Die Frau ohne Schatten conducted by long-standing collaborator Yannick Nézet-Séguin. Green also returns to Santa Fe Opera for his role debut as Wotan in Melly Still’s production of Die Walküre, conducted by James Gaffigan.
Orchestral appearances include a return to Orchestre Metropolitain Montreal for Bruckner’s Te Deum with Yannick Nézet-Séguin and Mahler’s Symphony Number 8 with the Boston Symphony Orchestra and Andris Nelsons. Recital appearances include his much-anticipated debut at Carnegie Hall, Los Angeles Opera, Colorado Opera, and True Concord in Tucson, Arizona. He also returns to his role as Artist-in-Residence with Florida State University for a series of masterclasses and this evening’s orchestral concert.
Green’s 2023-24 season saw a number of important role debuts including as Heinrich der Vogler in Lohengrin, both with Deutsche Oper Berlin conducted by James Conlon, and the Bayerische Staatsoper, the title role in Don Giovanni with Santa Fe Opera, as Charles in Terence Blanchard’s Fire Shut up in my Bones at the Metropolitan Opera, and as Wotan in Das Rheingold in concert with the LA Philharmonic, conducted by Gustavo Dudamel. Green also returns to hosting the Met Live in HD broadcast of Roméo et Juliette, broadcast to cinemas around the world. Additional operatic appearances included Escamillo in Carmen at the Met, and his house debut with Staatsoper Hamburg as Varlaam in Boris Godunov, conducted by Kent Nagano. Concert work included his debut with the Chicago Philharmonic in a special concert of arias and Beethoven’s Symphony No. 9 with the Colorado Symphony. On the recital stage Green appeared with Austin Opera in a special recital recorded and broadcast on PBS, a recital at the Ferguson Center in Virginia, and a continuation of his role as Artist-in-Residence with Florida State University for a series of masterclasses, recitals, and performance.
Award-winning soprano Marcía Porter made her New York solo recital debut in Weill Recital Hall at Carnegie Hall in 2005. An active recitalist, the soprano has performed in numerous venues throughout the United States, Italy, Brazil, and the Czech Republic. Porter has sung at such prestigious international festivals as the Prague Proms, Piccolo Spoleto Festival, the Ravinia Festival, and the Ameropa International Chamber Music Festival. She has performed with such national and international organizations as the Czech National Symphony Orchestra, the San Antonio Symphony Orchestra, Beijing International Symphony Orchestra (Beijing, China) and the Camerata Filarmonica Bohemia (Prague, Czech Republic). Porter has also performed with the Lyric Opera of Chicago, Opera Theatre of St. Louis, Chautauqua Opera, Dayton Opera, and Chicago Opera Theatre. Porter’s discography includes the 2011 world premier recording of Requiem für Mozart, works for soprano and orchestra by Antonio Rosetti, which was released by the German record label Ars Produktion, and the 2013 recording, Open Thine Heart, a recording of contemporary American vocal works, which was released by Albany Records.
A Fulbright Scholar and Rotary International Cultural Ambassadorial Scholar, Porter has won several other awards and honors including the 2004 National Association of Teachers of Singing (NATS) Artist Award Competition, the NATS Intern program, finalist in the Metropolitan Opera Central Regional Competition, Jessye Norman Graduate Fellowship in Voice, Opera Carolina Young Artist Recital Program Award, and the Farwell Award. In 2011-2012 Porter was a Fulbright Scholar to Brazil. Her research was entitled “Bridging boundaries through musical collaboration and cultural exchange: a lecture and recital series of contemporary classical Brazilian and African American vocal literature.” During her residency at the Universidade de São Paulo, she presented numerous recitals, lectures and masterclasses in cities throughout Brazil including São Paulo, Campinas, Alphaville, Ribeirão Preto and Brasilia.
Porter is a Professor of Voice at the Florida State University College of Music. She is a much sought after clinician and has presented masterclasses throughout the mid-western and southeastern US. She has served on the faculty of Ameropa International Chamber Music Festival in Prague, Czech Republic and as a visiting Professor of Voice at Universidade de São Paulo. Porter, a graduate of the New Orleans Center for the Creative Arts, received Bachelor’s and Master’s degrees in voice performance from Northwestern University and earned the Doctor of Musical Arts degree in performance from The University of Michigan, where she studied with world-renowned Metropolitan Opera singer Shirley Verrett. Previous teachers include Margaret Harshaw, Carmen Mehta, and Kathleen Kaun.
Associate Professor of Voice Jeffrey Springer, tenor, has performed across Europe, Asia and North America in theaters such as the Chicago Lyric Opera, Florida Grand Opera, Michigan Opera Theater, Cincinnati Opera, Arizona Opera, Opera Theatre of St. Louis, Manitoba Opera, as well as the German National Theater in Mannheim, Krefeld, Mönchengladbach, and Magdeburg in Germany, National Touring Opera of the Netherlands, Opéra de Nantes in France, and Spain’s Teatro de Navarra, among many others.
Very active on the concert stage, Springer has appeared with leading orchestras, including the San Francisco Symphony, Pittsburgh Symphony, Dallas Symphony, Milwaukee Symphony, Houston Symphony, Flagstaff Symphony, The Grand Teton’s Music Festival, Kentucky Symphony, Tulsa Philharmonic, the Florida Orchestra, Philharmonia Hungaria, and Romanian State Symphony. Recently, he performed Beethoven’s Ninth Symphony in Japan with the Beethoven Orchestra of Bonn, Germany, and the tenor solos in Mahler’s Eighth Symphony with the Bangkok Symphony in Thailand.
Operatic engagements have included Samson in Samson & Dalila with the Dublin International Opera Festival, Tristan in Tristan und Isolde at Lyric Opera of Chicago under Sir Andrew Davis, Faust in La Damnation de Faust with the San Francisco Opera, Calaf in Turandot for the Florida Grand Opera and Opera Lyra Ottawa, Manrico in Il Trovatore for the Michigan Opera Theater, Connecticut Opera, Capitol Theater Magdeburg, Unified Theaters of Krefeld & Mönchengladbach, Turiddu in Cavalleria Rusticana with the Opera Theatre of St. Louis, Orlando Opera, and Cavaradossi in Tosca for Minnesota Opera, Indianapolis Opera, Chautauqua Opera, Capitol Opera Magdeburg, Würzburg (Germany) Opera, Stadttheater Giessen, and the Chattanooga Opera & Symphony, among others.
Recent performances have included Calaf/Turandot with the Kentucky Symphony, Beethoven’s Ninth Symphony with the Roanoke Symphony, Bacchus in Ariadne auf Naxos for Indiana University and an appearance with Opera Tampa in the concert, “Coppola Conducts: 100 Years Young,” singing Calaf in the world premiere of his new ending to Puccini’s Turandot and reprising the role he created, Sacco, in an abridged performance of Sacco and Vanzetti. The gala featured the renowned composer conducting his own works on the occasion of his 100th birthday.
Springer is the winner of the Concours International de Chant de Festival Atlantique in Nantes, France, the José Carreras Prize in Pamplona, Spain, and the Third Prize in the Concours International de Chant in Toulouse, France. He is a recipient of career grants and awards from the Gerda Lissner Foundation and the Wagner Societies of New York and Washington D.C. Springer received bachelor and master’s degrees from the Indiana University School of Music and the doctorate in voice performance from the Catholic University of America.
Associate Professor of Voice Marcy Stonikas has performed with major opera houses and symphony orchestras across North America, Europe, and Australia. During the 2023-2024 season, Stonikas joined Steven White and Opera Roanoke in concert, singing Strauss’s Four Last Songs and scenes from Ariadne auf Naxos, before traveling to Opera Colorado for her house debut as Senta in Der fliegende Holländer. With the Dallas Symphony Orchestra, she sings the role of Gerhilde, also covering Sieglinde, in performances of Die Walküre.
Last season, Stonikas returned to the Metropolitan Opera to make her company stage debut as A Convict while covering the leading role of Ekaterina in Lady Macbeth of Mtsensk. In concert, she returned to the role of Leonore in Fidelio with the Indianapolis Chamber Orchestra. She also recently joined the roster of the Metropolitan Opera to cover the title role in their acclaimed production of Turandot.
Notable operatic engagements include multiple appearances with Seattle Opera as the title roles in Turandot, Fidelio, and Ariadne auf Naxos, Miss Jessel in Turn of the Screw, Gertrude in Hansel and Gretel, Magda Sorel in The Consul, and the High Priestess in Aida; Chrysothemis in Elektra with Minnesota Opera; Senta in Der Fliegende Hölländer with Cincinnati Opera; further performances of Turandot with Atlanta Opera, Opera Naples, and Cincinnati Opera, with covers of the role at the Metropolitan Opera and Lyric Opera of Chicago; Leonore in Fidelio with Volksoper Vienna and Princeton Festival; Third Norn in Götterdämmerung and Gerhilde in Die Walküre for her debut with Washington National Opera; her role and house debut in the title role in Salome with Utah Opera; Ariadne with Berkshire Opera Festival; Tosca with Arizona Opera and Opera Santa Barbara; Gertrude with San Diego Opera; and multiple performances with Wolf Trap Opera as Antonia in Les contes d’Hoffmann, Rosaura in Wolf-Ferrari’s rarely staged Le donne curiose, and Donna Anna in Don Giovanni, which she also performed with Opera Santa Barbara. Stonikas also had the unique opportunity to perform the roles of Irene and Mary in the American premiere of Jerry Springer: The Opera with Bailiwick Repertory Theatre in Chicago.
Orchestral highlights include performances of Beethoven’s Ninth Symphony with San Antonio Symphony and the West Australian Symphony Orchestra; Mahler’s Symphony No. 8 with the South Dakota Symphony; and she sang a Blumenmädchen in Parsifal with the Cleveland Orchestra, conducted by Pierre Boulez.
Stonikas was First Prize winner in the Wagner Division of the 2013 Gerda Lissner Foundational Vocal Competition, the Leonie Rysanek prize-winner of the 2013 George London Vocal Competition, and a finalist in Seattle Opera’s 2014 International Wagner Competition. She is also the recipient of a Shouse Career Grant and a Richard F. Gold Career Grant from the Shoshana Foundation. Stonikas received the Bachelor of Music in Vocal Performance from Oberlin Conservatory and the Master of Music in Vocal Performance from the Chicago College of Performing Arts at Roosevelt University.
Brahms: Symphony No. 4 in E Minor
In 1853, a young Johannes Brahms met the great Robert Schumann. Immediately, Schumann saw in Brahms the continuation of a great tradition and immediately predicted that Brahms would continue the legacy of Beethoven in the article “Neue Bahnen (New Paths)” published in Schumann’s own and well-known journal, Die Neue Zeitschrift für Musik. For the twenty-year-old young composer from Hamburg, this must have seemed like an impossible burden.
Brahms was a perfectionist, and with Schumann’s Damocles Sword hanging over him, it took Brahms twenty-three years to finally produce a symphony in 1876. He intentionally forged a path to the symphony that included orchestral serenades, an orchestral theme and variations, and even a choral/orchestral Requiem as a way of developing the necessary techniques to properly inherit the form “bestowed” on him by Schumann and, by extension, Beethoven. No less than the great conductor Han von Bülow referred to Brahms’s Symphony No. 1 as “Beethoven’s 10th.” Mission accomplished.
However, while Brahms was preparing for and eventually writing his four symphonies, other composers were moving on from Beethoven and classical formal ideals. Franz Liszt was busy writing orchestral program music with specific literary and other extra-musical connections, and Richard Wagner proclaimed Beethoven’s 9th symphony of 1827 as the end of an era and the beginning of a new one, where orchestra, voice, text, and drama — the so-called “gesamtkunstwerk” (total art work) — was part of the natural evolution of orchestral music. Increasingly, Brahms’s works were seen by many as an anachronism. One was either for or against Brahms or Wagner.
If Brahms was deeply bothered by this, he said little about it. In my mind, Brahms’s genius lay in his ability to create meticulously crafted symphonies using the tried-andtrue compositional techniques of the past, while not only looking forward, but also while creating music that although not “programmatic,” it was music that spoke in unmistakable ways to the listener. What the early 20th century scholar, Paul Bekker, admired about Beethoven’s symphonies was the “unique ability to organize the new humanity of the years around 1800 into artistic form, and thereby give to that humanity the opportunity to recognize itself as an entity capable of feeling.” The very same can be said of Brahms for his time and beyond.
The Symphony No. 4 in E Minor was completed in 1884 and would be his final work in the genre. He conducted the first performance of the work on October 25, 1885, with the Court Orchestra in Meiningen (von Bülow’s orchestra). Brahms expressed some concern that his work might not be as accessible to an audience due to its compositional intricacies. Upon playing a two-piano draft of the work for some of his friends, the music critic Edward Hanslick exclaimed, “I had the feeling that I was being given a beating by two incredibly intelligent people!” However, he quickly changed his mind, and the work was a success.
Rather than “explain” the work to you, I want for you the freedom to listen with your brain and heart. Simply know that the sounds you are hearing and the way they move you are a culmination of a highly detailed and exquisitely crafted process in which all the material used is interconnected from beginning to end. It is not created by musical artifice, but by expert craftsmanship of the very highest order. The genius is that this music in no way comes across as merely “academic,” but as a life force with an unmistakable journey and full of character. I suspect that Brahms, calculating as he was in everything he composed, composed this final symphony as his final word on the matter. Using the Baroque form of the Chaconne in the final movement as the basis for a theme and variations must be the ultimate statement that craftsmanship and tradition always have a place. Listen to the very last chord and imagine Brahms saying, “Case closed!”
– Alexander Jiménez
Wagner: “Abendlich strahlt der Sonne Auge” from Das Rheingold (1869)
At the end of Das Rheingold, the castle of the gods, Valhalla, is revealed amid the clouds. Wotan, the king of the gods, extends his hand to his wife Fricka, the goddess of marriage, and they lead the procession of the gods into the castle.
Blanchard: “Peculiar Grace” from Fire Shut Up In My Bones (2019)
Charles M. Blow’s small-town Louisiana childhood was afflicted by deep poverty, sexual abuse, homophobic bullying, and confusion about his attraction to both sexes. Reflecting on his experience, he decides that the only way he can fully be himself - a Black bisexual man - is to leave the South.
Bizet: “Je suis Escamillo” from Carmen (1875)
Wanted after assaulting an officer, Don José has sought refuge in the mountains with a band of smugglers and their women, one of whom – Carmen – is the object of his obsessive love. Left alone on guard duty, José meets the toreador Escamillo who is searching for Carmen and declares his desire for her. They fight.
Mozart: “Là ci darem la mano” from Don Giovanni (1788)
After stumbling upon a country wedding celebration, Don Giovanni is immediately attracted to the peasant bride, Zerlina. After dispatching the groom Masetto and the others by inviting them to a lavish party at his castle, he is left alone to seduce her.
Beethoven: “Nun sprech wie ging es” from Fidelio (1805-06, 1814)
Leonora, the wife of the political prisoner Florestan, is working at the prison in disguise as a young man, Fidelio, in hopes of rescuing him. After learning of a plan to execute Florestan, she persuades the jailer Rocco to admit her to his cell.
Mozart: From the Finale, Act I, Don Giovanni
His previous attempt having been foiled, Don Giovanni plans to seduce Zerlina at the party. His plans go awry when Donna Anna, Donna Elvira, and Don Ottavio intervene and threaten him with overwhelming vengeance.
University Philharmonia Personnel
Alexander Jiménez, Music Director and Conductor
Guilherme Leal Rodrigues, Graduate Associate Conductor
Violin I
Masayoshi Arakawa‡
Emily Palmer
Jean-Luc Cataquet‡
Madelyne Garnot
Ioana Popescu
Stacey Sharpe
MaryKatherine Brown
Hope Welsh
Keat Zhen Cheong
Alyssa Donall
Barbara Santiago
Gabriel Guzman
Francesca Puro
Hannah Jordan
Violin 2
Angel Miller*
Nicole Vega
Anna Kirkland
Christopher Wheaton
Mari Stanton
Hayden Green
Bailey Bryant
Tori Joyce
Alex Roes
Elizabeth Milan
Carlos Cordero
Joan Prokopowicz
Harshul Mulpuru
Viola
Jeremy Hill*
Keara Henre
Harper Knopf
Maya Johnson
Abby Felde
Emelia Ulrich
Spencer Schneider
Tyana McGann
Cello
Thu Vo*
Emma Hoster
Mitchell George
Noah Hays
Angelese Pepper
Abbey Fernandez de Castro
Turner Sperry
Natalie Taunton
Liam Sabo
Ryan Wolff
Lucas Ponko
Bass
Alex Lunday*
Christian Maldonado
Kent Rivera
Maximilian Levesque
Layla Feaster
Flute
Pamela Bereuter*
Steven Fireman
Nikkie Galindo
Oboe
Steven Stamer*
Luis Gallo Quintero*
Nic Kanipe
Rebecca Johnson
Clarinet
Conner Croasmun*
Brad Pilcher**
Audrey Rancourt
Andrew Prawat
Bassoon
Josie Whiteis*
Ryder Kaya
Cailin McGarry
Horn
Gio Pereira*
Eric On*
AC Caruthers
Thomas Langston
Jordan Perkins
Trumpet
Noah Solomon*
Schelvin Robinson*
Johniel Nájera
Trombone
Conner Altagen*
Grant Keel
Nikolas Morosky
Tuba
Colin Teague
Percussion
Kylan Bigby*
Jordan Brown
Will Vazquez
Harpsichord
Jiaqiu Song
Pianoforte
Emma Anderson
Orchestra Manager
Melody Quiroga
Orchestra Stage Manager
Carlos Cordero
Orchestra Librarians
Guilherme Rodrigues
Thomas Roggio
Library Bowing
Assistant
Victoria Joyce
‡ Concertmaster
* Principal / Co-Principal
UNIVERSITY MUSICAL ASSOCIATES
2024-2025
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Todd and Kelin Queen
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Jeanette Sickel
Susan Sokoll
Judy and Mike Stone
George S. Sweat
Ed Valla
Margaret Van Every
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Jeff Wright
Associate
Paige McKay Kubik
Silky and John Labie
Dottie Lee
Sandra Leis
Eric Lewis
Mari Magro
Lealand and Kathleen McCharen
Annette Nelson
William Peterson
Margaret S. Reed
Sanford A. Safron
Louise Simons
Allison Taylor
C. Richard and Phrieda L. Tuten
Scott and LaDonna Wagers
Karen Wensing
Lifetime Members
Willa Almlof
Florence Helen Ashby
Mrs. Reubin Askew
Tom and Cathy Bishop
Nancy Bivins
Ramona D. Bowman
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Janis and Russell Courson
J.W. Richard Davis
Ginny Densmore
Nancy Smith Fichter
Carole Fiore
Patricia J. Flowers
Jane E. Hughes
Hilda Hunter
Julio Jiménez
Kirby W. and Margaret-Ray Kemper
Patsy Kickliter
Anthony M. Komlyn
Fred Kreimer
Beverly Locke-Ewald
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Jane Quinton
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Sharon Stone
Donna C. Tharpe
Brig. Gen. and Mrs. William B. Webb
Rick and Joan West
John L. and Linda M. Williams
Corporate Sponsors
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Business Sponsors
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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 850-645-5453.
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