Fall 2024 University of Texas at San Antonio Wind Symphony
Flute / Piccolo
Hannah Benitez
Joaquin Carcamo
Jazmine Dearlove
Page De La O
Lauren Garcia
Ana Jaud (G)
Oboe
Logan Odom
Makayla Aguilar (M)
Bassoon
Jaime Viejo
Jared Worman (also Contra Bassoon)
Cl ari net
Sikander Ahmed
Joshua Avalos
Sophie Anderson
Orlando Barron
Sarah Hamm
Kenedy Lerma
Madilynne Mohr
Johanna Sanchez
Bass Cl ari net
Michael Lee Summers
Al to Saxophone
1 Gabriel Campa
2 Brianna Castilla
Tenor Saxophone
Bryson Vincent
Baritone Saxophone
Nicholas Zars
Horn
Brandon Bayer
Caleb Jones
Noe Loera
Andrew Ramirez
David Valdez (M)
Band Staff
Jordan Rodriguez - Music Librarian
Jarred Worman - Music Librarian
Trumpet
Chris Barrera
Ivan Lorduy-Camargo(GA)
Jay Hidrogo
Gustavo Medrano
Raymon Saldana(M)
Karim Vazquez
Julian Wegland
Trombone
Eva Ayala(M)
Caroline Foster(M)
Thomas Gonzalez-Mata
Bass Trombone
Javier Lopez
Euphoni um
Alex Guzman
Aiden Ramos
Tuba
Matthew Bruns
Kenyon McCrary (M)
Percussion
Matthew Aceves
Emilio De Leon (GA)
Gregory Felter
Juan Martinez
Rebecca Palmer
Mark Sawyer
Charles Settles
Doubl e Bass
Heriberto Ayma
Organ
Scott Rushforth
Piano
Pablo Ventura (G)
Harp
Nathan Sharplin
Graduate Assi stants/Band Managers
Graduate students are listed with (G) above Graduate Assistants are listed with (GA) above Band Managers are listed with (M) above
Personnel roster is listed alphabetically to emphasize the important contribution made by each musician.
R o n E l l i s serves as Director of Bands and Associate Professor of Music at The University of Texas at San Antonio. Prof Ellis conducts the UTSA Wind Ensemble, the UTSA Symphonic Band, The UTSA University Band, and the UTSA Athletic Bands. His responsibilities also include teaching graduate and undergraduate courses in conducting, wind literature, and music education. A nationally recognized guest conductor, adjudicator, and composer/arranger, his works for concert band, orchestra and choir are performed by university, community, high school and professional wind bands as well as in Carnegie Hall. He also currently serves as a music director for Walt Disney Attractions Entertainment in Orlando where he has directed the Toy Soldiers and the Student Musician Program since 1993.
He is a member of the College Band Directors National Association, Texas Music Educators Association, Texas Bandmasters Association, Florida Music Educators Association, Florida Bandmasters Association, and Phi Mu Alpha Sinfonia Music Fraternity. He is also an honorary member of Kappa Kappa Psi, Tau Beta Sigma, and Pi Kappa Lambda. Prof. Ellis received his Bachelor of Arts in Trombone Performance from the University of Central Florida and a Master of Music in Wind and Orchestral Conducting from the University of South Florida where he was a conducting student of William Wiedrich.
T h e U T S A W
The UTSA Wind Symphony is comprised of UTSA Students who have achieved an extreme high level of musicianship and who perform some of the most challenging music composed for wind band. Membership in this ensemble is open to all UTSA Students, regardless of major, who audition at the beginning of each semester. The UTSA Wind Symphony maintains a vigorous performance schedule of three demanding concerts each semester as well as an ensemble tour when schedule and budget permits.
F r o m t h e D i r e c t o r – M u s - i n g
Welcome to tonight's concert! In the following pages, you’ll find details about each piece, but I wanted to share the deeper significance behind tonight’s program.
The idea of “Go Big or Go Home” resonates throughout this program in ways that invite all of us performers and listeners alike to fully experience music in its most ambitious, electrifying, and intimate forms.
Each piece on the program connects to the idea of “going for it” of pushing beyond comfort zones, stretching the limits of the familiar, and committing to something big.
Those of you here with us tonight have an amazing role: you get to take what these incredible composers have created, maybe polished over for years, and then you get to make it come alive by receiving it. You are not passive bystanders but active participants who complete the music through your reactions. Each listener’s experience is woven into the piece and the performance.
The music, once in your ears and heart, may ignite feelings or memories unique to you, even ones the composer might never have considered. Some of you might find beauty in certain chords or feel tension and relief in places others do not. This variability this beautiful, unpredictable way music is received makes each listener a part of the creative process. In essence, they’re co-creators, too.
You can find my thoughts on each piece this evening at the end of the “official” program notes.
Compiled and edited by Ron
Ellis
Jessica Meyer is an American violist and composer.
Ms. Meyer’s compositions explore the wide palette of emotionally expressive colors available to each instrument, while using traditional and extended techniques inspired by her varied experiences as a contemporary and period instrumentalist. Since embarking on her composition career, premieres have included performances by acclaimed vocal ensembles Roomful of Teeth and Vox Clamantis, the St. Lawrence String Quartet as the composer in residence at Spoleto Festival USA, the American Brass Quintet, and by the Lorelei Ensemble for a song cycle that received the Dale Warland Singers Commission Award from Chorus America, among many others.
Her first symphonic band piece was recently premiered by the "President’s Own" U.S. Marine Band, and her orchestral works have been performed by the Phoenix, North Carolina, Charlotte and Vermont Symphonies, the Nu Deco Ensemble in Miami, at Tanglewood, and all around the country as part of Carnegie Hall’s nationwide Link Up Program. She was the winner of the second annual Ellis -Beauregard Foundation Composer’s Award to write a piece for the Bangor Symphony, and a winner of Chamber Music America’s Commissioning Program Award to write for the Argus Quartet. 2023 brought the premiere of GAEA, a concerto for herself and orchestra, as well as works for the Dorian Wind Quintet, Hausmann Quartet, Hub New Music, the Portland Youth Philharmonic in collaboration with the female vocal ensemble In Mulieribus.
As a solo performer, Meyer uses a single simple loop pedal to create a virtuosic orchestral experience with her viola and voice. Drawing from wide-ranging influences which include Bach, Brahms, Delta blues, flamenco, Indian raga and Appalachian fiddling, Meyer’s music takes audience members on a journey through joy, anxiety, anger, bliss, torment, loneliness and passion. At home with many different styles of music and an ardent collaborator, Jessica can regularly be seen premiering her chamber works, improvising with jazz musicians, or collaborating with other composer-performers.
Ms. Meyer is equally known for her inspirational work as an educator, where she empowers young musicians with networking, communication, teaching and entrepreneurial skills so they can be the best advocates for their own careers. Her workshops have been featured at the Juilliard School, the Curtis Institute of Music, for the Teaching Artists of the Philadelphia Orchestra, the Manhattan School of Music, the Longy School of Music, New York University, the Chamber Music America Conference, and at various universities around the country. For two years, she created and led a Teen Composer Intensive at New England Music Camp so that teens of all abilities can develop their craft. In 2023, she joined the viola faculty of the Manhattan School of Music.
G o B I G o r G o H O M E is an adaptation of the last movement of my string quartet Get into the NOW for the Nu Deco Ensemble in Miami. When the opportunity came up for me to make this arrangement, I wanted to both showcase what the group can uniquely do while also writing in a way that captures the spirit of what Miami inherently is.
In G o B I G o r G o H O M E , you will find hints of funk, bluegrass, and Latin while being driven by groove, virtuosity, and moments of improvisation allowing members of the group to put their own personal signature on the piece. Most importantly, it is written from a place of self-realization, empowerment, and celebration of how joyous life can be.
- Program Note by composer
Jared Worman is an American Composer.
Jared is a music education student at UTSA and the Principal Bassoonist of the UTSA Wind Symphony. He’s performed with a wide range of ensembles ranging from full orchestra to jazz combos. He got his start writing music by “pushing buttons” on his parents copy of Finale music software. In high school he began arranging stand tunes for the marching band to play and continued this into his time at UTSA. He’s done some arranging and transcribing for wind band, and his “Suddenly the Lighted Living Hills” was Jared’s first original work to be premiered for wind band instrumentation by the UTSA Wind Symphony in the Spring of 2024.
C l o u d s A b o v e T h e Mi s t y N i g h t is based on the following poem by e.e. cummings :
a connotation of infinity sharpens the temporal splendor of this night when souls which have forgot frivolity in lowliness,noting the fatal flight of worlds whereto this earth’s a hurled dream
down eager avenues of lifelessness
consider for how much themselves shall gleam, in the poised radiance of perpetualness. When what’s in velvet beyond doomed thought is like a woman amorous to be known; and man,whose here is alway worse than naught, feels the tremendous yonder for his own
on such a night the sea through her blind miles of crumbling silence seriously smiles
I wanted to evoke the scene of a clouded sea at dusk. There is much music written about sunrises but few about sunsets
- Program Note by the composer
C
Vaclav Nelhybel (VAHTS-love NEL-hee-bel) was a Czech composer and conductor.
Nelhybel studied composition and conducting at the Prague Conservatory of Music and musicology at the universities of Prague and Fribourg, Switzerland. As a student, he was already affiliated with Radio Prague as composer and conductor. At age 18, he was conducting the Czech Philharmonic as an assistant to Rafael Kubelik. By 1948, he had become active in Swiss National Radio as composer/conductor, and from 1950 to 1957 he served as co-founder and music director of Radio Free Europe in Munich. During this time, he functioned as guest conductor with numerous European orchestras, including the Vienna Philharmonic, Munich Philharmonic, Bavarian Symphony, and Orchestra de la Swisse Romande. Beginning in 1957 he lived in the United States, becoming a U.S. citizen in 1962, and was active as a composer, conductor and lecturer up to his death in 1996.
Among his many awards are the First National Prize for the best radiophonic composition (Prague, 1947); First Prize for the motion picture score to La Beaute des Formes (Paris, 1955); First Prize for the ballet In the Shadow of the Lime Tree at the First International Music and Dance Festival (Copenhagen, 1947); First Prize of the Ravich Music Foundation for the opera A Legend (New York, 1954); The "Man of the Year in Music" St. Cecelia Award (University of Notre Dame, 1968) and the United States Treasury Department Award for "Patriotic Service" (1968).
In 1962, Nelhybel received his first exposure to a concert band. He wrote: “The first band I heard played a piece by Persichetti, and it was so good I just caught fire. I was fascinated with the possibilities of what you can do with half an acre of clarinets, half an acre of flutes, and half an acre of percussion. So I said, why not try it? I did, and it seemed to open new creative channels in my mind.” It was the enthusiasm of the students that truly inspired him to compose. His music is complex and exciting; it employs linear counterpoint, freely dissonant harmonic textures, and forceful rhythms.
A common trait in the Nelhybel "sound" would seem to be a panchromatic melodic system, not serial in the dodecaphonic sense, but one which has a strong relation to one gravitational center. This relation to the 'gravitional center' generates and releases tensions which Nelhybel calls the human element in music and is the sine qua non of communication between composer and listener. He is not a revolutionary innovator. He is. rather, a synthesist, bringing all of past techniques into a harmonious entity. Nelhybel often employed thematic material from his Czech heritage.
S y m p h o n i c Mo v e m e n t is dedicated to John Paynter and the Northwestern University Band. Gill Mitchell, a former Assistant Director at The U.S. Army Band, played a recording of Nelhybel’s Trittico for Paynter, who immediately asked the composer to consider writing a work for Northwestern. Symphonic Movement arrived in the mail five days later. It is believed that Nelhybel had already started the work but was inspired to complete it. The piece was immediately popular among bands, and Nelhybel conducted the Arkansas Tech University Band in a performance at the 1967 College Band Directors National convention.
Symphonic Movement is composed in five continuous sections: Adagio, Allegro, Poco meno mosso, Allegro, and Adagio. Nelhybel described S y m p h o n i c Mo v e m e n t as “my first composition for band written completely on a symphonic level.”
He opens the work with an eerie and suspenseful introduction. Nelhybel builds the eight- note fragment that will be the foundation of the work. The piece is highly percussive in nature and features unique
material for each instrument family throughout the ensemble. The summation of this material creates a true tour-de-force, with intensity that grows until the final climax of the piece.
- Program Notes from Wind Reps and the U.S. Army Field Band
S y m p h o n y N o 4 – D a v i d M a s l a n k a
David Maslanka was an American composer.
Dr. Maslanka attended the Oberlin College Conservatory where he studied composition with Joseph Wood, and spent a year at the Mozarteum in Salzburg, Austria. He also did graduate work in composition at Michigan State University with H. Owen Reed
David Maslanka served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough College of the City University of New York. He was a member of ASCAP.
Over the past four decades, David Maslanka has become one of America’s most original and celebrated musical voices. He has published dozens of works for wind ensemble, orchestra, choir, percussion ensembles, chamber ensembles, solo instrument, and solo voice. However, he is especially well-known for his wind ensemble works. Of his nine symphonies, seven are written for wind ensemble, and an additional forty-one works include among them the profound “short symphony” Give Us This Day, and the amusing Rollo Takes a Walk Year after year, Maslanka’s music is programmed by professional, collegiate, and secondary school wind ensembles around the world.
When Maslanka wrote A Child’s Garden of Dreams, he was living in New York City and teaching music composition at Sarah Lawrence College and New York University. He was rapidly becoming interested in psychology, psychotherapy, and meditation, and was particularly captivated by the writings of Swiss psychiatrist Carl Jung. Maslanka began to incorporate self-hypnosis and lucid dreaming into his meditative exercises, which heavily influenced his musical thought. He began to notice specific symbols in his “mental landscape” that he translated into music. Today, Maslanka’s unique compositional technique is known for its emphasis on meditation, psychoanalysis, self-discovery, and the accession of one’s own subconscious energies. His search for spiritual and metaphysical discovery ultimately spurred him to leave New York City in 1990, and move to Missoula, Montana, where he lived and worked until his death.
Maslanka's works for winds and percussion have become especially well known. They include among others, A Child's Garden of Dreams for Symphonic Wind Ensemble, Concerto for Piano, Winds, and Percussion, the 2nd, 3rd, and 4th symphonies, Mass for soloists, chorus, boys chorus, wind orchestra and organ, and the two wind quintets. Percussion works include Variations of 'Lost Love' and My Lady White for solo marimba, and three ensemble works: Arcadia II: Concerto for Marimba and Percussion Ensemble, Crown of Thorns, and Montana Music: Chorale Variations. In addition, he has written a wide variety of chamber, orchestral, and choral pieces.
On this piece, the composer writes,
“The sources that give rise to a piece of music are many and deep. It is possible to describe the technical aspects of a work its construction principles, its orchestration but nearly impossible to write of its soul-nature except through hints and suggestions.
The roots of S y m p h o n y N o . 4 are many. The central driving force is the spontaneous rise of the impulse to shout for the joy of life. I feel it is the powerful voice of the Earth that comes to me from my adopted western Montana, and the high plains and mountains of central Idaho. My personal experience of the voice is one of being helpless and torn open by the power of the thing that wants to be expressed the welling-up shout that cannot be denied. I am set aquiver and am forced to shout and sing. The response in the voice of the Earth is the answering shout of thanksgiving, and the shout of praise.
Out of this, the hymn-tune Old Hundred, several other hymn tunes (the Bach chorales Only Trust in God to Guide You and Christ Who Makes Us Holy), and original melodies which are hymn-like in nature, form the backbone of Symphony No. 4
To explain the presence of these hymns, at least in part, and to hint at the life of the Symphony, I must say something about my long-time fascination with Abraham Lincoln. Carl Sandburg's monumental Abraham Lincoln offers a picture of Lincoln in death. Lincoln's close friend, David Locke, saw him in his coffin. According to Locke, his face had an expression of absolute content, of relief at having thrown off an unimaginable burden. The same expression had crossed Lincoln's face only a few times in life; when after a great calamity, he had come to a great victory. Sandburg goes on to describe a scene from Lincoln's journey to final rest at Springfield, Illinois. On April 28, 1865, the coffin lay on a mound of green moss and white flowers in the rotunda of the capitol building in Columbus, Ohio. Thousands of people passed by each hour to view the body. At four in the afternoon, in the red-gold of a prairie sunset, accompanied by the boom of minute guns and a brass band playing Old Hundred, the coffin was removed to the waiting funeral train.
For me, Lincoln's life and death are as critical today as they were more than a century ago. He remains a model for his age. Lincoln maintained in his person the tremendous struggle of opposites raging in the country in his time. He was inwardly open to the boiling chaos, out of which he forged the framework of a new unifying idea. It wore him down and killed him, as it wore and killed the hundreds of thousands of soldiers in the Civil War, as it has continued to wear and kill by the millions up to the present day. Confirmed in the world by Lincoln, for the unshakable idea of the unity of all the human-race, and by extension the unity of all life, and by further extension, the unity of all life with all matter, with all energy and with the silent and seemingly empty and unfathomable mystery of our origins.
Out of chaos and the fierce joining of opposite comes new life and hope. From this impulse I used Old Hundred, known as the Doxology a hymn to God; Praise God from Whom all Blessings Flow; Gloria in excelsis Deo the mid-sixteenth century setting of Psalm 100.
I have used Christian symbols because they are my cultural heritage, but I have tried to move through them to a depth of universal human-ness, to an awareness that is not defined by religious label. My impulse through this music is to speak to the fundamental human issues of transformation and re-birth in this chaotic time.”
- Program Note by composer
G o B i g o r G o H o m e – J e s s i c a M e y e r
Jessica Meyer’s piece feels like the unofficial theme song for tonight’s program. It's as if she crafted a wild, free-spirited musical celebration with rock, funk, and Latin influences, leading the way for a full dive into the energy of the concert. Myself and the UTSA Wind Symphony are "going big" with a piece that stretches each performer and draws listeners into a vibrant and joyful world, perfectly encapsulating the spirit of the evening.
C l o u d s A b o v e t h e Mi s t y N i g h t – J a r e d Wo r m a n
This work, composed by one of our own, bassoonist and music education student Jared Worman, epitomizes the idea of “going for it.” Jared’s journey into composition is a testament to the power of daring to pursue creative passions. His piece, inspired by the poetry of e.e. cummings, brings a scene of stillness and beauty to life showing that taking big steps often starts with quiet, personal exploration.
Being a composer is a profoundly intimate act. That’s probably why I arrange more than I compose. I’m just too insecure to put myself out there in a performance medium that I respect and love so much. You take the parts of yourself that are usually tucked away your memories, beliefs, and struggles and pour them into sound. These sounds become a vulnerable offering to others, a way to express something you can’t say outright but want people to feel, interpret, and experience. It’s not only sharing your voice; it’s risking yourself, laying out parts of your heart and mind for others to see, enjoy, and sometimes even criticize. And it’s precisely in this openness that the audience becomes so essential and extraordinary.
Jared is taking that journey, and we are here for it. Bravo Sir!
S y m p h o n i c Mo v e m e n t – V a c l a v N e l h y b e l
Nelhybel’s Symphonic Movement is a burst of kinetic energy and compositional boldness, having been composed within days for a performance by the Northwestern University Band. This work embodies the concert’s theme through Nelhybel’s audacious, urgent creative voice, exploring intense dissonance, rhythm, and counterpoint. It’s a reminder of the pioneering era when composers like Nelhybel "went big" in writing for band, helping expand the repertoire and inspire new levels of musicianship.
Vaclav Nelhybel wrote that he was inspired by Vincent Persichetti's music I can only assume what struck him also struck me when I first heard Persichetti’s music. That is the rich instrumental colors and textures, the showcasing the unique timbres of woodwinds, brass, and percussion and Persichetti’s intricate counterpoint and emotional depth surely motivated Nelhybel to explore sophisticated musical narratives that engage both performers and audiences. Like Persichetti, Nelhybel embraced experimentation and broke from convention. In my opinion, Nelhybel may have been the boldest of this era of band composers. Maybe not as visionary or creative as Husa, who was also Czech, but certainly distinct and bold.
S y m p h o n y N o . 4 – D a v i d M a s l a n k a
Maslanka’s Symphony No. 4 is the pinnacle of “going big” in the wind band world. It’s a monumental, 28 minute through-composed work, a "bucket list" piece that pushes both players and conductors to their limits. Its expansive, emotional power echoes the qualities of orchestral music we love, but written with the colors and textures unique to band. Performing this piece tonight, in the 30th anniversary year of its premier, is both a challenge and a privilege, capturing the profound depth and reach of music when we go all in.
At its core, the symphony conveys a wide range of feelings, moving from introspective moments to bursts of joy, inviting listeners on a profound emotional journey. One of its defining features is the use of the hymn tune "Old Hundred," which adds a layer of spirituality and connection that resonates deeply with audiences.
The music is rich and complex, with a mix of heavy and lighter sections that create drama and keep listeners engaged. Maslanka skillfully showcases the full range of instruments in a wind band, using various sounds and colors to enhance the experience. He also employs some unconventional techniques, encouraging performers to explore new ways to express themselves musically.
The structure of the symphony often revisits themes and ideas, creating a sense of unity and resolution as it unfolds. Maslanka plays with pacing and dynamics, building tension and excitement in a way that keeps everyone on the edge of their seats. His work reflects deep spiritual and philosophical themes, making it more than just a musical piece it's a journey that speaks to the human experience.
Finally, I firmly believe that Maslanka's collaborative spirit shines through in this piece, fostering a strong connection among the musicians. This sense of community adds an extra layer of meaning to the performance, making Symphony No. 4 not only grand in scale but also intimate in its emotional impact.
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Thank you for joining us this evening as we “Go Big or Go Home”! We hope this music moves you as much as it has inspired us.
ALL UTSA STUDENTS can make music with us!
The 350-member “Spirit of San Antonio” Marching Band is open to all UTSA students, regardless of major. Like all college bands, the group is comprised of students of various performance backgrounds. The “Spirit of San Antonio” will perform a standard pre-game show, 4-5 different halftime shows, stand tunes, and maintain UTSA traditions, while at the same time promoting a positive learning and social environment for its members. College bands strive towards being fun and spirited organizations while still achieving a quality of performance representative of the image of the university.
U T S A W i n d E n s e m b l e
The UTSA Wind Ensemble is comprised of UTSA Students who have achieved an extreme high level of musicianship and who perform some of the most challenging music composed for wind band. Membership in this ensemble is open to all UTSA Students, regardless of major, who audition at the beginning of each semester. The UTSA Wind Ensemble maintains a vigorous performance schedule of three demanding concerts each semester as well as an ensemble tour when schedule and budget permits.
The UTSA Symphonic Band is made up of 45-55 outstanding wind players who perform a repertoire chosen from a variety of historical periods and for ensembles of various sizes. While the group occasionally presents pieces composed for smaller groups, much of its time is spent in the study and performance of works from the standard symphonic band repertoire. Membership is open to all students at the university who audition at the beginning of each semester.
The UTSA University Band performs a wide variety of works from different composers and arrangers, in addition to maintaining an active three-concert schedule each semester. There is no formal audition required to participate; students must be able to read music and play a concert band instrument. Membership in the ensemble includes students from almost every discipline on campus. We invite all students interested in performing in this ensemble to come out and join us at the beginning of each semester!
Special thanks to the following for their ongoing support and dedication to the UTSA Bands:
Dr. Tracy Cowden, Director, School of Music
Dr. Stacey Davis, Associate Director, School of Music
Dr. Kasandra Keeling, Associate Director, School of Music
Naomy Ybarra, Administrative Services Officer 1
Steven Hill, Administrative Associate
Jared Davis, Senior Events Manager
Jose Berrios, Marketing Coordinator
Dr. John Zarco, Director of Instrumental Ensembles
Prof. Hector Garcia – Assistant Director of Athletic Bands
Rico Gomez, Music Program Specialist, UTSA Bands
Emilio De Leon, Ivan Lorduy Camargo, UTSA Bands Graduate Assistants
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty
Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Dr. Kasandra Keeling and Prof. Christine Debus, Keyboard Area Coordinators
Prof. Troy Peters, Director of Orchestras
Dr. Yoojin Muhn, Director of Choral Activities
UTSA School of Music Faculty
Jordan Rodriguez and Jared Worman, School of Music Librarians
UTSA Bands Managers
Mu Tau Chapter of Kappa Kappa Psi
Iota Tau Chapter of Tau Beta Sigma
UTSA Spirit of San Antonio Student Association (SOSASA)
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Wed. Oct 30th, Thu Oct. 31st, 5:00pm OcTUBAfest
Tue Nov. 5th, 7:30 pm “Aletheia” Opera featuring Abbie Connant
Wed. Nov. 6th , 7:30p Guitar Area Studio Recital
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