UNT College of Music Brahms Requiem Program

GRAND CHORUS IS COMPRISED OF

CAPPELLA CHOIR, Allen Hightower, conductor

SINGERS,

Caswell MacMullen,

Nápoles,

Cappella Choir,

ABOUT THE ENSEMBLE

ENSEMBLE HISTORY THROUGH THE YEARS

2019 Elijah, Felix Mendelssohn

2018 Messa da Requiem, Giuseppe Verdi

2017 Turandot, Giacomo Puccini

2016 The Creation, Joseph Haydn

2015 Five Mystical Songs, Ralph Vaughan Williams and Symphony No. 9 in D minor, Ludwig van Beethoven

2014 Alto Rhapsody, Johannes Brahms, Rest Now, My Sister, J.A.C. Redford, Gloria, Francis Poulenc

2013 Ahab Symphony, Jake Heggie

2012 Symphony of Psalms, Igor Stravinsky, Chichester Psalms, Leonard Bernstein, The Hymn of Jesus, Gustav Holst

2011 Nänie, Johannes Brahms, Requiem in D minor, Wolfgang Amadeus Mozart

2010 Messa da Requiem, Giuseppe Verdi

2009 Ein deutsches Requiem, Johannes Brahms

2008 Alexander Nevsky, Sergei Prokofiev

2007 All-Night Vigil, Sergei Rachmaninoff

2006 Symphony No. 9 in D minor, Ludwig van Beethoven

tenor Richard Croft, performed the premiere of Jake Heggie’s Ahab Symphony . The UNT Grand Chorus has also performed with such noted professional ensembles as the Houston Symphony and Dallas Symphony orchestras. In April 2003, the Grand Chorus performed and recorded Carl Orff’s Carmina Burana in a

new complete edition for wind symphony, choir and soloists.

The UNT Symphony Orchestra was established in 1938 and thus has performed regularly for more than 80 years. During this time the orchestra has had only seven conductors.

The 80-member ensemble has been under the direction of David Itkin since 2008.

2006 Mass in C Major, Ludwig van Beethoven

2004 War Requiem, Benjamin Britten

2003 Carmina Burana, Carl Orff

2002 Symphony No. 2 in C minor, Gustav Mahler

2001 Symphony No. 9 in D minor, Ludwig van Beethoven

1993 Psalm 150, Alberto Ginastera

1992 Gloria, Antonio Vivaldi

THE INFORMATION ABOVE IS NOT A COMPREHENSIVE LIST. THE ENSEMBLE HAS BEEN PERFORMING FOR MANY DECADES.

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TEXTS & TRANSLATIONS

I. SELIG SIND, DIE DA LEID TRAGEN

Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben

Blessed are they that mourn, for they shall be comforted. They who sow in tears, shall reap in joy. Go forth and cry, bearing precious seed, and come with joy bearing their sheaves

II. DENN ALLES FLEISCH ES IST WIE GRAS

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen. So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit. Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen

For all flesh is as grass, and the glory of man like flowers.

The grass withers and the flower falls. Therefore be patient, dear brothers,

for the coming of the Lord. Behold, the husbandman waits for the delicious fruits of the earth and is patient for it, until he receives the morning rain and evening rain. But the word of the Lord endures for eternity. The redeemed of the Lord will come again, and come to Zion with a shout; eternal joy shall be upon her head; They shall take joy and gladness, and sorrow and sighing must depart

The University of North Texas Grand Chorus and Symphony Orchestra perform Johannes Brahms’ Ein deutsches Requiem, Op. 45. Allen Hightower conductor, featuring Christina Major, soprano and Jeffrey Snider, baritone.

TEXTS & TRANSLATIONS

III. HERR, LEHRE DOCH MICH JEFFREY SNIDER • BARITONE

Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an

Lord, teach me

That I must have an end, And my life has a purpose, and I must accept this. Behold, my days are as a handbreadth before Thee, and my life is as nothing before Thee. Alas, as nothing are all men, but so sure the living. They are therefore like a shadow, and go about vainly in disquiet; they collect riches, and do not know who will receive them.

Now, Lord, how can I console myself? My hope is in Thee. The righteous souls are in God’s hand and no torment shall stir them

IV. WIE LIEBLICH SIND DEINE WOHNUNGEN

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar

How lovely are thy dwelling places, O Lord of Hosts! My soul requires and yearns for the courts of the Lord; My body and soul rejoice in the living God. Blessed are they that dwell in thy house; they praise you forever

V. IHR HABT NUN TRAURIGKEIT

CHRISTINA MAJOR • COLORATURA SOPRANO

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen. Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. Ich will euch trösten, wie Einen seine Mutter tröstet

You now have sorrow; but I shall see you again and your heart shall rejoice and your joy no one shall take from you. Behold me: I have had for a little time toil and torment, and now have found great consolation. I will console you, as one is consoled by his mother

VI. DENN WIR HABEN HIE KEINE BLEIBENDE STATT JEFFREY SNIDER • BARITONE

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis:

Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht:

Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist würdig zu nehmen

Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen

For we have here no continuing city, but we seek the future. Behold, I show you a mystery:

We shall not all sleep, but we all shall be changed and suddenly, in a moment, at the sound of the last trombone.

For the trombone shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be fulfilled

The word that is written: Death is swallowed up in victory.

O Death, where is thy sting? O Hell, where is thy victory? Lord, Thou art worthy to receive all praise, honor, and glory, for Thou hast created all things, and through Thy will they have been and are created

VII. SELIG SIND DIE TOTEN

Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach

Blessed are the dead that die in the Lord from henceforth. Yea, saith the spirit, that they rest from their labors, and their works shall follow them

PROGRAM NOTES

The first performance was only a partial one; the first three movements were performed in Vienna in 1867. The first version of the entire work, which did not include the fifth movement, was first performed in Bremen Cathedral on Good Friday of 1868 –conducted by Brahms himself. In an effort to achieve a more balanced overall structure, the fifth movement was soon added. This final version of Ein deutsches Requiem , as we now know it, was first performed in 1869 in Leipzig.

When composing the Requiem , it is likely that two people were at the forefront of Brahms’ mind at some point in the compositional process. His great friend and mentor, Robert Schumann, is widely considered to have had a profound impact on Brahms’ life and career. Brahms wrote to a colleague in 1873 regarding the work’s potential performance at a festival celebrating the life of Schumann: “You ought to know how much a work like the Requiem belongs to Schumann. Thus I felt it quite natural in my inmost heart that it should be sung for him.” It would seem clear that Schumann’s tragic death had a powerful influence on the emotions that Brahms would later channel into this work.

The work’s fifth movement features a soprano soloist. It is here that the second figure of inspiration lies. Many consider this movement to be representative of the impact that the death of Brahms’ mother in 1865 had on him. Although the atmosphere of maternal comfort is only directly connected to this movement, many interpret this through the lens of the entire

Requiem . Overall, however, the universal message of comfort and hope transcends the circumstances of this masterwork’s conception.

Ein deutsches Requiem . A German Requiem. Or, as many would later call it, A Human Requiem. The title of the work reflects Brahms’ use of the vernacular text of the Lutheran Bible rather than the traditional Latin text so commonly used in settings of the Requiem Mass . Brahms’ decision to set texts with little in common with the conventional Requiem text, and to set them in the vernacular language of German, was a groundbreaking part of Western music history. Crucial to the unique nature of the Requiem is Brahms’ focus on providing comfort for the living, rather than focusing exclusively on those who have died. The opening text of the work, “Selig sind die da Leid tragen” (“Blessed are they that mourn”), permeates through the entire work. This is a message of comfort for all humanity: we too will come through our sorrow and eventually find joy.

The bookends of the Requiem , movements one and seven, both open with ‘Selig,’ both are in F Major, and both feature ample similar passages, including an identical final five measures. In particular, they feature two crucial motives that are introduced in the chorus’ first entrance. These two motives are referred to as the blessed motive and the mystical seventh. The blessed motive, first introduced in the soprano voice (F, A, B-flat) can be found within every movement of the entire work.

Johannes Brahms began his work on a Requiem setting in 1866, at the age of 33, after many years of being highly interested in the concept of composing such a work.

PROGRAM NOTES

The second movement is in the much darker key of B-flat minor and is characterized by the heavy rhythms of a funeral march. In this atmosphere, the chorus sings of the inevitability of the fate of all humans (“Behold, all flesh is as the grass”). This funeral march eventually transforms into a highly contrasting fugato that shouts the joy of redemption.

In the Requiem’s third movement, the baritone soloist and chorus begin by pondering the transience of human existence. This is punctuated by the question “In what shall I hope” asked by the soloist, which receives the reply “My hope is in Thee” paired with a rising affirmative crescendo. This leads seamlessly into a broad, imposing fugue. This astonishing and extraordinary fugal section is underscored by an omnipresent pedal D which, whilst creating considerable tension during the fugue itself, provides an unshakable foundation for the final resolution of the movement.

What follows this triumphant ending of the third movement is the crucially pivotal fourth movement, a serene pastorale. This movement, with the exception of an exciting and brief double fugato just before the coda, provides the opportunity for contemplation and rest. Perhaps the most excerpted movement of the Requiem , it is music of exceptional beauty.

The fifth movement is a rare case in which the soloist is truly accompanied by the chorus. The movement is written for soprano

soloist, chorus, winds, horns and muted strings. There is tremendous contrast here; while the baritone soloist in movement three sang of grief and doubt, the soprano sings, in a hazy atmosphere established by the upper winds, of maternal consolation.

Such vastly dramatic music is reserved by Brahms for the sixth movement of the work. The opening of the movement sets the text “For we have here no lasting place.” This text is reflected in Brahms’ music through tremendous tonal ambiguity as well as a march-like articulation consistently until the baritone soloist enters. As the soloist and chorus sing “at the sound of the last trombone,” there begins an explosion of sound and energy, leading to the shouted question “Death, where is thy sting?” This transitions into a relentless fugue that sings of praise, honor, and power.

Perhaps Robert Schauffler’s comment on the final movement of Brahms’ Ein deutsches Requiem is most appropriate: “Then Brahms does the impossible.” Following the supreme climax that is the sixth movement and its incomprehensible fugue, we hear an exciting and radiant ascension into the heavens depicted by the orchestra followed by a triumphant opening melody from the sopranos of the chorus which is then passed to the basses and later to the tenors. Most striking, however, is the movement’s function as a long emotional and musical decrescendo into a powerfully peaceful ending that mirrors the first movement and echoes the work’s universal message: Selig.

GRAND CHORUS &

SOPRANO

Abigail Cockrum Alex Gutermuth

Amy Baumgardner

Anastasia Nelson Anna Poole Anna Tescher Christina Lopez Danah Berry Danielle Harrington Elizabeth King Emma Garcia Hannah Watkins Harli Daniel Hayeong Park Jamie Lam Julia Amundson Kara Bonorden Kara Libby Karlene Hurley Katelyn Spivey Katherine Stedman Kyuyim Lee Madison Juneau

Madison Lang Marissa Guerrero Mattison Beezley McKenna Stenson Morgan Minear Parker Carls Rachel Moes Reagan Dunn Reagan Miller Rebecca Mugnolo Samantha Ordonez Sara Knoy Sunny Kim Tessa Newman

ALTO

Adanze Eke Alexis Chaney Anna Schmelter Arriciana Lewis Brianna Nelson Chloe Spellmann D’Lo Hampton Eden French Eleanor Williams

Emily Tucker

Emma Cockerham Gillian Boley Hasoo Eun

Jade Wesley Julia Eichholz Kassidy Montan Kateri Lavacek Lyra Ehninger Macy Reyes Madeline Friesen

Madison Pfaffenberger Maiya Williams McCaa Clancy Meredith Hinshaw Natasha Brandon Nicole Barbeau Nicole Laborte Rachel Howes Rebecca Walther Samantha Haydel Sarah Decker Sarah Harvey Savanna Singleton Savannah Shapley Sorrel McCarthy Taylor Frick Tess Miller Trinity Del Regno Veronica Roan

TENOR

Anthony Peña Ben Johnson

Brandon Veazey Caleb Aguirre Chase Shaw Christopher Mason Craig Smith De’Courtneyous Miller Houston Burns Hunter Mathieson Jack Forden Jakob Jeter Joshua Durrwachter Julian Yanas

Kianna Montanez Logan Dovalina Marquis McBride Mason Repp

Michael Starr

Moises Ybaben-Burciaga Sam Wood

Samuel Ary Spencer Simpson Timothy Anderson Tristino Ali William McLean

William Swinney Xavier Howard

BASS

Addison Vinson Avery Sanderlin Brian De-Stefano Cameron Purcell Connor Rayman Dylan Beck George Cox Hawkins Burns Indigo Machado Isaac Carlin Jacob Augsten Jesse Spencer Jordan Boyd Joseph Boatwright Juan Nava Luke Wild Matthew Dexter Max Rubenstein-Miller Michael Binkley Nate Smith

Philip Callaway

PJ Mooney Rodney Williams Samuel Benavidez Seth Bazan

Skylar DuBose Spensor Randolph Sungyum Kim

Thomas Gerber

Thomas Rinn Timothy Sanchez Tres Hunter Xavier Garcia Zachary Rohwer PIANIST Dong Hyun Kang

SYMPHONY ORCHESTRA

VIOLIN I

Karim Ayala Pool, concertmaster

Charles Latimer

Crissanti García-Tamez

José Fonseca

Justin Daniels

Hoigum Park Lauren Nelson Leihlani García-Tamez

Mevlan Mecid Oriana Gonzalez Sardor Djumaev

Yida Hu VIOLIN II

Fedor Malykhin, principal Alma Bulibekova Annie Barnette Christopher Djinov Diana Galimova Felix Gamez Jingwei Zhang

Qiang Fu Raymond Chen Yirong Tang

Yonsoo Park

VIOLA

Patrick Hayes, principal Alice Yoon Amanda Hamilton Brittney Geurink Grace Remmer Haley Kruse Isaac Li Jianhe Chen Nico Valencia Phoebe Haun

CELLO

Manuela Barić, principal Alexander Davis-Pegis Alexander Paradis

Amy Sanders

Brynne Taft

Emily Maher

Garrett Hayes Jin Wang Laura Lescalleet

Qiaojiannan Ma BASS

Ian Grems, principal Daniel Davidson Han Meng Jacob Hoch Joshua Gebhard

Josue Reyes

Lap Kan Leong Zoe Czarnecki

PICCOLO

Daniel Fletcher FLUTE

Maria Vallejo, principal Candi Rohn

OBOE

Ha Eun An, principal Eric Giles CLARINET

Aaron Linde, principal Hengjian Su

BASSOON

Erica Haas, principal Vanessa Awalt

CONTRABASSOON

Sean Pace

HORN

Mary Haddix, principal Benjamin Ruiz

Charity Morrison

Claire Bradley Nathan Howton

TRUMPET

Wilson Baker, principal Andrew Morales

TROMBONE

Austin Richardson, principal Dominick Viviano

Clayton Yoshifuku

TUBA

Seth Carter

TIMPANI

Kyle Skinner HARP

Victoria Gonzalez, principal

Zoe O’Shaughnessy

BIOGRAPHIES

at Luther. As Luther’s director of Choral Activities, he gave leadership to a choral program that included four conductors, six choirs, and over 530 singers. Under his direction, the Nordic Choir performed at the 2014 North Central Region of ACDA, recorded six compact discs, made annual concert tours throughout the United States, and toured Europe on two occasions.

From 2000-2010, he served as professor of music and Director of Choral Studies at Sam Houston State University. During his tenure, the SHSU Chorale toured Europe, performed for the 2007 National Convention of the American Choral Directors Association, the 2010 Southwestern Region of ACDA, and the 2003, 2006, and 2010 conventions of the Texas Music Educators Association. His public school teaching career included tenures at Klein High School in Spring, Texas and at Odessa Permian High School in Odessa, where he led the PHS Kantorei and Satin Strings in performance at the 1996 TMEA convention.

ALLEN HIGHTOWER

Allen Hightower is a seventh generation Texan, and resides in McKinney, Texas with his wife Dr. Kristin Hightower and their two daughters Caroline and Julianne. As the director of Choral Studies at the University of North Texas, Allen leads the master’s and doctoral programs in choral conducting, and oversees a comprehensive choral program of 10 ensembles. Allen serves as the conductor of the UNT A Cappella Choir, and the UNT Grand Chorus which collaborates annually with the UNT Symphony Orchestra in performances of major choral-orchestral works. As a member of UNT’s Early Music faculty, he leads the vocal ensemble Vox Aquilae, an artistic partner of the UNT Baroque Orchestra. Since arriving at UNT in 2016, the A Cappella Choir has received invitations to perform for the Texas Music Educators Association in 2020, National Conference of the American Choral Directors Association in 2021, and Southwestern Region of ACDA in 2022. Vox Aquilae and the Baroque Orchestra were featured in the 2022 virtual conference of the National Collegiate Choral Organization.

As a teacher and conductor, he has visited 30 states, Asia, and Europe. His students hold positions of leadership as choral conductors in public schools, colleges and universities, and churches and community choirs throughout the United States.

Prior to his appointment at UNT, Dr. Hightower held the Weston Noble Endowed Chair in Music at Luther College in Decorah, Iowa, where he served as conductor of the renowned Nordic Choir and artistic director of Christmas

Outside of his work in the academic setting, Allen has served as the artistic director of the Houston Masterworks Chorus and Orchestra, leading an annual concert series of choral-orchestral masterworks. As a church musician, he has served Baptist, Congregational, Methodist, and Presbyterian churches in Texas, California, and Minnesota. He currently serves on the Music and Worship staff of Stonebriar Community Church in Frisco, Texas, and is the church music vice-president of the Texas Choral Directors Association. Dr. Hightower has served as an adjunct professor of conducting at Southwestern Baptist Theological Seminary in Fort Worth, Texas.

As a conducting student of the Texas choral legend Bev Henson, Allen earned his undergraduate degree in music education and piano from Sam Houston State University. He went on to earn a master’s degree in choral conducting from the Eastman School of Music where he was a student of Baroque scholar Alfred Mann, and a master’s degree in orchestral conducting from Baylor University, where he served as assistant conductor to Stephen Heyde and accompanist to Donald Bailey and the Baylor Chamber Singers. Allen earned his doctorate in conducting from the University of California, Los Angeles, where he served as assistant conductor to Donald Neuen. Hightower pursued additional orchestral conducting studies with Jung-Ho Pak at the University of Southern California, additional choral conducting studies with Joseph Flummerfelt at Westminster Choir College, and choral-orchestral conducting with Helmuth Rilling at the Oregon Bach Festival. After winning first prize in the graduate division of the American Choral Directors Association’s Conducting Competition in 1997, Allen served as assistant to Paul Salamunovich, conductor of the Los Angeles Master Chorale.

BIOGRAPHIES

In the 2020-2021 Season, although lightened by the pandemic, Ms. Major returned to the stage in the role of Donna Anna in Don Giovanni with the Mid Atlantic Symphony in a dramatic “#METOO” twist, semi-staged production directed by Andrea DelGiudice. She recently debuted the role of Leonora in Il Trovatore in an open-air concert titled “Opera in the Field” in Blairstown, New Jersey. New Year’s Eve of 2021 took her to Santa Fe to perform Beethoven’s Ninth Symphony under the baton of Maestro Joe Illick for “NYE at the Lensic.”

2019-2020 engagements included a return to Carnegie Hall as the soprano soloist in the Rutter Magnificat and Mass of the Children followed by Vaughan William’s Dona nobis pacem. She performed the Mahler No. 2 Resurrection Symphony under the baton of Maestro Enrique Diemecke. This season brought another role debut singing Lucrezia in Verdi’s rarely performed I Due Foscari with West Bay Opera in San Francisco. Expanding her Verdi repertoire, she also debuted the notoriously challenging roles of Abigaille in Nabucco as well as Lady Macbeth, both of which she received critical acclaim from the San Francisco Chronicle

MAJOR

COLORATURA SOPRANO

American coloratura soprano and University of North Texas College of Music alumna, Christina Major, has been praised for her sumptuous and agile “Italianate sound” that brings back memories of the earlier greats. She was hailed in Opera News as being a “sensitive actress” who “brought the highest emotional stakes of the evening.” San Francisco Chronicle’s Joshua Kosman describes her as having “expressive verve and technical command” and “Again and again she unleashed powerful, perfectly placed high notes and athletic passage work that underscored the vitality of the vocal writing.”

Ms. Major made her international debut at the famed Teatro Colón in Buenos Aires, Argentina in the role of Norma with Maestro Renato Palumbo conducting. She also made her Carnegie Hall debut with Mid America Productions as the soprano soloist for Haydn’s Missa Cellensis and Vivaldi’s Gloria. Ms. Major made her role debut in Norma with West Bay Opera.

On the concert stage, Ms. Major has additionally appeared as soloist with the New England Symphonic Ensemble, Flint Symphony, Greenville Symphony, Delaware Symphony, Colorado Music Festival, Dallas Symphony Chorus, Winston-Salem Symphony, Arizona MusicFest, Tucson Symphony, Symphony Silicon Valley, Stockton Symphony, Jacksonville Symphony, Midsummer Mozart Festival (San Francisco), Santa Rosa Symphony, Trujillo Symphony in Peru, Phoenix Symphony, National Symphony and Fairbanks Symphony.

Jeffrey Snider is a native of Buffalo, New York, and received both bachelor’s and master’s degrees from Indiana University. He received the doctor of musical arts degree from the University of North Texas in 1996 and in 1998 he returned to UNT as an associate professor in the College of Music.

Recent performances include the role of Iago in Verdi’s Otello with the UNT Symphony Orchestra and the baritone solo in Vaughan Williams’ Five Mystical Songs with the Abilene Philharmonic, both under the direction of Maestro David Itkin. He is the baritone soloist on the Klavier recording of Orff’s Carmina Burana with the University of North Texas Wind Symphony and Grand Chorus under the direction of Eugene Migliaro Corporon. Of this performance J. F. Weber of Fanfare magazine writes, “this is one of the finest…male soloists I have ever heard in this work.”

He is one of the founding members of the North Texas Chapter of Opera on Tap, which performs opera excerpts in nontraditional venues.

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Capital One Carol and John Narsutis, Jr. *Carol Nelson

Carol Wilson and Peter Becker Cathryn and Donald Gilmore Charles W. Smith Conn-Selmer Inc

Daniel Brooks David and Carol Rowley David and Laurie Perryman Donachie Foundation Fred and Paula Monroe George Procter-Smith

George Trotter

Helen Schenk

J.T. Taylor

James Givens

Jason Levi Jay and Carol Solow Jay and Linda Vandenbree Joe and Gail Williams John and Jill Richmond John Perryman

Jonathon Fite Joseph and Heidi Klein Juana E. Hollin-Avery Judy Donachie Watson Kimberly Luevano

KMF Investments Management, LLC Larry and Mary Ann Klein

Leslie Deane

Lewisville Lake Symphony Assn, Inc. Lynda Hall Lyon & Healy West Mark and Bert Zeitlin

Mark Haynie

Michael Castor

Morgan Stanley National Philanthropic Trust Perry and Patsy Bolin Philip Bordeleau

Philip Lewis Piano Movers of Texas Richard and Katherine Hall Rise8 Studios LLC Robert and Jane Toller Robert and Serena Blocker Schwab Fund for Charitable Giving Steve and Alexandra Wenig Steve Williams

Susan Dubois

Alan and Maria Baylock

Thomas and Sally Perryman Tolleson Wealth Management William and Ann May XTO Energy

BOARD & COMMUNITY SUPPORT COUNCIL

CHAIR

Deborah S. Brooks VICE-CHAIR William Smialek

NOMINATING & MEMBERSHIP COMMITTEE CHAIR

Joseph E. Williams ADVANCEMENT BOARD MEMBERS

Anthony E. Adkins, Michael M. Archer, B Bender, Norman H. Bender, Bob Brown, Baron Cass, III, Bob C. Kimmel, Frances L. Kimmel, Stanley R. Levenson, Elizabeth Nieto, Christian O’Donnell, Amanda S. Ryan, John A. Rydman, Richard H. Schulze, Christopher P. Stanton, Judith A. Donachie Watson

ALUMNI REPRESENTATIVES

Arjun Chandy, Lisa K. Despain and Brian Levels

STUDENT REPRESENTATIVE

Amrutha Murthy

FACULTY REPRESENTATIVE

Lynn Seaton

EMERITUS MEMBER

John L. Strauss

COLLEGE OF MUSIC COMMUNITY SUPPORT COUNCIL

Alan Baylock, Maria Baylock, James Bays, Margaret Bays, John Booth, Carol Brown, Robert Brown, Rita Burleson, Peggy Capps, Robert Capps, Brenda Crawford, Raymond Crawford, Richard Culp, Leslie Culp, Elizabeth Ferring, Charles Ferring, Jonathon Fite, Finley Graves, Gail Graves, Carol Harlos, Steven Harlos, James Hobdy, Sylvia Hobdy, Jim Horn, Mary Horn, Arminta Jacobson, William May, Ann May, Rebecca McCollum, Sarah McKinney, Kevin McKinney, Catherine McRae, David McRae, Darhyl Ramsey, Jonny Ramsey, Patricia Reinke, Patti Richard, John Richmond, Jill Richmond, Carol Rogers, Gerald Rogers, Elizabeth Scott, James Scott, Charles Smith, Kathryn Stream, Kayla Swenson, Lucy Warren, Jim White, Joyce White, Virginia Williams

COLLEGE OF MUSIC

CHORAL STUDIES

ALLEN HIGHTOWER

Director of Choral Studies

Conductor - A Cappella Choir, Vox Aquilae & Grand Chorus

KRISTINA CASWELL MACMULLEN

Conductor - University Singers & Kalandra

JESSICA NÁPOLES

Conductor - Concert Choir Choral Music Education

JAMEY KELLEY

Choral Music Education

JOSHUA HABERMANN

Choral Literature Conductor - DSO Chorus

JACOB AUGSTEN

Vox Aquilae Conducting Associate

JORDAN D. BOYD

Assistant Conductor - Dallas Symphony Orchestra Chorus

THOMAS P. GERBER

Kalandra Conducting Associate Choral Librarian

KATERI LAVACEK

ADMINISTRATION

UNT SYSTEM

A Cappella

Conducting Associate & Graduate Intern - Children’s Chorus of Greater Dallas

WILLIAM MCLEAN

Conductor - Chorale & Concert Choir Conducting Associate

MCKENNA STENSON

Conductor - Camerata & University Singers Conducting Associate

BRENNO LIMA

University Singers & Chorale Pianist

CHIAO-JU HUNG Camerata & Concert Choir Pianist

DONG HYUN KANG

A Cappella Choir & Kalandra Pianist

KIELE SACCO Vox Aquilae Pianist

VOCAL STUDIES

FACULTY

Molly Fillmore | Chair, Division of Vocal Studies Stephen F. Austin, Daniel Bubeck, Richard Croft, Stephen Dubberly, William Joyner, Jennifer Lane, Jeff MacMullen, Stephen Morscheck, Elvia Puccinelli, Jeffrey Snider & Carol Wilson

TEACHING FELLOWS

Natasha Bekker, Ryan Gamble, Jessica Glenn, Megan Grey, Amanda Guidi, Rachel Nyetam, Andrea Pinder & Myles Pinder

ORCHESTRAL STUDIES

DAVID ITKIN

Anshel Brusilow Professor of Orchestral Studies

CLAY COUTURIAUX

Assistant Director of Orchestral Studies

CHARLES ANDERSEN

Doctoral Conducting Associate Operations Manager

JIMIN SEO

Doctoral Conducting Associate Personnel Manager

CHARLES BALDWIN

Doctoral Conducting Associate Librarian

DIVISION COORDINATORS

DIANA COOLEY

Administrative Coordinator, Divisions of Conducting and Ensembles, Keyboard Studies and Vocal Studies

MICHAEL R. WILLIAMS Chancellor

UNIVERSITY OF NORTH TEXAS

NEAL SMATRESK President

MICHAEL MCPHERSON

Interim Provost and Vice President for Academic Affairs COLLEGE OF MUSIC

JOHN W. RICHMOND Professor and Dean

WARREN HENRY Senior Associate Dean for Academic Affairs

FELIX OLSCHOFKA Associate Dean for Operations

EMILITA MARIN Assistant Dean for Business and Finance

RAYMOND ROWELL Assistant Dean for Enrollment Management and External Affairs

MARK MONTEMAYOR Interim Director of Undergraduate Studies

JAYMEE HAEFNER Director of Graduate Studies

BENJAMIN BRAND Chair, Division of Music History, Theory and Ethnomusicology MOLLY FILLMORE Chair, Division of Vocal Studies

STEVEN HARLOS Chair, Division of Keyboard Studies

JOSEPH KLEIN Chair, Division of Composition Studies

KIMBERLY COLE LUEVANO Chair, Division of Instrumental Studies

ROB PARTON Chair, Division of Jazz Studies

SEAN POWELL Chair, Division of Music Education

ANDREW TRACHSEL Chair, Division of Conducting and Ensembles

CYRIEL AERTS Director, Piano Services

MATT HARDMAN Director, Communications, Marketing and Public Relations

AUSTIN MARTINEZ Interim Director, Recording Services

CAROL POLLARD Director, Undergraduate Advising

JOEL WILEY Director, Admissions

CAROLE OVERTURF

Administrative Coordinator, Division of Instrumental Studies

MARIA BAYLOCK Executive Administrative Coordinator to the Dean of the College of Music

MATT HELLMAN Program Design, Graphic Design Specialist