DARTMOUTH COLLEGE GLEE CLUB Louis Burkot director STRENGTH AND STRUGGLE IN AMERICA Sunday, November 6, 2016 • 2 pm Rollins Chapel • Dartmouth College This performance is made possible in part by the William D. 1905 and Besse M. Blatner Fund No. 1, Bruce F. Bundy 1916 Memorial Fund, Susan J. Marshall 1980 Memorial Fund, Isaacs Family Fund, Leo J. Malavasic 1942 Memorial Fund, David P. Smith 1935 Fund, Student Ensembles Fund, Paul R. Zeller Glee Club Fund and Friends of the Glee Club. The Music Department at Dartmouth College thanks Mrs. Selma Bornstein for her generous gift of Rollins Chapel’s Petrof Concert Grand Piano, given in loving memory of Dr. Murray Bornstein. presents
Transcript
DARTMOUTH COLLEGE GLEE CLUBLouis Burkot director
STRENGTH AND STRUGGLE IN AMERICA
Sunday, November 6, 2016 • 2 pm Rollins Chapel • Dartmouth College
This performance is made possible in part by the William D. 1905 and Besse M. Blatner Fund No. 1, Bruce F. Bundy 1916 Memorial Fund, Susan J. Marshall 1980 Memorial Fund, Isaacs Family Fund, Leo J. Malavasic 1942 Memorial Fund, David P. Smith 1935 Fund, Student Ensembles Fund, Paul R. Zeller Glee Club Fund and Friends of the Glee Club.
The Music Department at Dartmouth College thanks Mrs. Selma Bornstein for her generous gift of Rollins Chapel’s Petrof Concert Grand Piano, given in loving memory of Dr. Murray Bornstein.
presents
PROGRAMI am Come into my Garden from Song of Solomon William Billings (1746-1800)
Old American SongsLong Time Ago Aaron Copland (1900-1990)Simple GiftsShall We Gather at the RiverChing a Ring Ching The Promise of Living from Tender Land (Act 1)
Noriko Yasuda piano
My Soul’s been Anchor’d in the Lord Moses Hogan (1957-2003)
1. Hospitality Blues – baritone and chorus 2. The Maitre D’s Lament – baritone 3. Booker’s Place – baritone and chorus 4. Reservations – baritone 5. Death’s Dictionary – baritone and chorus 6. Waiting – baritone 7. A Glossary of Uppity – chorus 8. Pining, a Definition – baritone 9. Sundaying – baritone and chorus
Robert Honeysucker baritone and Noriko Yasuda piano
PROGRAM NOTESSome of America's most important musical compositions have been inspired by strength and struggle—either the composer’s own or something observed in the lives of others. Composer Nolan Gasser and librettist Kevin Young chose to create a work that centers on a little-known hero from our nation’s civil rights
movement. Repast: An Oratorio tells the story of Booker Wright, who led a double life in deeply segregated Greenwood, Mississippi: the most beloved member of the black waitstaff at an upscale, whites-only restaurant, he was also the owner and chef of Booker’s Place, a nightclub renowned throughout the black South for its
food and fellowship. Wright bravely spoke about the racial divide in a documentary aired on national TV in 1965, which cost him his restaurant job and his business, and may have been a factor in his murder eight years later.
I first heard about Wright in an NPR story about Gasser’s oratorio, originally written for solo baritone and piano, and commissioned by the Southern Foodways Alliance (a nonprofit based out of the University of Mississippi that examines the food culture of the American South) to commemorate the 50th anniversary of the 1964 Civil Rights Act and the desegregation of public accommodation, including restaurants. The libretto is by National Book Award finalist Kevin Young.
I was deeply moved by Wright’s story. The oratorio illustrates the “double consciousness” of African American life during the civil rights era. A man of dignity and grace, Wright spoke out about injustice and paid the ultimate price. I immediately contacted Gasser about creating a version for solo baritone plus chorus. For this performance, the Glee Club is joined by guest baritone soloist Robert Honeysucker, a Boston-based opera and concert performer of great distinction and pianist Noriko Yasuda, my longtime collaborator.
The story of Booker Wright has incredible resonance for me today, as it illuminates the discourse dominating the nation's airwaves and social media platforms. The arts have great power to effect change, and I want to help bring more attention to this story both here on the Dartmouth campus and in other communities through the commission of this new choral work.
As a prelude, I have chosen music whose composers lead the way to Gasser's pioneering composition with their own work. William
Billings, considered to be the first American choral composer, was largely self-taught; his music, although clearly reflective of the strong, spare and and plain Colonial New England ethic, shows a surprisingly tender and intimate side through his sensitive setting of these passages from the Song of Solomon. Billings choice of text reflects his times’ penchant for metrical psalms and devotional poetry. I am Come into my Garden develops three images: a sensual garden, an absent lover and a gathering of friends come to celebrate. The song begins and ends with a direct address to the absent lover.
Aaron Copland's musical compositions from the 1930s and 1940s reflect a conscious decision to create accessible "vernacular" music, often reflecting the sense of the vast American landscape and pioneering spirit.
His two sets of Old American Songs elevate the American folk song to the level of art song, with his subtle yet sophisticated use of rhythm and colorful harmony. The Promise of Living, from Act I of his opera The Tender Land—with the populist sentiments of its words and its forthright, simple melodies—has stayed in the choral repertoire for decades.
Moses Hogan's settings of American spirituals remain the sterling standard to which all future arrangers of spirituals will be compared. His exciting music is very challenging to perform since it requires both the classical techniques of vocal production as well as the ability to directly speak to the religious intensity of the text. My soul's been anchor'd in the Lord incorporates the practice of call and response from both men and women. Its syncopated, electric energy compounds as the composition progresses to a thrilling conclusion.
—Louis Burkot
PROGRAM NOTES CONTINUED
ABOUT THE ARTISTSNolan Gasser composer is a critically acclaimed composer, pianist and musicologist—most notably, the architect of Pandora Radio’s Music Genome Project and the company’s chief musicologist from its founding in 1999. His original compositions are performed frequently, and in such prestigious venues as Carnegie Hall, the Kennedy Center, Alice Tully Hall, La Salle Pleyel (Paris) and the Rose Bowl (Pasadena), among others. Key current projects include an opera, The Secret Garden, commissioned by San Francisco Opera (premiered March 1, 2013; a musical, Benny and Joon, in partnership with H2H Productions and MGM On Stage; a film score for the Lance Kinsey film, All-Stars (which is currently tearing it up in the film festival circuit); and a forthcoming book, Why You Like It: The Science and Culture of Musical Taste (Macmillan Press, 2016). Gasser is also the subject of a documentary for the ESPN-Five- ThirtyEight series, The Collectors, entitled Breaking Music Down to Its Genes, which was released in May 2015.
Among recent composition triumphs, his Repast: An Oratorio in Honor of Mister Booker Wright, commissioned by the University of Mississippi and pianist Bruce Levingston, was premiered in Oxford, Mississippi, in October 2014, was featured in an NPR story the following Thanksgiving weekend, and was performed at Carnegie Hall in April 2016 (among other venues). His opera, The Secret Garden (premiered by SF Opera to rave reviews), held its East Coast premiere with Opera Theater of Weston (Vermont) in January 2015, with numerous performances (Houston, Milwaukee, etc.) scheduled through 2017. Gasser contribut-ed to the choral/chamber work Tyler’s Suite (along with composers John Corigliano, Jake Heggie and Stephen Schwartz), which premiered at Davies Symphony Hall in March 2014, with subsequent performances in LA,
Seattle and New York; and his Sonoma Overture was premiered to glowing reviews at the opening of the new Green Music Center in Sonoma County, CA.
Cosmic Reflection: A Narrated Symphony, the second commission associated with NASA’s Fermi mission (depicting the entire history of the Universe), received its premiere at the Kennedy Center in Washington, DC; and was performed in May 2015 at Stanford University, as part of its Imagining the Universe project. The work has been recorded by the Baltimore Symphony and will be released in the near future on Naxos Records; a full-length, professional video is also in the works.
Gasser’s musical Benny & Joon entered work-shop in fall 2015, with two productions (NY, off-Broadway and Chicago) scheduled in 2016.
Outside of composition, Gasser is the chief musical architect of the Music Genome Project, the musical technology behind Pandora Radio, now with over 250 million subscribers in the US alone. He lectures widely at various public and private forums on the nature of musical taste and the intersection of music and science, including TEDx talk in November 2015. Gasser is also overseeing the Impact Genome Project for the Chicago-based company Mission Measurement. He received his Ph.D. in musicology from Stanford University, where he has been an Adjunct Professor in Medieval–Renaissance Music History. As a pianist, Gasser performs and records as a soloist; with his own jazz quartet, the San Francisco Jazz Quartet; and with such marquee artist as Steve Miller. He studied composition in Paris (and Fontainebleau) with Betsy Jolas, Gilbert Amy and Tristan Murail; at NYU with Menachem Zur; and at California
ABOUT THE ARTISTS CONTINUEDState University, Northridge, with Aurelio de la Vega. He lives with his wife and two children in Petaluma, CA.
Kevin Young librettist (born November 8, 1970) is an American poet and teacher of poetry. Young graduated from Harvard College in 1992, held a Stegner Fellowship at Stanford University (1992–1994) and received his Master of Fine Arts from Brown University. While in Boston and Providence, he was part of the African American poetry group the Dark Room Collective. He is heavily influenced by the poets Langston Hughes, John Berryman and Emily Dickinson, and by the artist Jean-Michel Basquiat. Young is the author of Most Way Home, To Repel Ghosts, Jelly Roll, Black Maria, For The Confederate Dead, Dear Darkness and editor of Giant Steps: The New Generation of African American Writers, Blues Poems, Jazz Poems and John Berryman’s Selected Poems.
His poem Black Cat Blues, originally published in The Virginia Quarterly Review, was included in The Best American Poetry 2005. Young’s poetry has also appeared in The New Yorker, Poetry Magazine, The Paris Review, Ploughshares and other literary magazines. In 2007, he served as guest editor for an issue of Ploughshares. He has written on art and artists for museums in Los Angeles and Minneapolis.
His 2003 book of poems Jelly Roll was a finalist for the National Book Award. Young was named a Guggenheim Foundation Fellow in 2003, as well as an NEA Literature Fellow in Poetry.
After stints at the University of Georgia and Indiana University, Young now teaches writing at Emory University, where he is the Atticus Haygood Professor of English and Creative Writing, as well as the curator of the Raymond
Danowski Poetry Library, a large collection of first and rare editions of poetry in English.
Beginning in the late fall of 2016, Young is serving as the Director of the Schomburg Center for Research in Black Culture at the New York Public Library.
Robert Honeysucker baritone, honored as 1995 Musician of the Year by the Boston Globe, and winner of the National Opera Association Artists Award, is recognized internationally for his brilliant opera, concert and recital performances. His voice has inspired critical acclaim: “powerful, passionate and plaintive...a voice that possesses great richness and warmth.” Honeysucker has also been a recipient of the New England Opera Club Jacopo Peri Award; was the first recipient of the Distinguished Artist Alumni Award in Music from Miami University (Ohio) in 2012, and was selected as the first Member of Tougaloo College National Alumni Association Hall of Fame in Music in 1992.
Honeysucker has delighted audiences in performances of over 40 opera roles, which include the legendary roles of Amonasro, Escamilio, Ezio, Figaro (Barber of Seville), Germont, Iago, Jake, Porgy, Renato, Rigoletto and Sharpless with such companies as Boston Lyric Opera, Connecticut Opera, Delaware Opera, Eugene Opera, Fort Worth Opera, Knoxville Opera, Lake George Opera, Opera Boston, Sacramento Opera, Tulsa Opera, Tacoma Opera, Syracuse Opera and Utah Opera. Overseas, Honeysucker has performed at Theatre des Westens in Berlin, Mercury Theater in Auckland, New Zealand and Brucknerfest in Linz, Austria.
Over the course of his long and distinguished concert career, Honeysucker has performed in
ABOUT THE ARTISTS CONTINUEDthe Persian Gulf, under the direction of Cesare Alfieri (Assistant Conductor at La Scala, Milan), and in numerous concerts in Europe, Australia and New Zealand. He made his London recital debut in 2009 at Wigmore Hall, performing songs of Charles Griffes, and his Tokyo recital debut in Tokyo Opera City Recital Hall, singing works by American composers. Honeysucker was soloist in Meechem’s Song of the Slave and Ellington’s Sacred Service with the University of Missouri Chorus and Jazz Orchestra; Elijah with Handel and Haydn Society, directed by Christopher Hogwood; the world premiere of Howard Frazin’s The Voice of Isaac; Missa Solemnis with the Northwest Bach Festival Orchestra (Spokane, WA), directed by Gunther Schuller; Charles Ives’ General William Booth Enters into Heaven with the Pittsburgh Symphony, directed by Michael Tilson Thomas at Great Woods Performing Arts Center; Aaron Copland’s Old American Songs with Flagstaff Symphony Orchestra, Harold Weller, conductor; Carmina Burana with Roanoke Symphony Orchestra, under the direction of David Wiley; Omaha Symphony Orchestra, conducted by Bruce Hangen; and Hodie (Vaughn Williams) with the Utah Symphony and Mormon Tabernacle Choir, directed by Keith Lockhart, which was televised on PBS. He has also performed with Detroit Symphony, conducted by Raymond Harvey, St. Louis Symphony, Long Island Philharmonic, Portland Symphony Orchestra (Maine) and Sacramento Symphony Orchestra, among others. Engagements in Japan have featured him as soloist with Sapporo Symphony, Osaka Philharmonic and Tokyo Philharmonic in Beethoven’s Ninth Symphony; soloist with the Tokyo Symphony in Handel’s Messiah; The Telemann Chamber Orchestra (Osaka) in Bach’s Christmas Oratorio, with Jeffrey Rink,
conductor; and the Kansai Chamber Orchestra in Kobe and Kyoto in performance of Handel’s Messiah and Bach cantatas. Honeysucker has enjoyed many performances with the Boston Symphony Orchestra, including Frazier in Gershwin’s Porgy and Bess, with Bramwell Tovey; Capadocian in Salome, with Andris Nelsons; Second Prisoner in Beethoven’s Fidelio, conducted by James Levine; Keeper of the Madhouse in Rake’s Progress, with Seiji Ozawa. He has appeared as bass soloist in Beethoven’s Ninth Symphony, in celebration of Seiji Ozawa’s twenty-fifth season as music director. Honeysucker was the baritone soloist in All Rise (Winton Marsalis), conducted by Kurt Masur at Symphony Hall, with a repeat performance at Tanglewood; and he has sung Copland’s Old American Songs, conducted by Marin Alsop. Among his many appearances with the Boston Pops, he has sung at the Fourth of July concerts on the Esplanade, conducted by John Williams and Keith Lockhart. He has also performed under the directions of Harry Ellis Dickson and Grant Llewellyn. Discography includes performances on five Videmus discs: Music of William Grant Still (New World), Watch and Pray (Koch Internation-al), More Still (Cambria), Highway 1, USA (William Grant Still) (Albany Records) and Good News (Videmus Records). Let’s Have a Union, with The Jubilee Trio, has recently been released by Brave Records. Honeysucker is also featured on the Centaur, Ongaku and Titanic labels.
Honeysucker is a member of Videmus, as well as a member and co-founder of the Jubilee Trio, which presents American art songs, including those of under-performed African American composers. He is also a member of the voice
ABOUT THE ARTISTS CONTINUEDfaculties at The Boston Conservatory and The Longy School of Music of Bard College.
Noriko Yasuda piano began her career in Osaka, Japan, as an accompanist with the Osaka Philharmonic Orchestra and Osaka College of Music Opera House. In that capacity she worked with Seiji Ozawa, Toru Takemitsu, Luciano Pavarotti, Kiri Te Kanawa and Alfred Kraus, among others.
Since she moved to the US in 1993, she has worked with Grant Llewellyn, Harry Christo-phers, John Nelson, Stephen Lord, John Finney, Jeffrey Rink, F. John Adams, Martin Pearlman and Louis Burkot. She has been invited as a guest accompanist for master classes with Jose Van Dam, Mignon Dunn, Jerry Hadley, Shirley Verret, Joseph Colaneri, Betty Buckley, Sharon Daniels, Donna Roll and Louise Toppin.
An active vocal coach and accompanist in the Boston area, she has worked with Boston Lyric Opera, Boston Baroque, Handel and Haydn Society, Chorus Pro Musica, New England String Ensemble and La Donna Musicale. Her credits as opera continuo are Le Nozze di Figaro, Don Giovanni, Cosi Fan Tutte, L’Elisir D’Amore, Il Barbiere di Siviglia, La Cenerentola, Orontea, Alcina, Xerxes and Dido and Aeneas.
Currently, she is the principal coach at Longy Opera Workshop and Opera North and staff accompanist/coach at the Boston University Opera Program. In 2009 she received the George Seaman Excellence in Teaching Awards from Longy School of Music of Bard College. She and her husband, baritone Robert Honeysucker, regularly travel to Japan to give master classes. They had been invited by Osaka College of Music, Kobe Women’s College Doshisha Women’s College, and Osaka
University of Fine Arts, where she is on the visiting faculty.
Louis Burkot director received Dartmouth College’s Distinguished Lecturer award in the spring of 2000 for his work in vocal instruction in the Department of Music. Richard Dyer of the Boston Globe has praised Burkot’s work as an operatic conductor as “first-rate, capable, and stylish,” and Opera North News has noted that his conducting “sparkles with verve and sensitivity to the needs of singers.” Under Burkot’s tutelage, many Dartmouth students have continued their musical studies at New England Conservatory, Boston University, Indiana University, Cincinnati Conservatory and others. Burkot’s conducting studies included the Yale School of Music, the Aspen Music Festival and the Houston Grand Opera. He is also artistic director of Opera North. In addition, he gives master classes in vocal repertoire at music schools and conservatories throughout the United States.
The Dartmouth College Glee Club is a group of 40+ serious choral singers, led by Louis Burkot since 1981. Its ever-increasing repertory spans four centuries, with a distinguished performance history including many of the masterworks of choral-orchestral literature, fully staged Gilbert and Sullivan operettas with all-student casts, large and small a cappella works and the cherished songs of Dartmouth College. Performances have included many of the most important choral/orchestral masterworks performed with orchestra, Six Madrigali of Morten Lauridsen and a fully staged and choreographed performance of Purcell’s Dido and Aeneas performed with the Arcadia Players, a Baroque period instrument orchestra. In addition, the Glee Club regularly tours during spring break.
DARTMOUTH COLLEGE GLEE CLUBLouis Burkot director
SopranoMarielle J. Brady ‘17 Isabelle S. Brick ‘20Ann M. Carpenter ‘19Margaret M. Cross ‘19Tara E. Gallagher ‘19Justine M. Goggin ‘18Alyssa J. Gonzalez ‘17 Michelle E. He ‘19Min Jee Kim ‘17Soomin Kim ‘20Camilla P. Tassi GR
Mezzo SopranoAbigail J. Buckley ‘19Meghan B. Chamberlain ‘18Sofia L. Greimel-Garza ‘18Alanna C. Kane ‘17Min Ji Kwon ‘17Caitlin N. McGrail ‘20Eleanor S. Mitchell ‘20 Elizabeth H. Nguyen ‘20Sarah K. Petroni ‘18Amanda G. Royek ‘19
TenorSe Hyuk Bang ‘19John P. Kotz ‘19Ryan P. Schiller ‘17 Owen W. Stoddard ‘18Guangyu Xia GR
Baritone/BassZeke M. Baker ‘20Joshua S. Cetron ‘16Kevin A. Hoffer-Hawlik ‘19 James F. Heckethorn ‘18Myung Chang Lee ‘18 Benjamin C. Nesselrodt ‘19Benjamin W. Rutan ‘17Ruichen Yang ‘20
Min Jee Kim ‘17, Susana Kwon ‘17 presidents
GR=Arts and Sciences Graduate Student
DARTMOUTH COLLEGE WIND ENSEMBLE
fri NOV 11 • 8 pm • SPAULDING AUDITORIUM
Follow the wind band through 100 years of change, from 19th-century outdoor military bands and ragtag village groups, to the sleek, sophisticated concert-hall ensembles after World War II.
For tickets or more info, call the Box Office at 603.646.2422 or visit hop.dartmouth.edu. Share your experiences! #HopkinsCenter
Check out our blog!
hopbackstage.org
HOP BACKSTAGEAn insider’s view of the Hop,
by Dartmouth students and staff
VILLIERS QUARTET with SALLY PINKAS piano
sat NOV 12 • 8 pm • ROLLINS CHAPEL
Program includes works by Purcell, Sibelius, Saxton and, with pianist Sally Pinkas, Frank Bridge’s Piano Quintet in D minor.
HANDEL SOCIETY OF DARTMOUTH COLLEGE
tue NOV 15 • 7 pm • SPAULDING AUDITORIUM
Program includes Leonard Bernstein’s Chichester Psalms, the world premiere of Dominic DiOrio’s I Tell the Story and works by Arvo Pärt.
MARK MORRIS DANCE GROUP & THE SILK ROAD ENSEMBLELAYLA AND MAJNUN
fri JAN 6 • 8 pmsat JAN 7 • 2 & 8 pm • THE MOORE THEATER
An ancient love story makes a rare Western appearance in this stunning new chamber opera.
DARTMOUTH COLLEGE GLEE CLUB
sat FEB 18 • 3 pm • TOP OF THE HOP Program explores English madrigals for small ensembles; music from Purcell’s masque The Fairy Queen, based on A Midsummer Night’s Dream; and Handel’s Semele, part of the flowering of secular vocal arts in England in the 17th and 18th centuries.
For tickets or more info, call the Box Office at 603.646.2422 or visit hop.dartmouth.edu. Share your experiences! #HopkinsCenter
FREE
D A RT M O UTHRECYCLES
If you do not wish to keep your playbill, please discard it in the recycling bin provided in the lobby. Thank you.
Assistive Listening Devices available in the lobby.
R
Please turn off your cell phone inside the theater.
Jay Cary ‘68, T’71 Business and Administrative Officer Joseph Clifford Director of Audience Engagement
Margaret Lawrence Director of Programming
Joshua Price Kol ‘93 Director of Student Performance Programs/ Interim General Manager Sydney Stowe Acting Director of Hopkins Center Film
HOPKINS CENTER DIRECTORATE
Maria Laskaris ‘84 Interim Director
HOPKINS CENTER BOARD OF OVERSEERS
Austin M. Beutner ’82, P’19 Kenneth L. Burns H’93
Barbara J. Couch Allan H. Glick ’60, T’61, P’88, GP’19
Barry Grove ’73 Caroline Diamond Harrison ’86, P’16, P’18
Kelly Fowler Hunter ’83, T’88, P’13, P’15, P’19
Robert H. Manegold ’75, P’02, P’06Michael A. Marriott ’84, P’18Nini MeyerHans C. Morris ’80, P’11, P’14 Chair of the Board Laurel J. Richie ’81 Trustee RepresentativeRobert S. Weil ’40, P’73 HonoraryJennifer A. Williams ’85
Kate Adams, Advisor on Student RelationsKeely Ayres, Senior Production ManagerRebecca Bailey, Publicity CoordinatorLouis Burkot, Jr., Director, Glee Club Todd Campbell, Production Manager Mora Cantlin, Audience Engagement Assistant Sarah Case, Theater Department Academic AssistantAileen Chaltain, Senior Box Office Manager Filippo Ciabatti, Director, Dartmouth Symphony OrchestraJanet Collins, Woodworking Assistant InstructorWalter Cunningham, Director, Gospel ChoirMegan Dean, Business Office AssistantMargaret Devine-Sullivan, Theater Department AdministratorAnn Marks DiLalla, Community Venture Initiative CoordinatorTerry Duane, Marketing Studio ManagerRobert Duff, Director, Handel SocietyGregory Elder, Woodworking Instructor/DirectorJohanna Evans ‘10, Acting Manager, Hopkins Center Film Crystal Fielding, Piano & Keyboard Technician Sherry Fiore, Donor Relations Officer Corey Fitch, Digital Content CoordinatorMary Gaetz, Outreach Coordinator Sean Gao ‘13, Coordinator of Student ProgramsJeff Georgantes, Jewelry/Metals Instructor/DirectorDonald Glasgo, Director, Barbary Coast Jazz EnsembleDavid Haggerty, Master Technician
Mark Hanneman, Production ManagerAbbey Harlow, Membership Program Coordinator Case Hathaway-Zepeda ’09, Jewelry Artist-in-ResidenceLisa Hayes, Assistant Director for FacilitiesRyan Hebert, Box Office ManagerSarah Heimann, Assistant Ceramics InstructorKaren Henderson, Programming AssistantTodd Hendricks, Master Technician John Heginbotham, Dance Artist-in-ResidenceKerry Keegan, Box Office AssistantIngrid Knudsen, Business SpecialistStephen Langley, Ensembles AssistantLaura Larrick, Advisor on Student RelationsKevin Malenda, Master Technician Matthew M. Marsit, Director, Wind Ensemble/Marching Band Patti Moffitt, Executive Assistant to the Director Stephanie Pacheco, Outreach Manager Sally Pinkas, Pianist-in-ResidenceJean Reichert, Operations AssistantAshlee Robinson, Marketing Studio Graphic DesignerColin Roebuck, Master TechnicianEden Sabala, Events ManagerHafiz Shabazz, Director, World Music Percussion EnsembleErin Smith, Outreach CoordinatorJenny Swanson, Ceramics Instructor/DirectorBrandea Turner, Senior Events ManagerSarah Westney, Production Office Business Coordinator Patrick Wilkinson, Box Office Manager
