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SOUL SINGING: COLORING OUTSIDE THE LINES Jeremiah Selvey, D​ irector

SMC Chamber Choir Lesa Terry, A​ rtistic Collaborator Joellen McNaughton, p​ iano

Guest Choir Guest SMC Faculty SMC Concert Chorale Janelle DeStefano, m​ ezzo-soprano Brian Driscoll, ​organ Guest Rhythm Section Keith Fiddmont,​ saxophone Lanny Hartley, p​ iano Dennis Parnell,​ tenor Edwin Livingston, ​bass Lesa Terry, v​ iolin Paul Kreibich, d​ rums ______

Kyrie (from ​Gospel Mass​) Robert Ray (b. 1946) SMC Chamber Choir Malcolm Fisher & Amber Kozlowski, s​ olos Rhythm Section

Come Sunday Duke Ellington (1899-1974) Let Us Break Bread (from C​ antata​) traditional spiritual, adapt. and arr. John Carter (1929-1991) He’s Got the Whole World in His Hands traditional spiritual, arr. Margaret Bonds (1913-1972) Lesa Terry, v​ iolin Lanny Hartley, p​ iano William Chapman Nyaho, ​piano

Gloria (from G​ ospel Mass​) Robert Ray SMC Chamber Choir Jade Popper & Gina Broz, s​ olos Rhythm Section

Have Mercy on Me Based on “Mercy, Mercy, Mercy” by Joe Zawinul, adapt. and arr. Lesa Terry (b. 1955) SMC Chamber Choir Rhythm Section Keith Fiddmont, a​ lto sax Dennis Parnell, t​ enor

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Go Down, Moses traditional spiritual, arr. Moses Hogan (1957-2003) SMC Chamber Choir (TTBB) Dennis Parnell, t​ enor Joellen McNaughton, ​piano

Credo (from G​ ospel Mass​) Robert Ray Acclamation (from ​Gospel Mass) SMC Chamber Choir Ife Houzell, s​ olo Rhythm Section

There Is a Balm in Gilead traditional spiritual “There Is a Balm in Gilead” (excerpted from S​ even Living Words of the HIV Positive)​ Thomas Schuttenhelm (b. 1970) Amazing Grace traditional, arr. Lesa Terry & Jeremiah Selvey (b. 1977) In Christ There Is No East or West / traditional spiritual, arr. Harry T. Burleigh (1866-1949) Going Home (from Symphony No. 9) Antonin Dvorak (1801-1904) adapt. and arr. Lesa Terry & Jeremiah Selvey Soon-Ah Will Be Done traditional spiritual, arr. William Dawson (1899-1990) SMC Chamber Choir & Small Group SMC Concert Chorale Lesa Terry, v​ iolin ______

INTERMISSION ______

Sanctus (from ​Gospel Mass)​ Robert Ray SMC Chamber Choir Malcolm Fisher, Brian Driscoll, and Adam McCrory, ​solos Rhythm Section

Steal Away traditional spiritual, arr. Patrick Dupre Quigley (b. 1977) SMC Chamber Choir Small Group Mario Acosta, Elai Davidson, Kaytie Jeffries, and Gabrielle Reichel, ​solos Joellen McNaughton, ​piano

Precious Lord Thomas Dorsey (1899-1993), arr. Joellen McNaughton (b. 1961) SMC Chamber Choir Small Group Kaytie Jeffries and Dennis Parnell, s​ olos Paul Kreibich, d​ rums Joellen McNaughton, ​piano

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Wade in Da Wada traditional spiritual, arr. Lesa Terry SMC Chamber Choir Rhythm Section Keith Fiddmont, a​ lto sax

Were You There? traditional spiritual, adapt. Jeremiah Selvey SMC Chamber Choir & Small Group SMC Concert Chorale Christine Tai, Adam McCrory, and Jade Popper, s​ olos

Agnus Dei (from G​ ospel Mass​) Robert Ray SMC Chamber Choir Tyler Owens and Joann Won, ​solos Rhythm Section

AUDIENCE SING-ALONG Down By the Riverside / I’ve Got Peace Like a River traditional spiritual / traditional American

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Dona nobis pacem ​ (from “Orphanage Mass,” K. 139) Wolfgang A. Mozart (1756-1791) Dona nobis pacem ​ (from ​Mass in B Minor)​ Johann Sebastian Bach (1685-1750) SMC Chamber Choir & SMC Concert Chorale Brian Driscoll, ​organ Keith Fiddmont,​ saxophone Amanda Fuerst, f​ lute Chrysa Kovach, f​ lute Lesa Terry, v​ iolin

Ride the Chariot traditional spiritual, arr. Henry Smith (1908-1944) SMC Concert Chorale & SMC Chamber Choir Janelle DeStefano, ​mezzo-soprano ______

Please refrain from flash photography and silence all phones/devices. This concert is being professionally recorded and streamed live. ______

MEET THE PERFORMERS Lobby after the Concert

Join all the performers informally in the lobby as we celebrate “Soul Singing.”

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JOIN ONE OF THE CHOIRS

WHO CAN JOIN?

Anyone can join. If you have choir experience already or if you’re looking to get better, we have a place for you. We work hard and want people who value what we do and are committed to working hard with us. If that’s you, we look forward to having you.

HOW DO I JOIN?

We have a Voice Placement at the beginning of the term prior to the first rehearsal for anyone who wants to sing in Chorale and a an Audition at the beginning of the term prior to the first rehearsal for anyone who wants to sing in Chamber Choir. Check in with the Music Department Office for more details.

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Music Department Office Lori Geller [email protected] 310-434-4323 ______

WHAT ARE THE IMPORTANT DATES? *Subject to Change.

Voice Placements for Concert Chorale / August 20, 3-5 PM Auditions for Chamber Choir August 21, 5-9 PM August 22, 3-5 PM

Weekly Rehearsals Concert Chorale (Music 55) W, 6:45-9:50 PM August 28 to December 18

Chamber Choir (Music 59) T/Th, 3:45-5:05 PM August 26 to December 17

Production Schedule for Concert Chorale & Saturday Retreat - August 31, 10 AM - 3 PM Chamber Choir Saturday Retreat - November 16, 10 AM - 3 PM Tech/Dress/Performance - December 12-14, 6-10 PM

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A NOTE FROM THE DIRECTOR

Dear Friend,

Welcome to an evening where we intentionally blur the lines we create between one style of music and another, between one color of skin and another, and between one culture and another. Last semester, Dr. Lesa Terry, who is the artistic collaborator for this show, and I began a conversation about how to create a concert experience highlighting music of the African diaspora with D​ r. Robert Ray’s ​Gospel Mass​ a​s the centerpiece. We wanted to draw as many connections and lines from the origins of music to the concert stage.

None of the musics you hear tonight will be 100% authentic; the moment we put any music onto the concert stage, devoid of its original time and place, we strip away some of its authenticity. However, as performers we have worked hard to understand the human origins and to adapt the experiences of those origins to our own times, places, and circumstances--to make it our own in a way that presents as humanly authentic.

We have also worked hard to study style and performance practice to bring as much of the authenticity of each style onto the stage. Tonight you will hear black gospel, rock, jazz, folk, spirituals, Baroque, Classical, and Modern “classical” styles. We hope you will hear some of the distinctives that set these styles apart and also experience the universality of the musical dialogue created by all of these styles. You will hear everything from homophonic (hymnal) textures to and free forms and improvisational textures. The juxtaposition of all these styles and textures throughout the concert should be a constant reminder that these musics are universally human and we need not draw lines of distinction when it comes to their importance or intersectionality.

The heavy thematic content in a concert like this is overtly Christian in theological/ideological perspective. But I invite everyone to dig deeper than mere theology. Imagine your spiritual beliefs and values are stripped away the moment you are taken across the ocean on a slave ship and forced into oppression by people who believe strongly in Christian theology. You are afraid to speak truth to power in an overt way, as you might draw undue attention and more pain and suffering on you and your family. So you learn to adapt by using their words and ideas, their theology and imposing your own meaning on top of it. Words like “Jesus” start to represent the idea of a deliverer from the bondage of slavery or “freedom.” “Wade in the Water” becomes code for cross through water when escaping bondage, as it throws off the dog’s scent when they are chasing you. “Water” itself represents freedom. This whole concert is about going beyond the theology to the humanity, to the idea that we all deserve to be free and to have dignity. When we talk about “Soul Singing,” we mean everyone singing from the deepest part of their being and connecting that deepest part of their being to everyone else. It’s not about the literal meaning of the text tonight, rather uniting our souls by blurring whatever lines we have created musically, politically, socially, culturally, etc.

Tonight’s concert is about the flow. You will hear the movements of the ​Gospel Mass s​pread throughout the concert with other music in between. We have crafted musical and thematic links between these movements, and our hope is that the music will seamlessly progress from one piece to the next. We will not be stopping and interrupting the performance of the music. You are free to tap to the music or applaud whenever you would like. If you feel so inspired, a hearty “Amen” or “preach it” or “Yes!” are all in play. I ask you to really abosrb the flow of this music. We have obsessed over the order, the key relationships, the transitions, and the pacing, so that your experience is bigger than any single piece. We have spent time writing program notes, texts, and translations to help you in the processing of the music as you experience it.

I would be remiss if I did not invite you to support the SMC Choirs and/or the Music Department. Did you know that the admission of your ticket supports about a third of the costs for a production such as this one? Did you know that the SMC Choirs program operates with a zero budget outside of donations, such as yours? Please consider a donation to support the creative work of our students and the amazing work that they do daily to grow as artists. Your investment will contribute to a life of artistry and productivity for many students and will make possible the sustainability of performances such as this!

Thank you for being such an amazing community. I hope your souls are lifted up tonight!

Warmly, Jeremiah Selvey, Director of Choral Activities Santa Monica College

You can fill out one of the envelopes included in the concert program. You can also give a recurring or one-time donation online at DONATIONS https://santamonicacollegefoundation.org/smc-choirs

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ABOUT THE PERFORMERS

SMC CHOIRS

SMC Chamber Choir i​s one of three choral ensembles at Santa Monica College. A curricular ensemble that performs chamber choral music from a variety of styles and historical periods, the SMC Chamber Choir has a long tradition of excellence in musicianship and artistry. Through the rehearsal and performance experience, students become better readers of music, increase their creative entry into interpreting music, improve their choral vocal technique, and learn how to collaborate within the chamber setting. The SMC Chamber Choir is directed by the Director of Choral Activities, Dr. Jeremiah Selvey. Other college choirs include the SMC Jazz Vocal Ensemble and the SMC Concert Chorale.

SOPRANO ALTO TENOR BASS

Joann Won Yan Liang Malcolm Fisher Tyler Owens Gavriella Wiseman Emma Matamoros Adam McCrory Elai Davidson Ife Houzell Jeongsup Chin Brian Driscoll Mark Baez Kaytie Jeffries Gabrielle Reichel Aidan Atkinson Jamey Anderson Jade Popper Genevieve Johnson Mario Acosta Richard Martner Christine Tai Erin Helms Michael Gossard Yuta Nakama Amber Kozlowski Zamira Galimova Gina Broz

Joellen McNaughton served as rehearsal pianist for SMC Chamber Choir this semester. She has played piano professionally for 40 years! Currently she accompanies at SMC, has been full time at Malibu High School for the last 20 years, and music director at Malibu Methodist for 25 years. She has recorded and performed all over the world with artists including Keb' Mo', Rita Coolidge and Nell Carter.

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SMC Concert Chorale w​ as founded by Dr. James Smith and is one of three choral ensembles at Santa Monica College. A curricular and community ensemble that performs choral music for larger choirs from a variety of styles and historical periods, the SMC Concert Chorale has a long tradition of excellence in musicianship and artistry under many beloved directors, most recently Jeffe Huls. Through the rehearsal and performance experience, students and community explore technique and artistry through challenging repertoire. The SMC Concert Chorale is directed by the Director of Choral Activities, Dr. Jeremiah Selvey. Other Santa Monica College Choirs include the Jazz Vocal Ensemble and the Santa Monica College Chamber Choir.

SOPRANO ALTO TENOR BASS Sarah Adams Pat Bauer Mario Acosta Jamey Anderson Catherine Charouhas Elreen Bower Karl Aung Zin Bill Broz Lea-Sophia Eidelman Nan Borcherding Paul Cardenas Zane Ferguson Tina Feiger Gina Broz Hugh Moore Fedor Linkov Kathryn Galan Hedy Ciani Joey Mustol Richard Martner Laura Harrington Maya Davinci Ping Tan Marnie Madnikoff Cara Hendler Laure Weber Maureen Matthes Diane Jenson Marsha Whittaker Marian Neuman Claudia Luera Maria Schmidt Gillian McGinty Sarah Shields Gabi Petralia Teresa Raschilla Cynthia Scott Aditi Shakkarwar Keira Stearns Nicky Vogel Holly Wiland Marcia Zimmer

Director Jeremiah Selvey​, named the winner of The American Prize 2017 in Conducting, professional choir division, is Professor of Music and Director of Choral Activities at Santa Monica College, where he directs the SMC Concert Chorale, SMC Chamber Choir, and the SMC Small Group and also teaches voice and theory. In addition, Jeremiah co-directs Chorosynthesis Singers, runs the nonprofit Chorosynthesis, and adjudicates for The American Prize. Frequently, Jeremiah clinics choirs, performs as a baritone/countertenor, and guest conducts. Jeremiah’s compositions have been performed on four continents, and his research on equity in rehearsal and performance, choral expressivity, and being a singing entrepreneur has been presented in Asia, Europe, and throughout the United States, including regional, national, and international conferences of the American Choral Directors Association, College Music Society, National Association for Music Education, and the international Gay and Lesbian Association of Choruses Festival. He is published by The Choral Scholar and the Bulletin of the Council for Research in Music Education, and is featured on four different CDs as both singer and conductor. Jeremiah holds a Bachelor of Music in vocal performance and advanced degrees in choral conducting from Emory University and the University of Washington. www.jeremiahselvey.com

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ARTISTIC COLLABORATOR Lesa Terry ​teaches “Jazz in American Culture” at Santa Monica College and collaborated with Director of Choral Activities Jeremiah Selvey to create the “Soul Singing” concert experience.. As a violinist, composer, artistic director, educator, and scholar, Ms. Terry is at the vanguard of contemporary musical interpretation and an artist whose creative genius consistently brings distinctive innovation to musical performance. The astounding depth and breadth of her talents are apparent upon a cursory review of her background including a master’s degree in Afro-Latin music and fulfilling her lifelong dream of a doctorate degree, awarded in May 2010 from the University of Rhode Island. Lesa’s accomplishments include membership with the Atlanta and Nashville Symphony Orchestras, as well as performances, lectures, clinics and master classes with the Uptown String Quartet and Max Roach Double Quartet. Ms. Terry serves as the founder and musical director for the Women’s Jazz Orchestra of Los Angeles, recently presenting stellar performances for the World Festival of Sacred Music and the Summer Jazz Festival at the Hollywood Bowl. Within the field of music education, Dr. Terry continues as a major contributor to innovative string pedagogy, presenting lectures, clinics, workshops, and demonstrations for the United Nations, North Atlantic Fiddle Conference in St. John, Newfoundland, Alasdair Fraser’s Scottish Fiddle Camps in Nevada City, CA and San Sebastian, Spain, American String Teachers Association, Santa Monica College, Duke Ellington Conference in Chicago Il, UCLA Department of Ethnomusicology, Asia Pacific Performance Exchange Fellowship Residency Program in Bali, Indonesia, Henry Mancini Institute, Cerritos Center for the Performing Arts, Cal Arts Summer Music Intensive Program for High School Students, Oberlin Conservatory of Music, New York University, The Manhattan School of Music, Julliard School of Music, and the University of Massachusetts. Ms. Terry’s 2001 CD entitled, “A City Called Heaven, Spirituals For Jazz Violin” highlights her dedication to music from the African American continuum as well as a desire to create revolutionary approaches in the field of jazz improvisation and healing through music.

GUEST SMC FACULTY

Janelle DeStefano​, mezzo-soprano, completed her DMA, with honors, from USC Thornton School of Music and is currently Associate Professor of Music (Voice) and Director of the Opera Program at Santa Monica College, where she recently directed ​The Magic Flute and performed the role of Carmen in SMC Opera’s full production of Bizet’s ​Carmen​. She has appeared as a soloist with the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, Jacaranda Music at the Edge, El Mundo, San Diego Opera, Bach Collegium San Diego, the Los Angeles Master Chorale, and the Grammy Award Winning Los Angeles Guitar Quartet.

Brian Driscoll,​ born and raised in Ohio, received a Bachelor of Fine Arts degree in music composition from California Institute of the Arts, and Master of Music and Doctor of Musical Arts degrees in organ performance from UCLA. Prior to coming to Santa Monica College, he was the director of music at an Episcopal church where he led five choirs and managed a popular concert series. Dr. Driscoll began at SMC in 2008 and then joined the faculty full time in Fall 2014. At SMC, he currently teaches musicianship and harmony classes, oversees the applied music program, and serves as incoming Music Department Chair. In addition to teaching, he enjoys an eclectic musical life as a pianist, organist, choral conductor, accompanist, concert series presenter, arranger, and composer. Dr. Driscoll serves as the president of the board of directors of Elemental Music, on the advisory board for Red Door Vineyard (for which he was a founder), and formerly on the board of the Association of Anglican Musicians.

​Frederick (Keith) Fiddmont ​teaches jazz and directs the SMC Jazz Band at Santa Monica College. Educator/woodwind specialist, Keith moved to Los Angeles in 1991 after leaving the legendary vibraphonist Lionel Hampton to begin a two-year stint with singer Rickie Lee Jones. He has recorded or performed live with such legends as Stevie Wonder, Luis Miguel, Diana Krall, Christian McBride, James Brown, The Temptations, Jennifer Holliday, Natalie Cole, Nancy Wilson, and B.B. King (Grammy award winning One Kind Favor), as well as gifted artists like Wayne Brady, Billy Childs, Michael Buble, and John Pizzarelli. As a freelancer, he has performed with the Hollywood Bowl Orchestra, the Bob Mintzer Big Band, the Ed Neumeister Big Band, the Luckman Jazz Orchestra, John Beasley’s Monkestra, and Frank Capp and Juggernaut. Keith has been a member of the award winning Clayton/Hamilton Jazz Orchestra for the past twenty years. In addition to many Japanese and European tours, and three years in residence at the Hollywood Bowl, the band has recorded with Milt Jackson, Queen Latifah, Gladys Knight, and many others.

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Dennis Parnell,​ tenor, currently teaches voice and “History of Rock and Roll” at Santa Monica College. Mr. Parnell ​began his professional life as a child actor on CBS TV’s “Love Of Life” where he portrayed the character “Beanie Harper,” - later to become Ben Harper, played by Christopher Reeve - also his first role. His entire family was in show business, and they all were singers: from Grandfather Emory to his father Jim and his mother Gloria Hamilton.

GUEST INSTRUMENTALISTS

Amanda Fuerst performs locally in the Los Angeles area in various solo and orchestral positions. She is a regular member of the San Vicente Chamber Orchestra, a solo member of the Flutesonic Orchestra, and she periodically performs with Santa Monica Orchestra and LA Flute Orchestra. Recently Amanda recorded for some silent film projects which will be released in the next year. Amanda earned her MM from Northwestern University and now enjoys teaching her own studio of flute students.

Lanny Hartley is a jazz pianist and composer who began his career as a young church organist in Burlington, New Jersey. He studied at Indiana University and is also a graduate and instructor in Lyle “Spud” Murphy’s system of Horizontal Composition, No photo based on Equal Intervals. During a four year stint in the Navy, he had the opportunity to write for big band and jazz combos. As a available pianist, arranger and conductor, he has worked for many great vocal artists (such as Della Reese, Lou Rawls, etc.) with choirs (such as The LA Master Choir) and has scored short films and musicals with his wife (Yvette Freeman).

Chrysa Kovach is the Director of Development for the Santa Monica Symphony and is currently pursuing a Master of Music degree at USC. Previously, Kovach was the Development Coordinator at the W.O. Smith Music School in Nashville, Tennessee. Kovach serves as music director for the Music City Brass Ensemble, and is the founder of the W.O. Smith Community Orchestra. She has participated in masterclasses with Hans Graf, Colin Metters, and Tito Muñoz, and performed with the Atlantic Coast Orchestra in Esposende, Portugal. Kovach performs as a flutist with the CALLA Quintet, and is a former member of the Orchesterverein in Vienna, Austria.

Noted Los-Angeles-born drummer ​Paul Kreibich began his illustrious jazz career touring the U.S. and Japan with legendary Carmen McRae, a tour that culminated in a concert at Carnegie Hall. Paul studied at Berklee College of Music, L.A. City College, and privately with Fred Gruber. He later traveled internationally with the Ray Charles Orchestra for several years before touring with Mose Allison, The Woody Herman Band, Anita O’Day, Rosemary Clooney, Nancy Wilson, the Gene Harris Quartet, and many others. Paul’s extensive studio credits include recordings with Bill Perkins, Dianne Reeves, Charlie Shoemake, Jon Hendricks, Ray Charles, Herb Geller, James Moody, Kenny Burrell and Gene Harris. Admired for his outstanding brush work, Paul is the author of the music books ​The Drummer’s Handbook and ​Duets for Drums​. He has been a Cal State Fullerton music faculty member since 2002 and a private instructor as well. Paul’s CDs as a leader include the 2018 Blujazz release ​Thank You Elvin,​ as well as ​Lonesome Tree and ​The Jazz Coop–Spiral Stairway. ​Presently touring with Maceo Parker and the "To Ray with Love" band, he can be found on the new Big Bad Voodoo Daddy CD ​Louis, Louis, Louis. Paul also currently performs with Don Peak’s Wrecking Crew All-Stars. w​ ww.paulkreibich.com

Hailing from Dallas, Texas, ​Edwin Livingston was in the choir and played saxophone in the symphonic band. After receiving his B.M. in music performance he relocated several times in pursuit of new musical terrain. He has performed and/or recorded with Elvin Jones, Delfeayo, Jason Marsalis, Mary J. Blige, Justin Timberlake, Kelly Clarkson, Keiko Matsui, Queen Latifah, Bob Mintzer, Melody Gardot, Natalie Cole and others. He is an Assistant Professor at the USC Thornton School of Music, and has appeared in NBC’s ​Jesus Christ Superstar,​ and several feature films, including ​Ray ​and ​Dreamgirls.​ He has several CD’s as a leader performing his original music.

William Chapman Nyaho,​ a Ghanaian American and resident of Seattle, studied at St. Peter's College, Oxford University (UK), where he graduated with a Bachelor of Arts degree at the Honour School of Music. He continued his piano studies at the Conservatoire de Musique de Geneve, Switzerland, the Eastman School of Music where he graduated with his Master of Music degree, and at the University of Texas at Austin, where he received his Doctor of Musical Arts degree. Chapman Nyaho is the recipient of prizes from international piano competitions. Following four years as a North Carolina Visiting Artist, Chapman Nyaho taught at the University of Louisiana at Lafayette and was the recipient of the Distinguished Professor Award and held the Heymann Endowed Professorship. He was also the recipient of the Acadiana Arts Council Distinguished Artist Award. www.nyaho.com/bio.cfm

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SPONSORS The SMC Foundation wishes to acknowledge those who have partially funded this performance through the SMC Choirs Fund.

PRESIDENT’S CIRCLE SUPPORT SMC CHOIRS President’s Circle members donate $1,000 or more annually Recurring or One-Time Donation and enjoy exclusive recognition and events. https://santamonicacollegefoundation.org/smc-choirs Jamey Anderson & Brian Driscoll Craig Peralta Jeremiah Selvey James Smith

WE ARE GRATEFUL TO ALL OUR SUPPORTERS

Mario Acosta Rosalie Fox Huntington Robin and John Ramsdell Sarah & Tom Adams Judith and Bernard Franklin Teresa Raschilla Louise Appleton-Skubal Kathryn Galan Teddy Ricker Margaret Baker (in memory of Louis Galan) Earl Rivard Susan Bianchi Charlie & Nancy Hanson Emilie Robertson Pat Bauer Kathleen Harris & Larry Arnstein Mary and Herb Roney Nan & Kirk Borcherding Elizabeth Hood Susan Schorr Paul & Elreen Bower Genevieve Johnson's Family Cynthia Scott Steve Brown Susan Leifield Arthur Shafer Marida Buel Yan Liang Diane Silberstein Paul Cardenas “The Longboi Facebook Fan Club” Barbara Stevenson Leslie Carlson Claudia Luera DeEtte Thomas Dany Carol Hugh Moore Rosalie Thompson Catherine Charouhas Maureen Matthes Vickie and John Van Paddenburg Hedy Ciani (in honor of Karl and Roberta Laure Weber (in memory of Sergio Ciani) Matthes) Marsha Whittaker The Eidlemans Richard Martner Holly Wiland Patty Eskridge Alla Mudda Don Winter William Etter Minnell Pearson Dean Zerbe Tina Feiger & Andrew Moss Ellen and Stephen Peters Marcia Zimmer & Michael Tarbet Zane Ferguson Jade Popper

ACKNOWLEDGEMENTS

Thank you to the Music Department for their support in training and inspiring our students. Thank you to Jamey Anderson, Janelle DeStefano, Brian Driscoll, Keith Fiddmont, and Lesa Terry for performing alongside our students. Thank you to Susan Greenburg, SMC Flute Instructor, for coordinating our flutists.

Thank you to Janelle DeStefano for her leadership in coordinating our student vocalists. Thank you to The Broad Stage, particularly Joy and her crew, for their flexibility and support of the education of our students. Thank you to Lori Geller, Music Department Administrative Assistant for the coordination of logistics for the rehearsals and performances. Thank you to Brian Driscoll for substituting for rehearsals, voicing the organ, and being a sounding board for processing many crazy ideas. Thank you to Richard Martner for creating the musical excerpts for the audience sing-alongs in the program. Thank you to the Rhythm Section for keeping it “locked in”! Thank you to Jimmy Cheesman and his awesome ears to inform the sound design. Thanks to Nyaho for playing on the program. Thank you to all of the ongoing donors to the SMC Choral Program. Your gifts enable us to continue on!

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