ZARTFeaturing Mozart'sClarinet Concerto

and Requiem .

7:30 p.m,,.'Koger Center for the Arts

use SymDonald Portnoy, conductor

Joseph Eller,clarinet

YanaEminovaSOPRANO

Jennifer LuikenMEZZO-SOPRANO

Jaeyoon KimTENOR

Jacob WillBASS

Tonight's concert is sponsored by Ms. Patricia Lampton

PROGRAM

Concerto in A Major for Clarinet, K. 622AllegroAdagioRondo: Allegro

Wolfgang Amadeus Mozart(1756-1791)

JosephEller. clarinet

Thi performance of the Mozart Clarinet Concertois dedicatedto thememory of JamesPtitcnerd.former clarinet professor at USC,whopassedawayonDecember5, 2005.

Intermission

Requiem, K. 626RequiemundKyrieDies iraeTubamirumRextremendaeRecordareConfutatisLacrimosaDomine jesuHostiasSanctusBenedictusAgnusdei

Wolfgang Amadeus Mozart

YanaEminova.sopranoJennifer Luiken. mezzo-soprano

JaeyoonKim. tenorJacobWill. bass

1bnjghts meats sponsor is Bl 06.7 WTCB ~'l?_:!~6.7PROGRAM NOTES

Concerto in A Major forClarinet, K. 622

WolfgangAmadeusMozart(October 1791)

Mozart wrote this magnificent workfor his clarinetist friend Anton Stadler.basing the first movementonwhat wasoriginally intended as a concerto forbassethorn. Theclarinet wasarelatively

new item when the present concertowas composed. and as such was stillthe subject of various experiments byenterprising players. As it happens.Stadler.togetherwith instrument makerTheodor Lotz. had recently designedaclarinet (nowcalled a "bassetclarinet")whose range extended lower than theusual instrument by four semitones.reaching to written c (soundingA). and

Mozart employed these lowest notes inhis concerto. But when the concertowas first published in 1801, it hadalready been (anonymously) modifiedfor a clarinet without the extendedrange by shifting those passages withthe lowest notes into the upper octave.Since Mozart's autograph does notsurvive, his original version has beenreconstructed by others. Nevertheless,as modern clarinets do not, unlessmodified, have the lower range of thebasset clarinet, it is still common tohear the 1801 arrangement.

Throughout the Clarinet Concerto,Mozart exploits the clarinet's largerange and ability to leap wide intervalssecurely, offering a smorgasbordof theinstrument's possibilities and varyingtone colors in the handsof a fine player.Thefirst movementhasmarch elements(commontime,Allegro, with somedottedrhythms). and displays the virtuosicside of the clarinet's character. ThesecondmovementAdagio, on the otherhand, shows the instrument's lyrical,song-like capabilities in what soundsmuch like an ornamented operaticaria. The final movementis (with somedarker turns) a good-tempered giguein 6/8. As a matter of interest (sinceMozart wrote for the clarinet in A).Colin Lawson notes that clarinets in Awere described during the 18th centuryas sweet, gentle, and pastoral, evenwhile the key of A major was frequentlyseen as a bold and bright key. (TheBb instrument was on the other handheard as strong andmajestic.)

Requiem, K. 626WolfgangAmadeusMozart

(completed by Franz Silssmayr)

In the summer of 1791, Mozart wasrequested to composea Requiem for aparty whowished to remain anonymous.Thispartywas CountWalsegg-Stuppach,

whose habit it was to commissionpieces from various composers, thenhave them played before his friendsand in the process accept credit forwriting the works himself. In thisparticular case the Count wanted aRequiem for his wife, who had died inFebruary of 1791. Mozart's work onthe Requiem was delayeduntil the fallby the composition of various pieces(including The Magic Flute and theClarinet Concerto). When he beganwork in earnest, the composer was,according to his wife Constanze,happyto beworking on the piece. But Mozartdid not live to finish the Requiem, andtowards the end of his life Constanzesaid that he came to think that he waswriting it for himself.

So what was the cause of Mozart'ssuddenserious illness in late Novemberand subsequent death on December5? Unlike the old tale repeated in thepopular play and movie Amadeus (aninteresting production but terriblehistory), court composerAntonio Salieridid not kill Mozart. While doctorsinterested in music have concoctedmany possible causes of death basedon bits of evidenceor pseudo-evidence,and while the truth can probably nowneverbeknown for certain, the causeofMozart's deathwas listed byhis doctorsas "acute military fever" ("military"referring to a type of rash). which hasbeen interpreted as severe rheumaticfever. One of his doctors, who onbeing summoned from a theatricalperformance refused to attend Mozartuntil the performance was over, gavethe composer a cold compress, theshock of which seemsto havehastenedhis demise.

In any case, part of the Requiem asoriginally completed is not by Mozartbut by his friend and (possibly justoccasional) pupil Franz Siissmayr. AsCount Walsegg-Stuppach had offered

just half of the commission in advanceand as Mozart had earned much butspent freely in the year before hisdeath, Constanze needed the secondhalf of the payment, Hence she firstapproached Mozart's pupiJ JosephEybler, whom Mozart had held in highregard as a musician, and who agreedto complete the work, Yet after addingsome orchestration Eybler quicklyhanded the Requiemback and only afterasking others did Constanze approachSussrnayr. There is considerabledispute about the extent of Stlssrnayr'swork, but it is clear that Mozart himselfcompleted in its entirety (all parts andorchestration) just the first movement,"Requiem aeternam" (Introit), Forthe Kyrie, the Sequence: Dies irae(up through the eighth measure of the"Lacrirnosa"), and for the Offertorium,Mozart wrote the vocal parts andthe instrumental bass, sometimesindicating what he wanted in termsof orchestration; the orchestrationwas largely completed by Stissmayr(although some is the work of others).Siissmayr said that he composedthe Sanctus, Beneaictus. and AgnusDei entirely on his own, and that hecompleted the "Laorimosa" (Constanzealso reported that the Sanctus wasentirely Sussmavrs), and it is true thatthere is no material in Mozart's hand forthese movements. Nevertheless, somecritics have suspected that he may havehad some sketches from which to workin the Agnus, and just possibly even forthe other movements which Stissmayrsaid he composed alone. On Mozart'sinstructions, Siissmayr repeated theKyrie fugue to end the final movement(Communio), and he employed part ofthe Introit preceding the Kytie fuguefor the opening of this same movement("Lux aeterna").

No matter what the extent ofSussmayrs contribution, his completion

of the Requiem has been attacked forbeing pedestrian, and for violatingcommon rules of 18th-century musicalgrammar (such as prohibitions againstparallel octaves and consecutive fifths).For these reasons it became somethingof a game in the late 20th century forsome Classic period specialists toremove what seemed to be by Sussmayrand substitute newly composed andorchestrated music "in the style ofMozart." It could however be arguedin favor of the Stissmayr version, whichis performed this evening, that it isunwarranted hubris to assume thatone can provide for the RequiemwhatMozart himself did not write, and thatSiissmayr himself did so only on urgentrequest from the composer's widow.Moreover, Stissmayr was in touch withMozart at the time of composition,and his music is, no matter whatone's opinion of its quality, genuinelyof the late 18th century and stronglyassociated with the completed Requiem.However, a sketch of Mozart's for theinitial sixteen measures of an "Amen"fugue-seemingly for the end of theSequence:Dies irae-has been found,at a point at which Stissmayr wrote asimple cadence; this fugue has beenreconstructed for some performances.

The Requiem alternates styles, ina manner common for church musicin the Classic period. For instance,the "learned style" associated withchurch music, which features imitationbetween parts (as in a fugue), isbrilliantly displayed in the Kytie, while amore theatrical, operatic, style appearsin, e.g., in the vocal solos of the "Tubamirum" (where, as is usual in German­language works, a trombone ratherthan a trumpet introduces the LastJudgment), and there are other styles aswell, as in the turbulent choral outburstat the beginning of the Sequence: Diesirae. As always, a good way to listen is

with Latin text and translation in hand,noticing the careful way in which Mozarthas matched music to the meaning ofthe text. It might also be of interest,having heard earlier sections of theRequiem which are certainly by Mozart,

to see if the Sanetus and Betiedictus, inparticular, sound as if they are his workor another's.

Mark A. Leach, Ph.D.February 2006

TRANSLATIONMozart Requiem Text

NO.1. Chorus and Soloists (Adagio -- Allegro -- Adagjo)

Requiem aeternam dona els, Domine,et lux perpetua luceat.

Tedecet hymnus, Deus, in Slon, ettibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omniscaro veniet.

Kyrie eleison.Christe eleison.Kyrie eleison.

No.2. Chorus (Allegro assai)

Dies irae, dies ilia,Solvet saeclum in favilla,TesteDavid cum Sibylla.

Quantus tremor est futurus,Quando Judex est venturus,Cuncta stricte discussurus!

No.3. Soloists (Andante)

Tuba mirum spargens sonum,Per sepulchra regionum,Coget omnes ante thronum.

Mors stupebit et natura,Cum resurget creatura,Judicanti responsura.

Liber scriptus proferetur,In que totum continetur,Undemundus Judicetur.

Grant them eternal rest, Lord,and let perpetual light shineupon them.

Thou art praised, God, in Zion,and unto thee will a vow be paidin Jerusalem.

Hear my prayer; unto thee all fleshshall come.

Lord, have mercy upon us.Christ, have mercy upon us.Lord, have mercy upon us.

Day of wrath, that day, the worldwill dissolve in ashes, asprophesied by David and the Sibyl.

How great a trembling there will bewhen the Judge will appear andscatter all things!

The trumpet, sending its wondroussound throughout the tombs ofevery land, will gather all beforethe throne.

Death and nature will be astoundedwhen all creation rises again toanswer to the Judge.

A written book will be brought forth,in which everything will be containedbywhich the world will be Judged.

Judex ergo cum sedebit.quidquid latet. apparebit.Nil inultum remanebit.

And when the Judge takes his place.whatever is hidden shall be mademanifest; nothing will remain un­punished.

What shall a wretch such as I saythen? Of what patron shall I askhelp when the righteous are scarcelysecure?

Quid sum. miser tunc dicturus?Quem patronem rogaturus.Cum vix justus sit securus?

No.4. Chorus (Grave)

Rex tremendae majestatis.Qui salvandos salvas gratis.Salva me. fons pietatis!

Kingof terrible majesty. who freelysaves those worthy to be redeemed.save me. Source ofMercy.

No.5. Soloists (Andante)

Recordare. Jesu pie.Quod sum causa tuae viaeNeme perdas ilia die.Quaerens me. sedisti lassus.Redemisti crucem passus:'Iantus labor non sit cassus.

Juste Judex ultionis.Donum fac remissionisAnte diem rationis.Ingemisco tamquam reus.Culpa rubet vultus meus:Supplicanti paroe, Deus.QuiMariam absolvisti.Et latronem exaudisti.Mihiquoque spem dedistiPreces meae non sunt dignae.Sed tu bonus fac benigne.Ne perenni cremer igne.Inter oves locum praesta.Et ab haedis me sequestra;Statuens. in parte dextra.

Remember. merciful Jesus. that I amthe cause of thy Journey on earth;let me not be lost on that day.Seekingme. thou has sat downweary;thou who suffered on the cross hastredeemed me; may such great effortnot prove in vain.

Just Judge ofVengeance. giveme thegift of redemption before the dayof reckoning.I moan as one accused; my countenanceis flushed with guilt, 0 GOd.spare the suppliant.

Thouwho hast absolved MaryMagdalene and inclined thine ear tothe Thiefhast given me hope also.Myprayers are not worthy; but. GoodOne. have thou mercy. lest I burnin everlasting fire.

Giveme a favored place among thesheep and separate me from thegoats. keeping me on thy righthand.

No.6. Chorus (Andante)

Confutatis maledictis.Flammis acribus abdictis.Vocame cum benedictis.

When the cursed are confounded andassigned to bitter flames. callme among the blessed.

Oro supplex et accllnls.Cor contritum quasi oinls.Gere curam mei finis.

No 7. Chorus (Larghetto)

Lacrymosa dies ilia!Qua resurget ex favillaJudicandus homo reus.Huic ergo parce, Deus.

Pie Jesu, Domine,Dona eis requiem. Amen.

No.8. Chorus and Soloists (Andante)

Domine Jenu Chnste, Rexgloriae,libera animas omnium fidelium de­functorum de poenis inferni, etde profundo lacu. Libera eas deore leonis, ne absorbeat eas tar­tarns. ne cadent in obscurum: sedsignifer sanctus Michael, repre­sentet eas in lucem sanctarn:

Quam olim Abrahae promisisti, etsemini eius.

No.9, Chorus (Larghetto -- Andante)

Hostias et preces tibi, Domine,laudis offerimus; tu suscipe proanimabus lllls, quarum hodie memor­iam Iactmus: fac eas, Domine, demorte transire ad vitam;

Quam olim Abrahae promisisti, etsemini eius.

No. to. Chorus (Adagio --Allegro)

Sanctus, sanctus, sanctus,Domine Deus Sabbaoth,Pleni sunt coeli et terra gloriatua.

Hosanna in excelsis.

I pray, suppliant and kneeling, myheart contrite as ashes; take intothy care my ending.

That day will be one of weeping,on which shall rise again fromashes accused man, to be Judged.therefore, spare him, God.

Merciful Lord Jesus, grant them rest.Amen.

Lord Jesus Christ, King of Glory,deliver the souls of all the faithfuldead from the punishment of helland from the deeplake.Deliver themfrom the lion's mouth; let not hellswallow them; let them not fall intodarkness; but let St. Michael, thestandard-bearer, bring them into theholy light;

Which once thou didst promise toAbraham and his seed.

Offerings of prayer and praise webring thee, 0 Lord; receive them forthose souls whom today wecommemorate. Let them go fromdeath into that life;

Which once thou didst promise toAbraham and his seed.

Holy, holy, holy,Lord God of Hosts,Heaven and earth are full of thyglory.

Hosanna in the highest.

No. 11. Chorus and Soloists (Andante -- Allegro)

Benedictus qui venit in nomineDomine.

Hosanna in excelsis.

Blessed is he that cometh in thename of the Lord.

Hosanna in the highest.

No. 12. Chorus and Soprano (Larghetto --Adagio --Allegro --Adagio)

Agnus Dei, qui tollis peccata mundi:dona eis requiemAgnus Dei, qui tollis peccata mundi:dona eis requiem sempiternam.

Lux aeterna luceat els, Domine,Cum sanctis tuis in aeternum,quia pius es.

Requiem aeternam dona eis, Domine

Et lux perpetua luceat eis.Cum sanctis tuls in aeternum, quiapius es.

Lamb of God, that takest away thesins of the world, grant them rest.Lamb of God, that takest away the sinsof the world, grant them rest everlasting

Let eternal light shine upon them,Lord, and upon thy saints forever,for thou art merciful.

Grant them eternal rest, Lord,

And let perpetual light shine upon them.And upon thy saints forever, for thouart merciful.

BIOGRAPHIES

Donald PortnoyConductor!Music Director

Donald Portnoy isuniversally recognizedas one of America'sdynamic and inspiringsymphony orchestra

conductors. He holds the Ira McKiSSickKoger Endowed Chair for the Fine Artsat USC. He is also founder and direc­tor of the Conductors Institute of SouthCarolina, an institution that annuallyattracts conducting students and profes­sionals from around the world to the USCcampus in Columbia for three weeks ofintensive podium work with full orches­tra under the watchful eyes of many ofthis country's noted teachers and com­posers. In recent years, the Institute has

spread its wings. There is now a weekof opera training at the Spoleto Festivalin Charleston and two weeks in Beijing,China and Buenos Aires, Argentina.

As a violinist, Dr. Portnoy per­forms regularly with the ensemble hefounded, the American Arts Trio. Healso teaches conducting and violin inthe School of Music at the University ofSouth Carolina.

Dr. Portnoy has earned fame asguest conductor of orchestras here andabroad. His reputation prompted hishiring as music director and conduc­tor of the Augusta, Georgia, SymphonyOrchestra. He is now in his fourteenthyear on that podium. He has also beenthe guest conductor of orchestras inPittsburgh, Buffalo, Baltimore, Savan­nah, and Charleston.

On the international circuit Dr. Port­noy is a regular. His acclaimed appear­ances overseas have included concertsin Argentina, Brazil, China, France,Germany, Poland, Russia, and SouthKorea. The China Opera and DanceSymphony in Beijing and the HarbinOrchestra has appointed him theirprincipal guest conductor for the nexttwo years.

Maestro Portnoy received ColumbiaUniversity's 2004 Ditson ConductorsAward for his commitment to the per­formance of works by American Com­posers. He is also the recipient of the

Greater Augusta Arts Council's 2004Individual Artist Award.

Dr. Portnoy is a graduate of theJuilliard School. He received his M.A.from Catholic University of America andhis D.M.A. from Peabody Conservatory.He was music director and conductorof the Pittsburgh Opera Theater andthe Pittsburgh Civic Symphony, and forfour years, he wore the uniform of theUnited States Marines as a member ofthe U.S. Marine Band-the orchestralpart of the organization that playedfor all of the white tie White Housefunctions in Washington, D.C.

Neil CaseyAssistant Conductor

Neil Casey, assis­tant conductor of theUSCSymphony, is alsothe assistant conduc­tor of the AugustaSymphony. This sea­

son also marks Mr. Casey's first seasonas Music Director/Conductor of theStatesboro - Georgia Southern Sym­phony, as well as the principal guestconductor of the Armstrong AtlanticYouth Orchestra in Savannah, Georgia.An active guest conductor, Mr. Caseyhas appeared with the Savannah Sym­phony, Charleston Symphony, SouthCarolina Philharmonic, Fort WaynePhilharmonic, Knoxville Symphony, Spo­kane Symphony, Karelian Philharmonic(in Petrazovodsk, Russia), NewberryFestival Orchestra, and the AugustaOpera. Com-mitted to education, Mr.Casey was the founding conductor ofthe Greater Augusta Youth Orchestras,and serves as resident conductor at the

Shenandoah Performing Arts Camp(Winchester, Virginia) every summer.Mr. Casey has worked with studentorchestras in Virginia, Pennsylvania,South Carolina, Georgia, and mostrecently, Arizona.

Having a passion for opera, Mr. Caseyhas conducted the Opera at USC pro­ductions of Britten's Albert Herring andRape of Lucretia, Puccini's II Ttitioo andLa Boheme, Donizetti's Don Pasquale,and Menottls The Consul. In 2002, hewas appointed assistant conductor ofthe American Music Theatre for a televi­sion production of Robert Ward's opera,Roman Fever.

Mr. Casey received both his B.A. inmusic education and violin perfor­mance, and M.M. in orchestral conduct­ing from the University of South Caro­lina, where he studied with Dr. DonaldPortnoy. An active violinist, he per­forms with the Excelsior Trio, whichplaced third in the national finals of the1997 MTNACollegiate Chamber MusicCompetition. "

Joseph EllerClarinet

Assistant Professorof Clarinet, JosephEller, joined the facultyof the University ofSouth Carolina in theFall of2005. Previously,

he was the clarinet professor at KennesawState University in Georgia since 1998.

A native of Ypsilanti, Michigan, Mr.Eller received a Bachelor ofMusic degreein performance from Eastern MichiganUniversity. He received his masters inperformance from Louisiana StateUniversity and did doctoral studies at thePeabody Institute. He has studied with D.Ray McClellan, Laura Ardan, StevenBarta, Steven Cohen, Ted Oien andArmand Abramson.

Mr.Ellerhas performed solo throughoutthe United States, Europe and Japan. Heplays extra with the Atlanta SymphonyOrchestra, the Atlanta Opera Orchestra,Charleston Symphony Orchestra andnumerous other orchestras throughoutthe southeastern United States. He also

served as principal clarinetist of the CobbSymphony Orchestra from 1997-2005.Additionally, he was principal clarinetistof the 214th Army Band in Atlanta, GAfrom 1996-2000, where he was a featuredsoloist on many of their national tours. Hehas recorded on the Centaur label asprincipal clarinet with the Chorus CivitasChamber Orchestra in Baton Rouge, LA.

Mr. Eller is co-host and co-artisticdirector of the 2006 International ClarinetAssocation convention, ClarinetFest 2006,in downtownAtlanta.

Mr. Eller is a member of Pi KappaLambda, International Clarinet Society,College MUSic Society, AmericanFederation ofMusicians, Music EducatorsNational Conference, South CarolinaMusic Educators Association, MusicTeachers National Association and theNational ASSOCiationof CollegeWind andPercussion Instructors. He plays on Buffetclarinets, Genussamouthpieces, VandorenV-12 reeds and he is an Artist-Clinicianfor the Buffet Crampon clarinetcorporation.

Valla BmlnovaSoprano

The young soprano,Valla Bmlnova, hastoured the USA, Italy,Russia, England, Japan,Germany, Switzerland,Ukraine, and Lithuania.

Now a New York City resident, shegraduated form the MoscowConservatorywith a degree in conducting and voice.

At the age of 16, Ms. Eminova debutedin a solo concert performance at theCentral Concert Hall in Volgograd. Withthe Russian Culture Foundation sheparticipated in numerous festivals and

concerts. For several years, she was asoloist with the Ensemble sofContemporary Music, presenting worldpremieres by composers such as E.Denisov, S. Gubaidulina, A Schnitke,Yanis Ksenakis, and G. Ligeti. Ameetingand close work with the famous Russiancomposer Georgy Sviridov led tocollaboration, recording, concerts, andan appearance at an AnniversaryFestival in his honor.

Yana is a prize winner of the RiccardoZandonai and the Bellini InternationalCompetitions in Italy, Oratorio Societyof NY,Opera Index, Opera by the Bay,Classical Productions, New Jersey State

Opera, BelJa Voce, and Violetta du Pontvocal competitions. She also was aMetropolitan ational Council AuditionsRegional Finalist, and First prize winnerof the Licia Albanese-PucciniFoundation.

In August of 2003 and January 2005,Ms. Eminova conducted the QueensSymphony and Bellevue Philharmonic inan encore for the Three Sopranos Gala.Some of her future engagements includesolo recital in Carnegie Weill Hall andRigoletto (Gilda) in Volgograd Operaamong others. Ms. Ernlnovasperformances include Carnegie Hall,

Lincoln Center, Bolshoi Hall at theMoscow Conservatoire, and Opera CityHall in Tokyo to name a few. She is anHonorary Citizen of Arkansas and holdsthe Achievement in Music Award fromthe Italian Academy Foundation.

Ms. Eminova is the co-author andorganizer of the international projects"Centuries without War" and "Harmonyof the Future" which involves artsynthesis, SCience and business. Borninto a family of musicians, Ms. Eminovaenjoys playing the piano, dancing andcurrently studies with the legendaryAnna Moffo.

Jennifer LuikenMezzo-soprano

Jennifer Luikenhas performed fre­quently across SouthCarolina and Georgiaand is well versed inboth operatic and

concert repertoire. Recent engagementsinclude the Dvorak Stabat Mater withAugusta Choral Society, and a productionof Amahl and the Night Visitors, forCharleston Southern University and EastCooper Baptist Church, for which shesang the role of TheMother. In February2004, she sang the role of Katisha inGilbert and Sullivan'STheMikado with theHilton Head Orchestra, and returned tothe HHOin October 2004 for Bernstein'SJeremiah Symphony. In November of2003, she made her debut with theCharleston Symphony Orchestra inLeonard Bernstein's Kaddish Symphony.Two more performances with the CSOincluded Handel's Messiah, in Decemberof 2003, the Witch in Hansel and Gretel in2004. Her opera credits include the titlerole in The Rape of Lucretia, the Mother

in Amahl and the Night Visitors, PrinceOrlofsky in Die Fledermaus, ZiaPrincipessa in Suor Angelica, Zita inGianni Scniccni, the Sorceress in Didoand Aeneas, and Third Lady in TheMagicFlute.

Her concert repertoire includesHandel's Messiah, Mozart's Requiem,Mendelssohn's Elijah, Bach's St. JohnPassion and Aaron Copland's In theBeginning, which she performed with theCharleston Southern University ConcertSingers at the Piccolo Spoleto Festival.She will accompany the Concert Singersto England and Scotland this comingMaywhere she will perform the Coplandworkat YorkminsterCathedral. She has been afeatured soloistwith the CarolinaChamberChorale, Palmetto Opera, South CarolinaOpera, Columbia Philharmonic Chorale,Myrtle Beach Master Chorale and theHilton Head Choral SOCiety.Miss Luikenhas been a regional finalist in theMetropolitan Opera auditions, secondrunner-up in the Mid-Atlantic.reglon ofthe National Association of Teachers ofSinging Artist Auditions, as well as anational finalist in the Shreveport Opera

Singer of the Year Competition, and aprizewinner in the Carolina Opera Guildauditions. She enjoys recital work, andhas performed works by Mahler, Brahms,Tchaikovsky, Faure, Chausson, Debussy,Rossini, Vaughan Williams, Rorem,Walton, and Heggie.

Miss Lulken received her Doctorate in

voice performance from the University ofSouth Carolina, where she was therecipient of the Carol Taussig Fellowshipin Opera. A native of Iowa, she nowresides in Charleston where she isAssistant Professor ofVoice at CharlestonSouthern University and director of theCSULyric Theater program.

Jaeyoon KimTenor

Jaeyoon Kim iscompleting his doc­torate in musical artsin voice performanceat the University ofSouth Carolina where

he was the recipient of the Carroll TaussigOpera Fellowship. A native of Seoul,Korea, Kim holds two master's degrees,one in choral conducting from USCand asecond in vocal performance fromCincinnati CollegeConservatory ofMusic.He also earned an Artist Diploma fromthe Cleveland Institute ofMusicwhere heapprenticed with the Lyric OperaCleveland and was chosen to participatein the prestigious Cleveland Art SongFestival.

His operatic credits include theprincipal tenor roles in La Boheme,Gianni Scbiccni, Cost fan tutte, DonPasquale, 11 viaggio a Reims, The MerryWidow, TheMerry Wives of Windsor, TheMagic Flute, The Consul, Amahl and theNight Visitors, Monsieur Choufleuri in

Korea, Ohio, Italy and South Carolina. Asan active oratorio soloist, Mr. Kim hasalso performed in Messiah, Elijah,Creation, St. Paul, Mozart's Requiem,Coronation Mass, Rossini's Stabat Mater,Verdi's Requiem, Britten's War Requiemand many others.

He made his debut on the Europeanstage by performing the role of Ferrandoin Cost Fan tutte at the Opera Theatre ofLucca, Italy and later he was invited toperform Beethoven'sMass in Cand Bizet'sTeDeum as a tenor soloist in the 2004VarnaInternational ConductingWorkshop,Bulgaria. He also appeared at the SouthCarolina Education TVfor the productionofMozart's Requiem as a tenor soloist.

His teachers include Walter Cuttino,GeorgeVassos and Barbara Honn, and hehas chosen to sing the master classes forWarren Jones, Elly Ameling, DaltonBaldwin, Sherill Milnes, and Steven Blier.CurrentlyHe is a voice facultyat Universityof North Carolina - Pembroke and alsoserves as the music director of KoreanFirst Presbyterian Church in Charlotte.

Jacob WillBass

Bass-baritoneJacob Will made hisNewYorkPhilharmonicdebut as soloist in theAmerican Premiere oftheMessa per Rossini.

He has also appeared with the BerlinRadio Symphony Orchestra, the SanFrancisco Symphony,the InternationalBach Festival of Schaffhausen,Switzerland and the Vienna SymphonicOrchestra. Under the baton of Helmuth

Rilling, Mr. Will recorded Cherubini'sMesse soJennelle. Hehassungfrequentlywith the Zurich Opera appearing inroles such as Giorgio in I Puritani,Mustafa in L'ItaJiana in AJgeri, andCollineinLa Boheme. Otherappearancesinclude the ew York City Opera asFigaro in Le Nozze di Figaro, VancouverOpera as Oroveso in Norma,' theBavarian State Opera as Samuel in UnBallo in MasclJera andtheSanFranciscoOpera as Masetto in Don Giovanni. Mr.Will is a member of the voice faculty atthe University of SouthCarolina.

Mark A, Leach, Ph.D.Musicologist

Mark Leach is a musicologist andUSC music librarian with scholarlyspecialties in theMedieval,Renaissance,Baroque, and Classic periods, and is

currently pursing long-term researchonthe over fifty string quartets of Haydn'spupil Peter I-Iaensel. As a performer,Leach specializes in lute, theorbo,archlute. baroqueguitar, and recorder.

Our Deepest AppreciationWe would like to thank our donors for their generous gifts to the USC

Symphony Orchestra. Gifts provide funding for scholarships, fellowships,guest artists, touring expenses, and other items that enhance the USCSymphony Orchestra program. Support from our donors illustrates theirbelief in the importance of the orchestra's contribution to the cultural,education of the University of South Carolina and the community. Withouttheir support, the orchestra would not be able to maintain its standard ofexcellence.

Conductors Circle $1000+Mr. James P. BarrowMr. Edwin BetsillMr. & Mrs. John ChaseMr. & Mrs. Tom and Shirley KnoxMs. Patricia LamptonMr. Robert Van Doren

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Silver Baton $250-$499Ms. Nancy AbernathyMr. & Mrs. Bob BallentineMr. & Mrs. Jane & Peter BrissetteMr. & Mrs. Missie & Dick DayDr. & Mrs. Alexander DonaldCo!. & Mrs. Richard F. B. GimmiDr. & Mrs. Edward KimbroughCORL. Robert LangleyMrs. Stanley v. LewisDr. & Mrs. Donald E. Saunders, Jr.Dr. & Mrs. William SellorsDr. & Mrs. Leland H. Williams

Bronze Baton $100-$249Ms. Janet B. BrookerMr. & Mrs. Bill BowersPodie & Hal BruntonVADM & Mrs. George W. Davis

Mr. Frank B. HavirdMr. & Mrs. Albert KeckMr. & Mrs. Guy F. LipscombMrs. Myra NelsonMr. & Mrs. John & Kathy ReichDr. & Mrs. S. Hunter RentzMr. Todd Boyd Paiichi SmithDr. Peter A. Tucci, Sr.Mr. James L. UnderwoodMrs. Clover Wolf

Patron $25-99Dr. & Mrs. Robert AckermanMr. & Mrs. C.D. BellamyMrs. Helen H. BrabhamMr. Grahame Butler-NixonMr. & Mrs. Ernie CampbellMs. Gretchen G. DawsonDr. & Mrs. Emmanuel FarberMr. Joseph M. HeikoffMr. & Mrs. Stanley v. HoodMs. M. Angelica LopesMrs. Rosa S. LumpkinMs. Katherine O. McCoyMs. Jane C. MoorefieldMr. Buford NormanMs. Effie PhilipsMr. & Mrs. Ed ShelleyMs. Annemarie O. TheilenMr. James W. Thomas

Making a GiftTo the USC Symphony Orchestra

All typesof gifts, including stocks, property, trusts, gift annuities, andwilledbequests,canbemadeto the USCSymphonyOrchestra. If youare interestedin learning more aboutmaking a gift to the orchestra, pleasecontact LeslieWrenn,telephone (803) 576-5897 or e-maillwrenn@sc.edu.

University of South CarolinaSymphony Orchestra

Seventyyears ago, Madamede Horvath brought her orchestra of fiftymusiciansto the University of SouthCarolina.Sincethen, the orchestra hasdoubled in size, and the standards she established continue to rise fromyear to year.

The University of South Carolina Symphonyand ChamberOrchestrasare in the best tradition of a great university. Many talented and dedicatedyoung people from all regions of the world work diligently to becomemembersof thesepolishedensembles.Theyperform a broadrepertoire withenormousskill and brilliance. Manyof theseyoungperformers will becometeachers. A few will pursue careers as professionalmusicians. Others willenjoy music as an avocationwhile engagedin other careers. All will leaveUSCwith the satisfaction of having been important componentsof qualitymusical organizations.

SopranoKate BoatrightJoy BouknightKay BrownJan BuckSherry CarrollLinsey CichonLuanne ClementsKatherine FilasetaJennifer GerberJean HowBecky JohnsonHeather KirloughTerri LeszczyszynNancy LongHelen McDowellJo MooneyLlora Negroancy Phillips

Anna Bess TisdalePam RobertsJill WashabauLinda WilliamsDebbie Wood

The Chancel Choir of Union UMCSuzanne Ringer, Director of Music

Joey Rothfuss, Organist

AltoPaige ButlerTedi ButlerPatricia CardoneGail EifertMona HollidayRenee HopeCori JonesSusan KirloughBetty LorickReva MillerLeigh OswaldSusanne PenderLinda RetskiSuzanne RingerJoey RothfussCindy SommersJeannette SteppJonnle WeissEmily Whitecotton

TenorLawrence AbernathyMike JohnsonMatt KennellSteve LeszczyszynFred Parkerfike PetersenJim RingerDean SommersJerry ToddSteve Weston

BassJim BowersGlenn BrannenCharley BuchananJim BuckDavid ButlerDick HollidayWilliam HuangDave LambertBob McClintockBill RiversTom ShirkWayne ShulerPhil Weiss

SopranoAndrea BaileyChelsey GaddyMegan KellyLeah TillKathryn StricklerAlison YoungJackie LovikAimee BohnerLaura JacksonKatie BrascheHilary BunchElizabeth HeadMelena WhittingtonMegan BrandAllyson FieldsEmily Foster

The Mars Hill College ChoirJoel F. Reed, Conductor

AltoMolly LeedomSarah FowlerAshley ManningCassandra ReisingRebecca CareyMandy SaylesAshley LongMelissa RobertsonChristy DaleyRebecca SumerelJennifer JonesErin BrooksDenise McKillopLaura Nell DubissonAmy Garrison

TenorJacob RobinsonJeremy GaleChris CaggianoStephen DarnellLucas JohnstonDerrick EverhardtDemarcus ThompsonJason Kindel

BassAdam LockamyMichael FisherKenny CheekMark SternDane PetersonDavid FieldsJoshua HastyBen ClymerJosh DillinghamDaniel Hensley

York County Choral SocietyDavid M. Lowry, Co-Founder and Director

25th Anniversary Season

Ann Adams Mike Faris Donald MoeLil Adickes Barbara Ferrara Mary MossNorm Ballmer Chris Fischesser Larry ipeDoris Bienz Laura Gellin Mary ortonPatsy Black Chip Grant Jim OlsonGordon Brookfield Evelyn Harper Chasta ParkerBradley Brown Michael Henthorn Irene PolntonAmanda Caines Jane Hudson Bettye RawlsLinda Caines Terry Hudson Greg ReynoldsSara Castillo Linda Hutchison Larry RichardsAndy Castillo Priscilla Jennings Betty SalmondBill Castillo Beth Johns Linda ShealyAnn Cody Pat Johnson Linda SuttonKatherine Collier Susan Kelly Elaine ThriftSharon Collins Jennifer Landsley Margaret TicePage Connelly Dan Lawson Marie ToddMartha Cowan Linwood Little Susan VogelDave Cowan Nina Lynch Steve VogelJeff Culp Anne McCulloch AI WardFaye Daniel John McCulloch Ed WestMichael Davis Aileen McGowan Carrot WilliamsBill Davis Miriam Mick Wendy Wingard-GayVeta Evans

Mozart Requiem Singers fromSt. Martin's-In-The-Fields Episcopal Church

Columbia, SCEnglish G. Morris, Jr., Minister of Music and Organist

SopranoAmanda HinesJami SteeleMonica YatesSara Yates

AltoMargie HicksHarriet MorrisPeyton Wooldridge

TenorLonnie Rosier

Mt. Hebron UMC Requiem ParticipantsTom Brunson, Conductor

SopranoMary BrunsonLexie ChahamLaurin ChathamJuliana OttLannie RogersonJenni SmithJennifer ThompsonJoellen Woods

AltoCarolyn ChitwoodKathy Pearson

BassTomBrunsonMarshall BuffAndy GowanBob ThompsonGene Trussell

Trenholm Road United Methodist Church Sanctuary ChoirPaula Wilson, Conductor

SopranoDenise BarkerJennifer BooneB. JacksonRuth KennemoreJudy KrummichMargaret McElveenBea PhillipsKatie ShannonChantelle StewartMarcia Leigh StokesJennifer WalkerLou WarthAnn Wilson

AltoBeth CorleyJan FaryHeather JanneyJane LawtherMargie RichardsonChristine PoolKate SwansonMary Lance WilliamsPaula Wilson

TenorDaryl ByrdSteven HillardKarl WeeksTonyWintzer

BassJosh AlexanderKyle CollinsBritt CooperPaul DeFinisScott GarrisonWalter GrahamMatt HarperC.J. JohnsonStephen Taylor

First Presbyterian Church Chancel ChoirLarry Wyatt, Conductor

SopranoMelissa ArnoldBeth BrooksElizabeth Nance-CokerKathy FolksTracy FolksBonnie LynchChristina MasseyLaura NevittAlice PhilpCharis StrangeEmily Woodard

Neena AgrawalPatricia AhearnWilliam AmadorMatthew ArcherMelissa ArnoldChristopher BarnesAshley BriggsDaniel BurkLinda CaughmanAmy CharbonneauRita CzakoMiller DunbarCharlie Duncan

AltoMiller DunbarJudi HillerHeidi HobusSusan JenningsGinny KentHolly MillerLenora MorrowJane evittRhoda PaschalRobin PriceMary StonecypherLaura SwaimSusan Wyatt

Festival ChorusLarry Wyatt, Conductor

Carol Krueger, Conductor

Ricks FloydJessica GibbonsBrian GloshScott JusticeBecky KrynskiEmma LilleyRenee MaddenCaroline MartinPatrick MitchellChristina MooreLenora MorrowLaura NevittElizabeth Nytkos

TenorBryan HaskinsDavid KurlowichBen WisdomRichard Veale

BassWill ArmstrongMichael BrooksJim Glasser'Tom GroetzingerJames MelchersLee NevittHarold ReynoldsDavid ShealyRon SmithJacob Will

Sarah RandBianca RasoKai RevelsSean RileyAmy RiserBrys SepulvedaSonja SepulvedaJoseph TimmsJeff WallKathryn WardGary WhitfordMichelle Wood

use Symphony OrchestraDonald Portnoy, Conductor/Music Director

Neil Casey, Assistant Conductor

Violin I Cello HornEssena Setaro. Dusan Vukajlovlc, Stewart Livingston.Concertmaster Principal Principal

Jessica Robinson. Sarah Jackson Shayna Allen. Asst.Assistant Concertmaster Pedro Ludwtg Patrick Clayton

Andrea Krafft Justin Vaughn Jesse GarciaStacy Wiley Chris Gratton Hanna PolkJulie Anne Wilson Aubrey GrayKevin Rogers Kristlan Ring TrumpetCourtney Jackson Daniel Maalouf Joel Baroody. PrincipalBryan Rawls Natalie Shaw Jerry DavisDanielle Herrera Laura CleverdonElizabeth Jiminez Sara Duncan Trombone

Krista Ehasz Katie Thigpen. PrincipalViolin II William TimmonsRachelle Whitcomb. Bass Russ ZokaitesPrincipal Michael Baier. Principal

Sarah Barrett Jay Coker TimpaniJonathan DePriest Henry Anderson Evan SimmonsSarah Clark Alicia HinzAllison Gallimore Evan Garner PercussionTaryn Lounsbury Daniel YorkTaylor Cuthbertson FluteMary obile James Miller. Principal Personnel ManagerMatt Peebles Mary Real Matthew BusseMax BlankenshipKirby Jordan Oboe Stage Manager

Charles Courtney. Matthew BusseViola PrincipalAlvoy Bryan. Jr .. Principal Lindsey Price LibrarianLindsey Tripp Kim SullivanChris Neely ClarinetDebbie Apple Michael Morris. Principal PublicityAndrae Raffield Denise Glover Rowena ParanalAndy MoellerLaura Martin Bassoon Administrative Manager

Patrick Herring. Principal Charlene HazlnJared Hendrickson

*The microphoneover the orchestra is usedto recordmaterial for archival purposesonly and is not foramplification of this program in the hall.