Patrick Dunnigan, Director
Kaleb Switanek, Graduate Associate Conductor
Jacquelyn Tabone, Graduate Associate Conductor with faculty artist
Marcy Stonikas, Soprano
Tuesday, November 19, 2024
Seven-thirty in the Evening
Ruby Diamond Concert Hall
La Forza del Destino (1862)
Festivo
Giuseppe Verdi (1813–1901)
Edward Gregson (b. 1945)
Kaleb Switanek, graduate associate conductor
A Shot in the Dark Aaron Houston (b. 1991)
Jacquelyn Tabone, graduate associate conductor
Five Folk Songs for Soprano and Band
Bernard Gilmore
I. Mrs. McGrath (Irish) (1937–2013)
II. All the Pretty Little Horses (American)
III. Yerakina (Greek)
IV. El Burro (Spanish)
V. A Fidler (Yiddish)
Marcy Stonikas, soprano
Hammersmith Gustav Holst (1874–1934)
Flying Jewels
James M. David (b. 1978)
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.
Patrick Dunnigan is Director of Bands and Professor of Music at the Florida State University College of Music in Tallahassee. A member of the FSU faculty since 1991, Dunnigan is the principal conductor and music director of the University Wind Ensemble. His other teaching duties include undergraduate conducting courses and instrumental music methods. As Director of Bands, he oversees all aspects of the FSU band program which includes five concert bands, a chamber music program, graduate teaching program, and athletic pep bands.
A nationally recognized guest conductor, adjudicator, and clinician, Dunnigan has published numerous articles on conducting, instrumental music methodology, and research in leading journals including The Instrumentalist, Music Educators Journal, Bulletin for the Council for Research in Music Education, and the Journal of Band Research. His textbook, Marching Band Techniques, is published by The Instrumentalist Company and has become a leading college textbook of marching band methodology. His transcriptions and arrangements for concert band are performed regularly by major university, community, and professional wind bands including the Dallas Wind Symphony. He has presented clinic sessions for the Midwest Clinic, the Music Educators National Conference, the Florida Bandmasters Association, the College Band Directors National Association, the World Association of Symphonic Bands and Ensembles, and many others.
Dunnigan received the Doctor of Philosophy in Music Education degree from the University of Texas at Austin, the Master of Music in Conducting degree from Northwestern University, and the Bachelor of Music Education degree from the University of Kentucky. He is an active member of the College Band Directors National Association, Music Educators National Conference, Florida Music Educators Association, National Band Association, Florida Bandmasters Association, and Phi Mu Alpha Sinfonia Music Fraternity. He is also an honorary member of the Michigan School Band and Orchestra Association, Kappa Kappa Psi, and Tau Beta Sigma, and received the Friend of the Arts award from Sigma Alpha Iota.
Dunnigan received the prestigious FSU Teaching Award in both 2003 and 2012. In 2006, he was elected to membership in the prestigious American Bandmasters Association. He served as National President of the College Band Directors National Association from 2015 to 2017.
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.
Five Folk Songs for Soprano and Band Bernard Gilmore
I. Mrs. McGrath (Irish)
“Oh, Mrs. McGrath,” the Sargeant said, “Would you like to make a soldier out of your son, Ted with a scarlet coat and a big cocked hat, Now, Mrs. McGrath, wouldn’t you like that?”
Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa, Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa.
So, Mrs. McGrath lived on the shore for the space of seven long years or more. Till she saw a big ship sailing into the bay “Here’s my son Ted wisha clear the way?”
Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa, Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa.
“Oh captain dear, where have you been have you been sailing on the Mediterranean?
Oh have ye any tidings of my son Ted, is the poor boy living or is he dead?”
Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa, Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa.
Then up comes Ted without any legs and in their place, he has two wooden pegs. She kissed him a dozen times or two, saying “Mother of God-it isn’t you.”
Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa, Wid yer too-ri-aa, fol-the-diddle-aa, too-ri-oo-ri-oo-ri-aa.
“Oh were ye drunk or were ye blind that ye left your two fine legs behind. Or was it walking upon the sea wore your fine legs from the knees away?”
“Oh I wasn’t drunk and I wasn’t blind but I left my two fine legs behind. For a cannon ball on the fifth of May took my two legs from the knees away.”
“All foreign wars I do proclaim between Don John and the King of Spain. For I’d rather my Ted as he used to be than the King of France and his whole Navee.”
Hush-a-bye, don’t you cry, go to sleepy little baby. When you wake you shall have cake and all the pretty little horses.
Black and bays, dapples and greys, coach and six o’ little horses. Blacks and bays, dapples and greys, all the pretty little horses.
Hush-a-bye, don’t you cry, go to sleepy little baby. Your pa’s away, gone astray, gone and left you little lambie
Daddy’s eye is runnin’ dry, he can’t cry for you like mammy. Daddy’s eye is runnin’ dry, gone and left you little lambie.
Kinise E yerakina ya nero
Krio na feri
Droom-a, droom-a, droom, droom, droom ta vra chio lia tis vro droom ta vra chiolia tis vro droom droom-a droom-a droom droom droom
Kie pe se mes to pi ga di kiev gale
Foni megali
Droom-a, droom-a, droom, droom, droom ta vra chio lia tis vro droom ta vra chiolia tis vro droom droom-a droom-a droom droom droom
Yerakina tha sevgalo Ke yineka thase paro
Droom-a, droom-a, droom, droom, droom ta vra chio lia tis vro droom ta vra chiolia tis vro droom droom-a droom-a droom droom droom
IV. El Burro (Spanish)
Ya se murio el burro queaccareaba la vinagre
Ya le llevo Dios de esta vida miserable
Que tu ru ru ru ru…(x4)
El era Valiente, el era mohino
El era el Alivio de todo vilarino
Que tu ru ru ru ru…(x4)
Estiró la pata arrugó el hocico
Con el rabo tieso decia adios Perico
Todas las vecinas fueron al entierro
Y la tia Maria tocaba el cencerro
Que tu ru ru ru ru…(x4)
Ya se murio el burro Queaccareaba la vinagre
V. A Fidler (Yiddish)
S’hot der tate fun yaridl
Mir gebracht a naye fidl
Do, re, mi, fa, sol, la, si
Shpil ich didl, di, di, di.
Ch’halt dos kelp ongeboygn
Un farglots di beyde oygn
Do, re, mi, fa, sol, la, si
Shpil ich didl, di, di.
Rechtn fus faroys a bisl
Klap dem takt tsu mitn fisl
Do, re, mi, fa, sol, la, si
Shpilich didl, di
Kvelt und vundert zich di mame
Jascha Heifitz vakstmi stamme
Do re, mi, fa , sol, la, si.
Shpilich didl, di, di, di.
Verdi: La Forza del Destino
Giuseppe Verdi (1813–1901) was born to a modest family near Busseto, he received his musical education with the support of local patron Antonio Barezzi. Verdi emerged as a leading figure in Italian opera, heavily influenced by predecessors like Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti. His masterpieces continue to dominate the operatic repertoire over a century later, solidifying his legacy as one of the most influential 19th-century composers in Italian opera.
The opera La Forza del Destino centers on the tragic fate of two lovers, Don Alvaro and Donna Leonora, whose relationship is marred by prejudice, vengeance, and misunderstandings. The story begins with Alvaro’s attempt to elope with Leonora, opposed by her father, the Marchese di Calatrava, who dies accidentally by Alvaro’s hand, cursing his daughter. Separated after fleeing, Leonora seeks refuge in a monastery, while Alvaro, believing her dead, joins the army under a new identity. Listen for the drama and the conflicting melodies between sections as the overture moves through the conflicts between the opera characters to a dramatic ending.
Gregson: Festivo
Edward Gregson (b. 1945) is a distinguished British composer whose work spans orchestral, chamber, instrumental, choral, theater, film, and TV music. A Royal Academy of Music graduate, he gained early acclaim with his Brass Quintet. Gregson has written for prestigious orchestras, including the Royal Liverpool Philharmonic and BBC Philharmonic, producing significant works such as Metamorphoses, Blazon, and various concertos. His compositions also include notable choral and brass/wind band pieces. Gregson has led the Royal Northern College of Music since 1996 and served at Goldsmiths College, University of London. He holds influential roles in several music organizations.
Festivo for Symphonic Wind Band, commissioned in 1985 for the Bolton Youth Concert Band’s 10th anniversary, debuted at the WASBE conference in Belgium under Nigel Taylor’s direction. This lively, rondo-form piece opens with fragmented melodic ideas, with clarinets introducing an exuberant main theme that moves throughout the band. Its first lyrical episode features wind solos, while the second builds intensity through minimalist, layered ostinatos. The final rondo statement, marked by bell-like brass and tubular bells, leads to a triumphant coda.
Houston: A Shot in the Dark
Aaron Houston has commissioned music performed by David Alan Miller and members of the Albany Symphony Orchestra, Dallas Winds, Fifth House Ensemble, the University Symphony Orchestra at Florida State University, Baltimore Choral Arts Society, the Baylor Symphony Orchestra and more with performances in Germany, Brazil, and across
the United States. He was nominated for an award from the Academy of Arts & Letters, a finalist for the ASCAP Morton Gould Young Composer Awards, winner of the Dallas Winds Fanfare Contest, finalist for the Verdant Vibes 2019 Call for Scores, and winner of the Civitasolis Quintet 2020 Call. His work Jam and Toast (2019) for solo horn was listed as an Honorable Mention for the “Virtuoso Division” of the International Horn Society Composition contest and featured at the 2022 IHS Symposium. Houston holds degrees in composition from Baylor University and Florida State University where he was the 20172018 Ellen Taaffe Zwilich Fellow for orchestral composition and composer-in-residence. His teachers and mentors have included Ellen Taaffe Zwilich, Stephen Montague, Clifton Callender, Scott McAllister, and the late Ladislav Kubik.
A Shot in the Dark was inspired by the international group of jewel thieves who call themselves the Pink Panthers and the juxtaposition of their success versus their depiction by the cartoon character Pink Panther. They earned their nickname in 2003 following the theft of a diamond worth over $600,000 from a jeweler in London. The thieves hid the diamond in a jar of face cream, mimicking an act seen in the film The Return of the Pink Panther. A Shot in the Dark (2024) was commissioned and premiered by Dr. Dunnigan for the FSU Summer Music Camps.
Folk
Bernard Howard Gilmore was an American composer, conductor, French horn player, and Professor Emeritus at the University of California, Irvine (UCI). Known for Five Folksongs for Soprano and Band, he composed numerous works blending melody with harmonic innovation, often using both original and published texts. Raised in California, he studied at UCLA and Stanford and taught at Cornell and Oregon State before joining UCI in 1982, where he retired in 2006. Gilmore’s works, like Bird of Time and Isles Triptych, gained recognition internationally. His teaching influenced many composers, and his compositions remain respected in contemporary band and orchestral repertoire.
Drawing inspiration from the folk recordings of Theodore Bikel, Bernard Gilmore’s Five Folk Songs for Soprano and Band was composed for the College Band Directors National Association (CBDNA) in 1963 and was cited as Best Original Composition in 1967 by CBDNA. The piece contains five movements, each centering on a different language, and demands linguistic variety from the soloist. Mrs. McGrath tells the story of an Irish mother who faces the tragedy of her maimed son coming home from war. All the Pretty Little Horses is a lullaby a mother sings to her child. Yerakina tells of a girl who fell into a water well but is rescued and later wed. El Burro, the donkey, depicts the tragic life of a dearly departed animal with whom they’ve worked with. A Fidler, the final folk song, is a joyous telling of a father who purchases a new fiddle to bring happiness to his family.
Holst: Hammersmith
Gustav Holst (1874–1934) was a British composer and educator known for his influential wind band compositions. He studied at The Royal College of Music in London and met Ralph Vaughan Williams, who heavily influenced his work. Holst played trombone professionally before becoming director of music at St Paul’s Girls’ School in 1905 and at Morley College in 1907, positions he held until his death. His wind band compositions, though a small part of his work, are highly influential including First Suite in E-flat for Military Band and Second Suite in F for Military Band
Hammersmith, named for the district of London that often-inspired Holst, was composed in 1930 and also arranged for orchestra and commissioned by the BBC Military Band. Originally, Holst was to conduct the piece’s premiere on April 17, 1932, with the United States Marine Band at the third annual convention of the American Bandmasters Association. Unfortunately, he had to cancel his appearance due to illness. It opens with a wondering and melancholy tuba and euphonium solo representing the river Thames described as “unnoticed and unconcerned.” This is followed by quick and busy woodwind melodies representing the crowed streets of Hammersmith loud with marketplaces and taverns.
FSU Alumnus Dr. James M. David (b. 1978) is an American composer and music theory professor at Colorado State University. His symphonic works have been widely performed by esteemed ensembles, including U.S. military bands and orchestras in Japan. His music has appeared at over sixty prominent national and international conferences, like the Midwest Clinic and the World Saxophone Congress. David won the 2022 William D. Revelli Composition Contest and numerous other awards. Commissioned by prestigious organizations and musicians, his works are featured on more than twenty commercial recordings. A southern Georgia native, he studied composition under celebrated mentors and draws inspiration from jazz and Southern music.
Commissioned by the US Air Force Band, Flying Jewels is a symphonic poem for wind ensemble inspired by Brian Doyle’s essay on the passionate lives of multiple creatures, from hummingbirds to blue whales. The piece explores themes of connection and vitality, with rhythmic shifts representing various heartbeats: the rapid flutter of a hummingbird through lively woodwind and percussion, a Caribbean-inspired triple meter for a reptile, and the deep, slow pulses of the blue whale’s heart. Culminating in a vibrant finale, the work celebrates the shared pulse of life.
University Wind Ensemble Personnel
Patrick Dunnigan, Director
Kaleb Switanek and Jacquelyn Tabone, Graduate Associate Conductors
Piccolo
Isabelle Rodriguez
Flute
Allison Acevedo
Moriah Emrich
Talley Powell
Kendall Smith
Ryleigh Templeton
Sarah Kimbro
Oboe
Loanne Masson
Maddy Jenkins
Haley O’Neill
Lorin Zamer
English Horn
Haley O’Neill
Bassoon
Hunter Fisher
Dakota Jeter
Diego Crisostomo
Bb Clarinet
Leah Price
Dawson Huynh
Malik Mullino
Daniel Gonzalez
Ava Raposo
Eric Olmsted
Daniel Burrow
Mark Stevens
Anna Urbine
Eb Clarinet
Malik Mullino
Bass Clarinet
Nicholas Mackley
Contrabass Clarinet
Mark Stevens
Saxophone
Luis Angel
Casey Caulkins
Lincoln Mcmullen
Riley Nauman
Trumpet
Jordyn Myers
Sharavan Duvvuri
Bob Kerr
Danielle Monahan
John Bradley
Grason Peterson
Horn
Luis Oquendo
AC Caruthers
Isaac Roman
Emma Brockman
Vincent Aldoretta
Sarah Meza
Clare Ottesen
Trombone
Mateo Buitrago
Connor McDonald
Tristan Goodrich
Euphonium
Adam Zierden
Elizabeth Reese
Tuba
Matthew Morejon
Sebastian Bravo
Sophia Farfante
String Bass
Aaron Hernandez
Piano
Cristian Dirkhising
Harp
Noa Michaels
Ava Crook
Percussion
Drew Jungslager
Kenneth Sharkey
Mackenzie Selimi
Caitlin Magennis
JJ Baker
Ethan Turner
Les and Ruth Ruggles Akers
Dr. Pamela T. Brannon
Richard Dusenbury and Kathi Jaschke
Bob Parker
Louie and Avon Doll
Patrick and Kathy Dunnigan
Kevin and Suzanne Fenton
Michael Killoren and Randy Nolan
Albert and Darlene Oosterhof
Jim and Betty Ann Rodgers
Paula and Bill Smith
Jo and Tate Todd
Todd and Kelin Queen
Karen and Francis C. Skilling
Bret Whissel
Kathy Wright
Marty Beech
Kathryn M. Beggs
Karen Bradley
Scott and Suzi Brock
Steve and Pat Brock
Brian Causseaux and David Young
Bonnie and Pete Chamlis
Mary and Glenn Cole
Sandy and Jim Dafoe
William H. Davis
Patrice Dawson
F. Marshall Deterding and Dr. Kelley Lang
Diane and Jack Dowling
Ron Erichson / Beth Frederick
Joy and James Frank
William Fredrickson and Suzanne Rita
Byrnes
Ric Gauthier
Dr. and Mrs. Douglas Henricks
Dottie and John Hinkle
Todd S. Hinkle
Matt and Holly Hohmeister
Alexander and Dawn Jiménez
Emory and Dorothy Johnson
Wade Johnson and Dr. Laura Rosner
Greg and Margo Jones
Martin Kavka and Tip Tomberlin
Dennis G. King, Esq.
Robert and Karen Large
Annelise Leysieffer
Nancy and Jeff Lickson
Linda and Bob Lovins
William and Gayle Manley
Ken and Kay Mayo
Robert R. and Patricia H. McDonald
DeWitt and Kathy Miller
Marian and Walter Moore
Ann W. Parramore
Almena and Brooks Pettit
Robert and Caryl Pierce
Mary Anne J. Price
David and Joanne Rasmussen
cont’d
Mark and Carrie Renwick
Lawrence and Lisa Rubin
Ken and J.R. Saginario
Lane and Fraser Smith
Greg Springer and Jonathan Jackson
Richard Stevens and Ron Smith
Lee Stewart
Joyce Andrews
Stan and Tenley Barnes
Mary S. Bert
Marcia and Carl Bjerregaard
Beverley Booth
Sara Bourdeau
Joan and Kip Carpenter
Carol J. Cooper
Malcolm A. Craig
Rochelle M. Davis
Pamala J. Doffek
Judith Flanigan
John S. and Linda H. Fleming
Bonnie Fowler
L. Kathryn Funchess
Debbie Gibson
Ruth Godfrey-Sigler
Bryan and Nancy Goff
Harvey and Judy Goldman
Kay Hall
Michael Hanawalt and Justine Sasanfar
Dr. Albert Henry
Jerry and Bobbi Hill
Madeleine Hirsiger-Carr
Jane A. Hudson
Sally and Dr. Link Jarrett
Judith H. Jolly
Arline Kern
Jonathan Klepper and Jimmy Cole
William and Ma’Su Sweeney
Anne van Meter and Howard Kessler
Steve M. Watkins and Karen S. Brown
David and Jane Watson
Stan Whaley and Brenda McCarthy
Sonya L. Wilcox
John and Jeanie Wood
Elna Kuhlmann
Donna Legare
Mary Lovell
Joan Macmillan
Mary “Jo” Mansfield
Victoria Martinez
Neil Mooney
Ann and Don Morrow
Joel and Diana Padgett
Thomas Parrish
Marjorie J. Portnoi
Karalee Poschman
David Reed
Edward Reid
Carol Ryor
Jill Sandler
Paula S. Saunders
Jeanette Sickel
Susan Sokoll
Alice C. Spirakis
Judy and Mike Stone
George S. Sweat
Ed Valla
Margaret Van Every
Sylvia B. Walford
Geoffrey and Simone Watts
Drs. Heidi Louise and
Christopher Williams
Jeff Wright
Jayme Agee
Patricia C. Applegate
Michael Buchler and Nancy Rogers
Judy and Brian Buckner
Marian Christ
Mary and David Coburn
Carla Connors and Timothy Hoekman
Kirk and Michelle Croasmun
Geoffrey Deibel
The Fennema Family
Fred Forsythe
Gene and Deborah Glotzbach
Laura Gayle Green
Richard Green
Donna H. Heald
Linda Husbands
Louise Jones
William and DeLaura Jones
Joseph Kraus
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
Nancy Smith Fichter
Carole Fiore
Patricia J. Flowers
Jane E. Hughes
Hilda Hunter
Julio Jiménez
Paige McKay Kubik
Silky and John Labie
Dottie Lee
Sandra Leis
Eric Lewis
Mari Magro
Lealand and Kathleen McCharen
Annette Nelson
Janet Newburgh
Martha Onate
William Peterson
Joe, Amanda, Leah, Laura Price
Margaret S. Reed
Sanford A. Safron
Louise Simons
Allison Taylor
C. Richard and Phrieda L. Tuten
Scott and LaDonna Wagers
Karen Wensing
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
Laura and Sam Rogers
Dr. Louis St. Petery
Sharon Stone
Donna C. Tharpe
Brig. Gen. and Mrs. William B. Webb
Rick and Joan West
John L. and Linda M. Williams
Kirby W. and Margaret-Ray Kemper
Corporate Sponsors
Beethoven & Company
Business Sponsors
WFSU Public Broadcast Center
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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