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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

Presents THE UNIVERSITY

SYMPHONY ORCHESTRA

Alexander Jiménez, Music Director and Conductor featuring Eric Ohlsson, Oboe and

UNIVERSITY SINGERS

Kevin Fenton, Director

UNIVERSITY CHAMBER CHOIR

Michael Hanawalt, Director

featuring Meg Schiliro, Soprano

Logan C. Kenison, Baritone

Saturday, February 22, 2025

Seven-thirty in the Evening

Ruby Diamond Concert Hall

Live: wfsu.org/fsumusic

PROGRAM

Concerto for Oboe and Small Orchestra Richard Strauss

Allegro moderato (1864–1949)

Andante

Vivace

— Brief Pause —

Ein Deutsches Requiem, Op. 45 (A German Requiem) Johannes Brahms Selig Sind, die da Leid tragen (Blessed are they that have sorrow) (1833–1897)

Denn alles Fleisch est ist wie Gras (For all flesh is as grass)

Herr, lehre doch mich (Lord, let me know)

Wie lieblich sind diene Wohnungen (How lovely are thy dwelling places)

Ihr habt nun Traurigkeit (You now have sorrows)

Denn wir haben hie keine bleibende Statt (For we have no abiding city)

Selig sind die Toten (Blessed are the dead)

Meg Schiliro, soprano

Logan C. Kenison, baritone

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.

Eric Ohlsson, oboe

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.

Kevin Fenton, Professor of Choral Conducting and Ensembles and Director of the FSU University Singers and Men’s Glee (Collegians), has conducted the Virginia Tech Meistersingers (1998), the University Singers (2002, 2003, 2006, 2007 and 2013), and the Festival Singers of Florida (2012 and 2018) in performances at regional and national conventions of ACDA and NAfME. He has served as a Fulbright Specialist to SubSaharan Africa, teaching choral conducting and conducting pedagogy at Kenya’s Conservatory of Music. In fall 2019, Fenton taught conducting at the Universitas Pelita Harapan in Jakarta, Indonesia. As co-founder of AVoice4Peace, Fenton has held AVoice4Peace events in Kenya, Indonesia, Ireland, China, and for the Florida and Southern Region ACDA conventions. Fenton has conducted choirs in 35 states, including twenty-nine all-state choirs. Internationally, Fenton was a featured conductor for the International Choral Festival and Conference in Xi’an (2017) and Beijing (2007), South Africa’s National Youth Choir (2016), and the Dublin International Choral Festival (2016). A champion of new music, Fenton has conducted over thirty premiere performances.

Fenton has taught graduate and undergraduate courses in choral literature and choral conducting at Florida State University since 2000, and his textbook, Foundations of Choral Conducting, is being used in beginning conducting classes throughout the country. He is a recipient of the Florida State University Teaching Award for Excellence, the Gamma Mu Chapter of Delta Omicron Music Professor of the Year Award, and the Wayne Hugoboom Distinguished Florida Service Award. Fenton is Artistic Director of the Festival Singers of Florida, who are celebrating their 12th season.

Michael Hanawalt is the Associate Professor of Choral Conducting and Music Education at Florida State University, where he conducts the Chamber Choir, teaches graduate courses in conducting and choral literature, and serves as Artistic Director for the Tallahassee Community Chorus. Hanawalt was a founding member of the professional male vocal ensemble Cantus, serving as both its Executive Director and singing as part of the touring ensemble. Throughout his tenure with the organization, he recorded 12 CDs and performed in or oversaw the booking of over 500 concerts, including collaborations with the King’s Singers, the Boston Pops, the St. Paul Chamber Orchestra, and the Minnesota Orchestra. Dr. Hanawalt is active as a tenor soloist and has won competitions sponsored by the Schubert Club and Thursday Musical. Recent solo performances include Mozart’s Requiem at Tarleton State University (TX) and Westfield State University (MA), Evangelist in Bach’s Matthäus-Passion at the Bethany College Messiah Festival of the Arts, and Beethoven’s Ninth Symphony with the Wichita Symphony Orchestra. He regularly serves as guest conductor for honor choirs, and

his choral arrangements are published by Boosey & Hawkes, the Niel A. Kjos Music Company, and Colla Voce. Hanawalt holds the BM in Vocal Performance from St. Olaf College, the MM in Choral Conducting from Michigan State University, and the PhD in Choral Music Education from Florida State University.

ABOUT THE FEATURED SOLOISTS

Eric Ohlsson enjoys a significant musical career that is varied and far reaching in scope. He is dedicated to both performing and teaching on a national and international scale. His primary position is as the Charles O. DeLaney Professor of Oboe in the College of Music at Florida State University, a post he has held since 1986.

Ohlsson performs regularly as principal oboist of the Tallahassee Symphony, the Palm Beach Opera Orchestra, and in the summer months, with the Brevard Music Center Orchestra, where he has been a member of the Artist Faculty since 1994.

He was formerly principal oboe of the Naples Philharmonic (1986-96), the Columbus Symphony (1975-80), the Augusta Symphony (1982-86), and the South Carolina Philharmonic (1980-86). Additionally, he has played in the same capacity as a guest performer with groups such as the Charlotte Symphony, the Florida Orchestra, and the Jacksonville Symphony.

He has many engagements to his credit as a recitalist and chamber musician the US, Canada, Europe, and South America, and has given solo and chamber recitals at venues such as Weill Recital Hall in New York City, Teatro Colon in Buenos Aires, the Brevard Music Festival in North Carolina, with the City Music Chamber Orchestra in Cleveland, at the Casa Rui Barbosa in Rio, at the Philharmonic Center for the Arts in Naples, Florida, and at the Grand Castle of Vianden in Luxembourg, to name a few. He has performed at Conferences of the International Double Reed Society on ten separate occasions.

Ohlsson has been a featured soloist with the Naples Philharmonic, the Tallahassee Symphony, the Augusta Symphony, the Pro Musica Chamber Orchestra, City Music Cleveland, the Brevard Music Center Festival Orchestra and Brevard Sinfonia, the South Carolina Philharmonic, the South Carolina Chamber Orchestra, the Florida State Chamber Orchestra, and the University Orchestras of Florida State University and The Ohio State University. His repertoire includes the concertos of Haydn, Mozart, Strauss, Francaix, Martinu, Vaughan-Williams, and Zwilich.

As a pedagogue, Ohlsson has taught hundreds of young oboists at FSU, Brevard Music Festival, and at the Vianden International Music Festival. Many of these students now hold important positions as university professors, symphonic performers, and educators

across the country. He has also taught at the University of South Carolina, the South Carolina Governors School of the Arts, Otterbein College, and Denison University.

His degrees are from The Ohio State University (DMA and MM) and James Madison University (BME). His most influential teachers are John Mack, William Baker, James Caldwell, Ben Wright and Travis Cox.

Soprano Meg Schiliro graduated from the University of Kansas with her Bachelor’s Degree in Voice Performance. She continues her education at FSU for a Master’s Degree in Voice Performance under the tutelage of Professor Marcy Stonikas. Recent FSU performances include Hänsel in Hänsel und Gretel and Angelina in La Cenerentola. Other roles include Eugenia in Il Filosofo di Campagna with the Festival of International Opera in Urbania, Italy and Amor in L’incoronazione di Poppea with KU Opera. Schiliro is extremely grateful to be able to work with FSU’s talented creative team. She wouldn’t be here without the constant support of her friends and family and hopes you enjoy the performance.

Logan C. Kenison is a Tallahassee-based baritone studying at Florida State University in the studio of David Okerlund. A Virginia native, Kenison received the Bachelor of Music degree in Vocal Performance from Old Dominion University in 2022. Kenison has competed and ranked in the top three up to the state and regional level in the National Association of Teachers of Singing Competition, and advanced to compete in the National Competition in 2018 in Las Vegas, Nevada. At the collegiate level, Kenison featured in many roles, including as Mr. Gobineau in The Medium, and Geronimo in Il Matrimonio segreto, and the Lord Chancellor in Iolanthe. Kenison made his professional debut in 2023 as the commissionario in the Virginia Opera’s production of La Traviata. Kenison will be featured as Father Trulove in FSU’s upcoming production of The Rake’s Progress. Choral engagements have included work with Virginia Chorale and the Virginia Symphony. When not singing, Kenison is an amateur student of history, enjoys cooking for his friends and family, and is a lifelong Trekkie.

Strauss: Concerto for Oboe and Small Orchestra

The mobilization of the American people during World War II was nearly universal, and this included musicians. Among those recruited into the Allied effort was John de Lancie, then principal oboist of the Pittsburgh Symphony under Fritz Reiner. He joined the United States Army Band and later served as an intelligence operative in occupied Germany. After the war, he would become one of America’s most prominent oboists, performing in the Philadelphia Orchestra and running the famed Curtis Institute of Music. (His son, incidentally, would become an actor, portraying the character “Q” on Star Trek: The Next Generation.)

Shortly after the war had ended, while he was still stationed in Germany, de Lancie heard that the elderly composer Richard Strauss was living in the Bavarian resort town of Garmisch-Partenkirchen. Curious, the oboist-soldier decided to pay the composer a visit, and Strauss, eager to maintain good relations with occupying American forces, received his fellow musician kindly. Over the course of their conversation, de Lancie asked a burning question: had the old master ever thought about writing an oboe concerto? Strauss answered with a simple, “No.”

To be sure, it was kind of an odd question: oboe concertos are rare, and the 81-yearold Strauss, most famous for his grandiloquent tone poems and operas, had written only three concertos in total (two of them for horn, his father’s instrument). But in any case, de Lancie’s ended up being a very consequential question: shortly thereafter Strauss completed his Concerto for Oboe and Small Orchestra, explaining publicly that he had written it at an American soldier’s suggestion. De Lancie learned of the piece’s existence in the newspaper.

The resulting piece provides an illuminating glimpse into the end of an intriguing and influential musical career. Strauss was first credited with initiating the musical shockwaves of the early twentieth century: this was the composer who burst into the international music scene with the overwhelming flourish of Don Juan in 1888 and scandalized the world with his salacious, harmonically adventurous opera Salome in 1905. But he also began to show a less revolutionary, more nostalgic side as early as 1911 with his comic opera Der Rosenkavalier, set in mid-eighteenth century Vienna (one might almost imagine the opera being performed in the Redoutensaal!). By the 1940s, he had composed himself firmly back into the nineteenth century, with works like Metamorphosen for string orchestra, the Four Last Songs, and his oboe concerto. This regression was a disappointment to those who had deigned him the standard-bearer of atonality, but a welcome development for mid-twentieth-century audiences still eager for the trappings of romanticism.

Brahms: Ein Deutsches Requiem

“As for the title, I must admit I should like to leave out the word ‘German’ and refer instead to ‘Humanity.’”

– Johannes Brahms

Although the title of Brahms’s magnificent requiem did not change, his quote tells us all we need to know regarding his attitude about this work. In fact, the title “German Requiem” referred specifically to the language. Unlike the requiem of the Catholic church, which is a liturgical mass for the dead, Brahms went out of his way to avoid the words Jesus or Christ in an effort to avoid doctrine and, instead, to offer hope and comfort to those left behind (although the opening words, “Blessed are they that mourn,” are spoken by Jesus in the Beatitudes, which sets the tone for the entire work).

The musicologist Walter Frisch makes the case that Ein Deutsches Requiem was, for Brahms, a very necessary component in his rise as a symphonic composer, which may seem odd considering this is a choral work. Having been given the burden of being compared to Beethoven early in his career by Robert Schumann, Brahms took it upon himself to follow a specific trajectory towards becoming a composer of symphonies. With Ein Deutsches Requiem, his greatest choral-orchestral achievement, he established himself as a major composer and soon after he completed his first symphony. He also demonstrated his most mature writing for the orchestra up to that time. In 1865 he mentioned the idea of a German Requiem to Clara Schumann. In fact, he began assembling ideas for the work as far back as 1857. In 1866, Brahms began devoting his full compositional energy to the work and it was premiered at the Bremen Cathedral in 1868 on Good Friday. The fifth movement – possibly a tribute to his mother who died in 1865 – was added a short while later and the entire seven-part work was heard in Leipzig in 1869.

Although Brahms never attended church, he was very well acquainted with the Lutheran Bible and took his text from the Old and New Testaments and the Apocrypha. His ability to connect passages with complementary meanings from different parts of the Bible and set them so expertly and beautifully to music is a marvel.

The seven parts of the work:

Matthew 5:4: Opening Chorus; “Blessed are They that Mourn.”

The music is serene and calm, conveying resignation to the situation. There are no violins, piccolo, or clarinets, thus considerably darkening the orchestral palette.

I Peter: 1:24: “All is flesh is as the Grass.”

This is a funeral march over the timpani throbbing in triplets. An interlude “Now therefore be patient” offers respite (winds), and the march returns before a tranquil conclusion. Also included are quotes from James 5:7, Peter I:25, and Isaiah 35:10.

Psalm 39 4–7: “Lord, let me know that I must end” and the Wisdom of Solomon, 3:2.

This request for guidance includes a powerful fugue. It opens with a baritone solo in dialogue with the chorus.

Psalm 84: 1, 2, and 4: “How Lovely are Thy Dwelling Places.”

This text offers a meditation on the beauties of heaven and eternal life. It is possibly the most cherished section of the entire work and is the shortest movement in the Requiem.

John 16:22: “Ye now are sorrowful, but I will see you again.”

This section opens with a tender orchestral prelude and concludes on a note of exaltation. Rosa Newmarch observed “The music is logically linked up with the opening chorus by the reappearance of its basic theme and the codas of the first and last movements with the peaceful and conciliatory tones of the harp. Softly fading triplet figures are identical.”

Texts also used are from John 16:22, Isaiah 66:13, and Ecclesiastes 51:35.

Corinthians 15:51, 52, 54, and 55: “Behold I show you a mystery, we shall not all sleep, but we shall be changed, in the moment, in the twinkling of an eye… and the dead shall be raised incorruptible, and we shall be changed….”

Also, texts from Hebrews 13:14 are included at the beginning. This reads “For here we have no continuing city, but we seek one to come.”

Revelation 14:13: “Blessed are the dead which die in the Lord henceforth. Yea, says the Spirit, that they may rest from their labors and their works do follow them.”

At the beginning, the chorus sings slowly above a gently moving orchestra. This steady pace speaks securely to the ultimate promise of eternal peace: notice the angelic high voices of the sopranos. Brahms brings us calmly and quietly to a comforting close. Those whom we have lost are safe and in a beautiful place.

University Symphony Orchestra Personnel

Alexander Jiménez, Music Director and Conductor

Guilherme Leal Rodrigues, Graduate Assistant Conductor

Violin I

Jean-Luc Cataquet‡

Emily Palmer

Barbara Santiago

Keat Zhen Cheong

Masayoshi Arakawa

Madelyne Garnot

Hannah Jordan

Hope Welsh

Anna Kirkland

Angel Andres

Stacey Sharpe

MaryKatherine Brown

Gabriel Guzman

Elizabeth Milan

Violin 2

Nicole Vega*

Francesca Puro

Alyssa Donall

Joan Prokopowicz

Mari Stanton

Harshul Mulpuru

Bailey Bryant

Tori Joyce

Hayden Green

Carlos Cordero

Sarita Thosteson

Delaney Reily

Viola

Jeremy Hill*

Keara Henre

Abby Felde

Tyana McGann

Maya Johnson

Spencer Schneider

Harper Knopf

Emelia Ulrich

Cello

Angelese Pepper*

Mitchell George

Thu Vo

Turner Sperry

Emma Hoster

Noah Hays

Natalie Taunton

Abigail Fernandez de Castro

Ryan Wolff

Lucas Ponko

Bass

Alex Lundy*

Christian Maldonado

Lucas Kornegay

Kent Rivera

Maximilian Levesque

Harp

Ava Crook*

Isabelle Scott

Flute

Lindsey Kovach*

Rachael Lawson*

Paige Douglas

Oboe

Steven Stamer*

Rebecca Johnson

English Horn

Nic Kanipe

Clarinet

Anne Glerum*

Dave Scott*

Hannah Faircloth

Travis Irizarry

‡ Concertmaster

* Principal / Co-Principal

Bassoon

Josie Whiteis*

Cailin McGarry *

Georgia Clement

Hunter Fisher

Horn

Eric On

Gio Pereira

Thomas Langston

Jordan Perkins

Trumpet

Johniel Najera*

Schelvin Robinson

Trombone

Connor Altagen *

Carter Wessinger

Bass Trombone

Brent Creekmoore

Tuba

Colin Teague*

Timpani

Darci Wright*

Orchestra Manager

Melody Quiroga

Orchestra Stage Manager

Carlos Cordero

Orchestra Librarians

Guilherme Rodrigues

Thomas Roggio

Library Bowing Assistant

Victoria Joyce

Administrative Assistant

Chelsea Blomberg

University Singers

Kevin Fenton, Director

Yuliia Billa and Steven Olson, Graduate Associate Conductors

Victoria Coey, Dylan Rhodes, and Blake Dwelle, piano

Soprano 1

Yuliia Billa

Julia Chaves

Jazzy Ebert

Arden Ruby

Maddie Schneider

Emily Woo

Soprano 2

Olivia Bahmer

Taylor Livingston

Daira Suster Sanchez

Rebecca Smith

Mogale Stewart

Sara Vanderford

Alto 1

Kiley Berkery

Shiloh DeFabia

Alyssa Jiménez

Candace Jones

Grace Leali

Maggie Merrell

Veronica Saavedra-Howell

Caroline Wheeler

Alto 2

Allyson Andaluz

Gabriella Berrios

Myx Campbell

Erica Dowling

Samantha Rivera

Tenor 1

Kevin Borges

Tobias Deggans

Alex Mortier

Steven Olson

Jackson Roberts

Tenor 2

Blake Dwelle

Caden Early

Connor Mickey

Adam Nguyen

Frank Pastore

Baritone

Seaira Anderson

Espen Brante

Will Coey

Nathan Cohen

Jack Marshal

Benjamin Reid

Jeremiah Tracey Bass

Vincent Amiel Bagay

Grayson Dannelly

Ferris Kritzer

Clement Lee-Sursin

Christian Noel

Dylan Rhodes

University Chamber Choir

Michael Hanawalt, Director

Harold Wright and Jeremy Moore, Graduate Associate Conductors

Judy Arthur, piano

Soprano

Yuliia Billa

Alyssa D’Alton

Caitlin Gerding

Anna Low

Madison Riley

Lizzie Robertson

Mariangely Rodriguez

Annika Stucky

Sarah White

Zoey Xiao

Alto

Morgan Cerra

Reese Cooper

Theasamantha Figueras

Themily Figueras

Dawson Franzino

Maclain Hardin-Kurza

Yuko Hori

Katherine Anne Ledbetter

Sarita Olsen-Gustely

Aritza Reyes Drullard

Ruth Springer

Tenor

Kevin Borges

Tiger Davis

Robert Lovins

Jeremy Moore

Steven Olsen

Brandon Scribner

Sam Varnon

Kristopher Watson

Colby White

Harold Wright

Timothy Yu

Bass

Seaira Anderson

Ethan Bixby

Jordan Evans

Augusto Girotto

Owen Hillman

Alexei Kovalev

Christopher Martinez

Isiah Maxey

Ethan Murphy

Sebastian Quintero

Adam Ravain

Kristopher Stam

UNIVERSITY MUSICAL ASSOCIATES

2024-2025

Dean’s Circle

Les and Ruth Ruggles Akers

Dr. Pamela T. Brannon

Richard Dusenbury and Kathi Jaschke

Bob Parker

Margaret and Russ Dancy

Louie and Avon Doll

Patrick and Kathy Dunnigan

Kevin and Suzanne Fenton

Michael Killoren and Randy Nolan

Jim and Betty Ann Rodgers

Paula and Bill Smith

Jo and Tate Todd

Gold Circle

Albert and Darlene Oosterhof

Todd and Kelin Queen

Karen and Francis C. Skilling

Bret Whissel

Kathy Wright

Sustainer

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

The Jelks Family Foundation, Inc.

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

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

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

Patron

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

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

Marjorie Turnbull

Ed Valla

Margaret Van Every

Sylvia B. Walford

Geoffrey and Simone Watts

Drs. Heidi Louise and Christopher Williams

Jeff Wright

Associate

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

Joseph Feheley

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

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

Becky Parsons

William Peterson

Joe, Amanda, Leah, Laura Price

Margaret S. Reed

Sanford A. Safron

John Scholz

Louise Simons

Janet Smith

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

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

Kirby W. and Margaret-Ray Kemper

Corporate Sponsors

Beethoven & Company

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

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.

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.

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