The KATHRINE G. McGOVERN COLLEGE OF THE ARTS and the MOORES SCHOOL OF MUSIC Present
2021 Spring Concert FRIDAY, APRIL 23, 7:30 p.m. MOORES OPERA HOUSE
Moores School Percussion Ensemble I Blake Wilkins, director
About the Moores School Moores School of Music The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.
Moores Society The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year. Please visit uh.edu/kgmca/music/moores-society. For more information, please contact Shannon Langman, Patron Relations Coordinator, at mooressociety@uh.edu or 713.743.8036.
About the College Kathrine G. McGovern College of the Arts The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse cities. Bringing together the performing and visual arts entities at the University of Houston, the college has the ability to harness the power of the arts to ultimately impact our world. Our award-winning, internationally distinguished faculty provides top-quality instruction to the talented, emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College of the Arts seeks to positively impact the community and to empower our students to use their talents to change the world.
Giving to the Arts Please support emerging artists at the University of Houston's Kathrine G. McGovern College of the Arts. Your gift enables KGMCA students and educators to create, collaborate, and transform Houston’s cultural landscape. Your gift makes a difference. Please visit https://giving.uh.edu/gift. To give directly to the Moores School of Music, please visit uh.edu/kgmca/music/giving. For more information, contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713.743.6878. For information on upcoming Kathrine G. McGovern College of the Arts events, visit uh.edu/artstickets or contact the KGMCA Box Office at 713.743.3388.
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Moores School of Music
Moores School Percussion Ensembles 2021 Spring Concert
Program
Blake Wilkins, director
A Doll’s House Story (Babaházi Történet) (1985)
István Márta
Music for Percussion Quartet (2015)
David Crowell
(b. 1952)
(b. 1980)
I. Fluctuation II. Sky People III. Oscillation IV. Landscape
Decay No. 1 (2016)
Matt Curlee (b. 1976)
ii. Macrostates
INTERMISSION Duo Chopinesque (1985)
Michael Hennagin
Chameleon Music (1987)
Dan Welcher
Raptures of Undream (1998)
Bruce Hamilton
Spring 2021 Concert
(1936-1993)
(b. 1948)
(b. 1966)
Performers
Performers
Moores School Percussion Ensemble (MSPE) I Blake Wilkins, director Adrienne Anaya Brandon Furman Christian Gonzalez Jacob Kline Mario Leal Mark Medina
Oscar Rodriguez Jose Sandoval Max Stewart Tyler Sutton Mitchell Vereide
Moores School Percussion Ensemble The Moores School Percussion Ensemble serves as the cornerstone of the Department of Percussion Studies at the University of Houston. Established by Blake Wilkins in 1997, the ensemble’s selection as a winner in the 2003, 2006 and 2010 Percussive Arts Society Percussion Ensemble Competitions and its appearance at the Percussive Arts Society International Conventions established its reputation internationally as a leader in percussion performance. The ensemble has also emerged as a leader in the promotion and performance of new music. Since 1997, the ensemble has given the world and U.S. premieres of numerous new works. Additionally, in fall 2002, the Moores School Percussion Ensemble initiated a New Works Project to encourage new compositions for large percussion ensemble. To date, the project has resulted in sixteen new works for large percussion ensemble by such composers as Donald Grantham, Pierre Jalbert, David Crumb, David Heuser, and UH faculty composers Rob Smith and Marcus Maroney. The ensemble has also recorded three critically acclaimed commercial CDs on the Albany Records Label. Surge was released in early 2006, Not Here But There followed in 2009, and Everywhere Entangled was released in 2011. Our program currently offers two concert percussion ensembles—MSPE I is directed by Blake Wilkins and MSPE II by Professor Alec Warren—and includes The PANtagonists Steel Drum Band. We invite you to follow the Moores School Department of Percussion Studies on Facebook and on Instagram@uhpercussion.
Moores School of Music
Program Notes
Program Notes
A Doll’s House Story
by István Márta
A Doll’s House Story (1985) renders in music the events of a tragic revolution of a few minutes’ duration. The revolution broke out overnight in the toy department of a store. There did not seem to be any rhyme or reason to it, and indeed, it erupted over a petty affair - it appears to be petty in hindsight anyway. The toys (plastic dolls, tin soldiers, bicycled regiments, intrepid civilians, undercover chimney sweeps, smart police officers, clowns, dwarfs and giants) engaged in pitched battle of unprecedented cruelty. The fragmentary reports that have come down to us allow the reconstruction of but a few aspects of those events albeit rather important ones. I have discovered, for instance, that the very first minute of the revolution claimed nine lives (among them that of a Pierrot, a Columbine and a heroic Harlequin). Within the next five minutes, six more deaths occurred, all victims of base instincts running amok. The appearance of a night watchman put a temporary stop to the events, but fighting continued with even more bitterness once the torchlight had been switched off. The streets were overrun by ambulances with their shrieking sirens, tanks firing shells and other military vehicles and soon there was silence. The presence of mechanized troops did its work: the rebels and fighters withdrew into their homes. The dead silence was only occasionally disturbed by the fumbling of a doll, groping cautiously in the dark for its lost limbs or head. In the morning, the shop assistants, tired and sleepy after a short night’s rest, were incredulously taking in the mess, looking in vain for signs of burglary or theft. Later, in the course of the morning, a tiny wind-up guillotine swung into action but nobody took any notice. — Notes by the composer
Music for Percussion Quartet
by David Crowell
This music is an abstract representation of the radically different environments I’ve lived in, and experienced while traveling. From numerous bustling city centers to near isolation in the natural world, I’ve always felt a bit bi-polar and somewhat confused about what makes for a good place to live. As a current resident of New York City, I’m amazed and inspired by the level of innovative artistry, which I need and crave for my creative work, yet dismayed by the pollution, trash, and over all low quality of life that often accompanies living in a huge urban environment. As a former resident of Alaska, where I still spend at least a month every year, the beauty and grandeur of the place is overwhelming, deeply satisfying, and yet sometimes lacking in creative stimulation. Starting with the urban, the 1st and 3rd movements, “Fluctuation” and “Oscillation,” both utilize polyrhythms - multiple rhythms moving independently - throughout. And yet, all polyrhythms eventually come together, if only briefly, unable to exist without their relationship to one other - you can’t have a polyrhythm if there isn’t another rhythm to compare it to. All the parts and instruments in these movements are vitally interconnected at their core, even as the music may sound crazy and disjointed at times. This simultaneous independent/codependent polyrhythmic concept draws an interesting parallel to the complex human movement of a crowded urban setting. As a frequent biker/walker and sometimes car driver in New York, there exists an intricate dance of individual agendas and varying rates of movement, differing levels of calm and high pitched anxiety; all coming together to avoid car wrecks and injured pedestrians or bicyclists (hopefully!) It can be quite an amazing thing to witness, if you are aware of it. “Sky People” and “Landscape,” on the other hand, come from the meditative calm of open spaces, environmentally pure places which appeal to some ancient part of our DNA that remembers what it was like to live in close relationship with the land. There’s a spiritual element to this kind of life, or at least the modern approximation of it, which is inexpressibly satisfying. The calm and spacious nature of these movements is not suggesting the natural world is without darkness - anyone who has lived in an environment like Alaska understands the dangers it presents. But experiencing your smallness, your insignificance in the face of a landscape that doesn’t particularly care what happens to you, paradoxically turns out to be a huge existential relief. It offers the opportunity to put aside at least a bit of your ego, and experience the wonders of life while you still have it. — Notes by the composer
Spring 2021 Concert
Program Notes
Program Notes
Decay No. 1
by Matt Curlee
Decay No. 1 for percussion quintet is a part of the Histories project, a continuing set of collaborations with physicist Regina Demina exploring the fundamental narratives, at various scales, that make up our reality. The word “decay” usually has a negative connotation when used to refer to everyday things, places, and situations. But in the natural world, including the sonic realm, decay is a process of great creative power and transformation, one that challenges our conception of order and chaos, of structure and disintegration, and even the condemnation implicit in how we habitually use the word. Commissioned and premiered by the Eastman Percussion Ensemble. — Notes by the composer
Duo Chopinesque
by Michael Hennagin
Duo Chopinesque by Michael Hennagin is based on the E minor keyboard prelude of Chopin (Op. 28, no. 4). This composition, however, is not simply an arrangement but is rather a total recomposition and recasting of the structural underpinnings and dramatic shape of the original. Pitch material in the form of two rows (one ten notes; the other nine) has been derived from the right hand melodic line of the piano piece; each row receiving several transpositions. A rhythmic matrix has been constructed from the harmonic rhythm of the Chopin. During the introductory section, the opening melodic motive of the original (an ascending dominant octave) is presented in the marimba against an increasingly active series of background flickers. After a short pause, the piece finally gets underway by stating the beginning few measures of the chromatic-slippage harmonic progressions before being briefly interrupted by the background material. A second attempt to begin is initiated quickly followed by another interruption. This alternation of quoted material with intrusions continues, as echoes of the primary ideas often emerge in the “accompaniment.” The second half of the Chopin original is similarly explored with an eventual quite tumultuous climax achieved—after which the opening tune slowly reemerges, dissolves, and then leads to an authentic cadence with a tonic commentary (i.e. the pitch “e”) popping up in many different registers seemingly bringing the piece to its end. However, a rhythmically augmented version of the opening dominant octave is faintly stated by the bells during the final measures and tantalizingly suggests a kind of circular return to the beginning as if the piece were starting up all over again. An abrupt, surprising, and short outburst, however, nips the possibility in the bud and brings a final and convincing closure. Throughout the composition an intriguing reversal of the two elements is effected as foreground and background roles are gradually interchanged. The Chopin quotes—and almost all the original is represented at one time or another—predominate at first but later are quite literally obliterated by competing ideas which attempt to steer the music, with considerable resistance, into new and different directions—and realms of expression. The aesthetic result is powerful and haunting and slightly reminiscent of George Crumb’s “Dream Images (Love-Death Music)” from Makrokosmos, Vol. I for amplified piano, in which the Chopin FantasieImpromptu in Db major is quoted—although in a manner somewhat different from Hennagin’s approach—as the intrusion to and counterpoint against other material. Duo Chopinesque was commissioned and premiered by the University of Oklahoma Percussion Orchestra, Dr. Richard C. Gipson, Conductor. PASIC `85, November 15, 1985, Los Angeles, CA, Dr. Gipson, conducting. — Michael Rogers, used with permission.
Moores School of Music
Giving to the Arts
Chameleon Music
by Dan Welcher
Chameleon Music, composed for ten percussionists by Dan Welcher, is based on a short story by Truman Capote, entitled Music for Chameleons. Welcher writes: “More a vignette about a person and a place than an actual story, the piece describes a visit by Capote to Martinique, and the home of a woman there. She lives on the edge of the jungle, and had on her terrace a grand piano that had been played by a number of famous visitors. The music she played for Capote was Mozart, and the result of the little recital was the inspiration for my Piece. It seemed that the little lizards living nearby had become accustomed to her playing and had grown to be quite discerning in their taste. The composer they responded most to was Mozart whenever she would play a sonata of his, the chameleons came out in droves from the jungle. They would sneak tentatively forward at first, then (emboldened by Wolfgang?) come right up to lie at her feet while she played. When she finished, she’d stamp her feet on the tiles, and the lizards would ‘scatter, like the shower of sparks from an exploding star.’ The music describes this scene, but more than that. It attempts to show in a rather abstract fashion how music Mozart’s music, specifically can cast a spell over otherwise uncivilized beings. The piece has four subtitled sections: ‘The Jungle at Night,’ ‘The Chameleon Circle,’ ‘The Spell,’ and ‘The Retreat.’ In the first section, marimbas provide a chordal curtain of sound, with four kinds of wind chimes adding a scent of the tropics. After the atmosphere of the place has been established, the second section proceeds immediately. ‘The Chameleon Circle’ presents the cast of characters, in the form of three different motives (played on xylophone, glockenspiel, and bass marimba respectively). These could be thought of as some of the chameleons waiting at the edge of the jungle but they carry within themselves the seeds of the music of their ‘favorite composer.’ In the ensuing passage, the tempo picks up and we hear these characters growing bolder. When the tempo slows again, we are in “The Spell.” No fewer than four Mozart sonatas are quoted: K. 279, K. 281, K. 330, and K. 332. Elements of the melodic turns in these fragments seem somehow familiar, and in fact we`ve just heard them slightly disguised in `The Chameleon Circle.` As the Mozart music overlaps and combines in ways in which Mozart never intended (but which, I think, he might have approved...) the night is filled with charmed animals, crickets, and of course, chameleons. At the height of their reverie, though, there is a stamping of feet a scattering of tiny legs and the sounds of the jungle at night return, with the barest echoes of Mozart still lingering in the breeze.”
Raptures of Undream
by Bruce Hamilton
Raptures of Undream was written for the Indiana University Percussion Ensemble, Wilber T. England, director. The piece is scored for six players, armed each with a drum (floor tom) and a cymbal. Overall, the work is divided into four sections delineated by tempo. Rhythmic (and melodic) motives are presented and developed through a series of divergent textures and rhythmic guises. As in other works by the composer, a prominent theme is the contrast between contrapuntal, pointillistic sections and passages of unison rhythm. Essential to the piece is the sense of “groove” (i.e., flavored pulse) which serves as the underpinning to the sometimes wild (and rapturous) rhythmic excursions. — Notes by the composer
Percussion Spring 2021Ensemble Concert 1
Giving to the Arts Giving to the Arts
Thank you to the following donors for giving through endowments that transform the lives of students, faculty, and audiences in perpetuity.
2018 – 2019 Endowments Abram I. Lack Music Master’s Endowment Fund Albert and Margaret Alkek Scholarship Endowment Albert Hirsh Endowed Scholarship Fund Alkek Williams Endowment in the Moores School of Music Amelia Ann Alexander Scholarship Endowment for Organ Studies in the Moores School of Music Anthony P. Apollo Memorial Scholarship Endowment for the Moores School of Music Jazz Program Betti and Charles Saunders Music Endowment Betty and Harry Czarnek and Betty and Eugene Patalik Music Scholarship Endowment Betty C. and Harry T. Jukes Music Scholarship Endowment Betty Cannata Music Excellence Endowment Betty Shaw Scholarship Endowment Fund Bill and Ann Stokes Endowment in the Theatre Program Blaffer High Ceiling Gallery Endowment C. W. Moores, Jr. Endowed Professorship in Music C. W. Moores, Jr. Fellowship Endowment for the Moores School of Music Cecil J. Pickett Scholarship Endowment Fund Charlene and Philip J. Carroll Endowment in Music Charles F. and Dorothy B. Riesen Scholarship Endowment Fund Cheryl M. Carlucci Fellowship Endowment in Opera in the Moores School of Music Claire North Patterson Scholarship Endowment in the Moores School of Music Cullen Foundation Endowed Dean’s Chair for the Kathrine G. McGovern College of the Arts Cynthia Woods Mitchell Center for the Arts Endowment David and Ann Tomatz Music Endowment Delphian Theatre Endowment Fund Diabolus Endowed Scholarship for the Moores School of Music Dorothy A. and Charles E. Bishop Scholarship Fund in the Moores School of Music Eddie Green/Chad Collins Family Band Program Endowment Edythe Bates Old Choral Endowment Edythe Bates Old College Professorship Endowment in the Moores School of Music Edythe Bates Old Opera Endowment Edythe Bates Old Orchestra Endowment in Moores School of Music Eleanor Searle Whitney McCollum Scholarship Endowment in Music Elena Nikolaidi Scholarship Endowment Fund for the Moores School of Music Frank L. Berry, Jr. Endowment in the School of Art Frederic A. and Betsy Cook Weber Endowed Scholarship for Vocal Music Education Galveston Musical Club Scholarship Endowment Fund Gary Choate Memorial and Marc L. Palmer Endowment
George Leroy and Myrajane Ereckson Hall Endowment in the Moores School of Music Houston Delphian Endowment for Support of the Shakespeare Festival Howard Pollack Scholarship Endowment in the Moores School of Music, in Memory of Darryl Wexler J. Scott Chase Endowment in Opera in the Moores School of Music Jane Dale Owen Endowment in the Blaffer Art Museum Jean Preston Lack Music Scholarship Fund Jeremy Head Scholarship Endowment Fund Jo and Jim Furr Exhibition Endowment in the Blaffer Art Museum Joanna Friesen Scholarship Endowment John M. Druary Scholarship Endowment in the Moores School of Music John S. and Elena M. Zaccaria Scholarship Endowment in the Moores School of Music and the School of Theatre & Dance Judith Kathleen Morris Memorial Endowment June Duhar Smith Scholarship Endowment in the Moores School of Music Kathrine G. McGovern College of the Arts Endowment La Ruth Blain Scholarship Endowment in the School of Art La Verne McClellan Endowment Fund in Fine Arts Lack Music Endowment Fund Larry W. Gatlin Endowment in Music Laura Eliska Swails Fine Arts Scholarship Endowment Linda and Ken Lay Family Endowment in Music Linda Dorff Scholarship Endowment in the School of Theatre & Dance Louisa Stude Sarofim New Music Endowment Fund Lucile Birmingham Melcher Endowment in the Moores School of Music Lucile Birmingham Melcher Violin Endowment in the Moores School of Music Lyndall Finley Wortham Chair in the Performing Arts Madison Endowed Professorship in Music Margaret Alkek and Margaret Alkek Williams Chair for the Director of the Moores School of Music Margaret W. and James A. Elkins, Jr. Endowment in Music Marian and Samuel W. Spain Endowment for Graduate or Undergraduate Students in Music Education in the Moores School of Music Marilyn and R.E. “Gene” Reamer Endowment in Music Martha Suit Hallman Lecture in Music Endowment Martin Antonio “Marty” Flores Scholarship Endowment for Composition and Music Theory Studies Matthew Bartkowiak Memorial Scholarship Endowment May R. Litowsky Endowed Scholarship for the Moores School of Music Michael Wilkomirski Endowed Violin Scholarship Fund Milton Katims Endowed Scholarship Fund in Music Minnette and Jerome Robinson Scholarship Endowment Miriam Strane Memorial Piano Scholarship Endowment Nancy and Rob Martin Endowed Scholarship Nancy Chertok Scholarship Endowment Fund in Music Nancy Luton Scholarship Endowment for Innovation in Printmaking
Moores School of Music
Neva and Wesley West Scholarship Endowment for the Moores School of Music Patsy Swayze Endowed Scholarship for Dance Peter W. Guenther Art History Scholarship Endowment Fund Richard Y. Grant Music Scholarship Endowment Fund Robert Bullard Memorial Scholarship Endowment Robert J. Jones Endowment in Music Ronald C. Borschow Endowment for Student and Faculty Travel Ruth G. Burr Endowed Scholarship Fund Ruth M. Claridge Endowed Scholarship in Honor of Mr. Byron Hester Ruth M. Claridge Memorial Endowment Sarah C. Morian Endowment Sarah Campbell Blaffer Scholarship Endowment Sarah J. Cooper Memorial Scholarship Endowment Fund Schissler Foundation Fellowship Endowment Fund in Music Moores School of Music Endowment Fund Steinway Initiative Maintenance Endowment in the Moores School of Music Stephen Harbachick Endowment in Music Sue H. Van Horn Music Scholarship Fund The Chris Wilson and Jim Jeter Endowment for Excellence in Theatre Thelma Hearn Scholarship Endowment Thomas Flaxman Endowed Art Scholarship Fund Tommy Tune Endowed Dance Scholarship Trey Wilson Endowed Scholarship Fund Val Link Endowed Scholarship in Art Wilhelmina R. “Beth” Robertson Endowment in Music William C. Moffit Endowed Scholarship in Band William Douglas Allums Band Endowment William G. Henry, Jr. Scholarship Endowment William Lee Pryor Voice Scholarship Endowment Winifred and Maurice Hirsch Memorial Scholarship Endowment
Endowments in Progress Adeeb and Adeeba Hourani Endowed Professorship in Music Darrin Davis and Mario Gudmundsson Voice and Opera Scholarship Endowment Jay and Shirley Marks Scholarship Endowment in the Moores School of Music Joan Hohlt and Roger Wich Scholarship Endowment in Art Marie Taylor Bosarge Endowed Affiliated Fellowship at the American Academy in Rome Rhonda and Donald Sweeney Endowed Scholarship for Opera Robert J. Jones Endowment in Music Robin L. Tooms Endowment for Excellence in Graphic Design Sharon Kopriva Endowed Scholarship in Art
Ezekiel W. Cullen Society
Members listed in this program have given $250,000 or more in their lifetime to Kathrine G. McGovern College of the Arts. Cathy Collins and Thomas Collins Chad Thomas Collins (’96) Thomas H. Guthrie II Monzer Hourani Sheila K. Johnstone Judith Jones (’65) and Walter Jones (’65) Kathrine G. McGovern (FS ’61) The Honorable John J. Moores (’70, J.D. ’75, Honorary ’95) and Dianne Moores Sallie C. Morian and Michael H. Clark Lillie T. Robertson Shirley E. Rose (’60, M.Ed. ’69, Ed.D. ’73) and Donald Rose* Rhonda J. Sweeney (M.B.A. ’79) and Donald G. Sweeney Betsy Cook Weber (’95) and Frederic C. Weber * Deceased
In Tempore Legacy Society
The In Tempore Legacy Society is a special community of planned giving donors who have included the Kathrine G. McGovern College of the Arts in their estate plans through a bequest, life income arrangement or charitable provision. Gloria Acker (’71) Ann Alexander Nanette Chastain and Donald R. Martin (’57, M.M. ’59) Ann L. Faget Mariglyn Glenn and Stephen Glenn Thomas H. Guthrie II Jacquelyn Harbachick Ethan Hirsh (’67) Ellen Holzberg and Alan Holzberg Sheila K. Johnstone Judith Jones (’65) and Walter Jones (’65) Lynn Lamkin and Jon Lamkin Genie Lanfear Sharon G. Ley (M.M. ’02) and Robert Lietzow The Honorable John J. Moores (’70, J.D. ’75, Honorary ’95) and Dianne Moores Juan R. Morales (’93) Violet M. O'Valle (FS ’73) Shirley E. Rose (’60, M.Ed. ’69, Ed.D. ’73) Buck Ross Marc Schindler Rhonda J. Sweeney (M.B.A. ’79) Jo Dee and Cliff Wright Elena M. Zacaria and John S. Zaccaria
Young Artist Endowed Scholarship in Piano
For more information, contact Julie AndersonSmith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713.743.6878. Spring 2021 Concert
Giving to the Arts
Enriching our students, our community, and the world
Moores Society
The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.
2020-2021 MOORES SOCIETY Board of Trustees Moores Society Executive Board Jackie and Malcolm Mazow, Presidents Jo Dee Wright, Immediate Past President Debbie Feuer, Audience Development Chair Helen Shaffer, Vice President, Membership Rita Aron, Assistant Secretary, Corresponding Robin Angly, Opera Production Council Chair Carla Burns, Secretary, Recording
Ann Ayre Meg Boulware Terry Ann Brown Darlene Clark Beth Del Pico Mariglyn Glenn Stephen Glenn Marita Glodt
Sean Gorman Gary Hollingsworth and Ken Hyde Ellen and Alan Holzberg Linda Katz Marc S. Levine Shirley Rose Kathi Rovere
Cathy McNamara Celia Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carroll R. Ray Carol Lee Robertson Lillie Robertson Minette Robinson Donna Scott and Mitch Glassman Satoko and Anthony Shou Susan Thompson
Advisory Board Ann and Karl Tornyos Virginia and Gage Van Horn Carol and Carl Vartian Nancy Willerson Beth Wolff Cyvia Wolff Gay Yellen Christopher Bacon Tom Becker Anne Boss Nancy Bowden Cheryl Byington Zarine Boyce
Robin Angly, Chair Chris Bacon Gwyneth Campbell Tim Doyle Warren Ellsworth
Opera Production Council Ann Faget Ellen and Alan Holzberg Helen Mann Jackie and Malcolm Mazow Terrylin Neale
Richard J. Schmitt Donna Shen Rhonda Sweeney Betty Tutor Bob Wilkins Mary Ann Wilkins
Julie Cogan Vicky Dominguez Cathy Coers Frank Joyce Frassanito Diane and Harry Gendel Beatrice and Gregory Graham Donna and Gene Hammons Gladys Hooker Mady Kades Janis Landry Shannon Langman Cora Sue and Harry Mach Rhonda Sweeney Beth Wolff Jo Dee Wright
Moores School Symphony Orchestra
MOORES SCHOOL OF MUSIC SOCIETY Debbie L. Feuer Mariglyn Stephen W. Glenn Marita Glodt Sean Gorman Dr. Gary L. Hollingsworth and Ken Hyde Ellen and Alan Holzberg Gladys Hooker Linda Katz Stephen Y. Leatherwood Barbara and Ulyesse J. LeGrange Sharon and Robert Lietzow Tod Lindholm and Rex Adams
Helen B. Davis Dr. Timothy Doyle Douglas Koch and Marcia Murphey
Mary Ann and David McKeithan Dr. Gary W. Patterson Minnette Robinson Nancy R. Schissler
Christopher Bacon Nancy Bowden Katherine and Trey Brady Pam and Steve Bertone Barbara and Ronald Cuenod Drucilla and Richard Davis Joyce Frassanito Rachel Frazier Diane Gendel Dr. Gregory D. Graham Thomas Grimmett Eugene Hammons Sandra Harris
Timothy Eugene Hester and Jasmine Hatem Nancy and Carter Hixon Sophia James Mady and Kenneth Kades Janis Landry Marc S. Levine Cathy and Bill McNamara Dr. Celia A. Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carol Lee Robertson Kathi and Bill Rovere
Jackie and Malcolm Mazow Lillie T. Robertson Shirley E. Rose Jane and Richard J. Schmitt Helen Shaffer Donna Shen Nancy and Michael Shoup Rhonda and Donald Sweeney Ann and Karl Tornyos Betty Tutor Mary Ann and Bob Wilkins Jo Dee and Cliff Wright Edith and Robert L. Zinn
Partner ($500) Donna S. Scott Anthony Shou Virginia and Gage Van Horn Cyvia Wolff
Patron ($250) Honorable Frank Rynd Betty and Robert L. Schwarz Doris and William Sing Julie Anderson-Smith and Ron Smith Christine Stevens and Richard Crishock Susan Thompson Jon Totz Carol and Carl Vartian David Ashley White Nancy B. Willerson Beth Wolff Gay Yellen and Don Reiser
Friend ($120) Ginger and David Blomstrom Judy and Harry Bristol Cheryl Byington Gwyneth Campbell Debra Witter and Scott Chase Cynthia Clayton and Hector Vasquez Vicie Lee Coleman Courtney Crappell Kathryn J. Crowder Matthew Dirst Dr. Kenneth L. Euler
Spring Spring 2021 2021 Concert Concert
John R. Gealy Walter Hecht Ann T. Hendrix Barbara and Raymond Kalmans Dr. Nicole Kenley-Miller and Dr. Andy Miller Richard Kummins Connie Lewis Crista and Gary Miller Teska Moreau Susan Snider Osterberg Anni Pati
Kate and Gregory Robertson Nancy Strohmer Jon Totz Shelton M. Vaughan Eleanor and Richard Viebig Dr. Betsy and Mr. Rick Weber Sharon and Tim Whipple Tobin Wright VIP Pediatrics Anonymous (as of 3/24/2021)
Moores Society Personnel
Director ($1,000) Rita Aron Ann Ayre Thomas S. Becker and Jim Rosenfield Elizabeth Del Pico Margaret Anne Boulware and Hartley Hampton Terry Ann Brown Carla Adele Burns Darlene Clark Julie Dokell Cogan Victoria Dominguez Ann L. Faget