Located in the heart of San Diego, San Diego IMPACT ON THE REGION State University is the oldest and largest higher education institution in the San Diego region. SDSU produces thousands of graduates each year, 50 percent of whom stay in San Diego to Since it was founded in 1897, SDSU has pursue their careers, making San Diego State a grown to become a leading public research primary educator of the region’s workforce, as university. Each year, SDSU provides more well as a leader in expanding access to higher than 35,000 students with the opportunity to education. Committed to serving the richly participate in an academic curriculum distin- diverse San Diego region, SDSU ranks among guished by direct contact with faculty and an the top universities nationwide in terms of eth- increasing international emphasis that prepares nic and racial diversity among its student body, them for a global future. as well as the number of bachelor’s degrees A top choice university, SDSU received 83,000 conferred upon students of color. applications for fall 2016, a record number of undergraduate applicants. Renowned for its ALUMNI academic excellence, the university is home to The Downtown San Diego State University remains most top-ranked graduate programs in business; en- proud of its alumni family, more than 300,000 Steering Committee gineering; public health; psychology; fine arts; strong. Among those who call SDSU their biological sciences; public affairs; education; Evelyn Lamden, Chair alma mater are former Federal Trade Com- and speech, language, and hearing sciences. mission Chairman Timothy Muris; former Air Julia Brown Ranked undergraduate programs include busi- DeAnn Cary, Ph.D. Force Chief of Staff Gen. Merrill A. “Tony” ness, engineering and international business. McPeak; San Diego County Supervisors Greg Ben and Nikki Clay Overall, San Diego State students can choose Phyllis Epstein Cox, Dianne Jacob, Ron Roberts, and Bill from 91 undergraduate majors, 78 master’s Horn; astronaut and Johnson Space Center Joyce M. Gattas, Ph.D. programs and 22 doctoral degree programs. Katy McDonald Director Ellen Ochoa; and Costco co-founder Kris Michell RESEARCH Jim Sinegal. Patti Roscoe Aztec alumni also include Hollywood produc- Increasingly recognized for innovative re- er and Lucasfilm President Kathleen Kennedy; search, SDSU is establishing itself as one of entertainers Gregory Peck, Marion Ross, Julie the leading public research universities in the Kavner and Kathy Najimy; Baseball Hall of nation. Classified as a “research-high” insti- Fame member Tony Gwynn; Pro Football Hall tution by the Carnegie Foundation, research of Fame member Marshall Faulk; U.S. Open funding has more than doubled from a decade winner and former PGA tour golfer Gene Lit- ago. Since 2000, SDSU faculty and staff have tler; and current star athletes Kawhi Leonard attracted more than $1 billion in grants and of the San Antonio Spurs, Denver Broncos contracts for research and program adminis- running back Ronnie Hillman, and Washington tration. Nationals pitcher Stephen Strasburg.

2 DOWNTOWN PROGRAM A Note From President Hirshman

grateful to the San Diego Symphony for Thank you for joining us tonight and their partnership in presenting tonight’s helping to support this important effort. concert. The Symphony’s commitment to music education and outreach in San In the audience tonight are 7th- to 12th- Diego is second to none, and it is our grade music students from around San Diego hope that this concert is the first of many County. Their attendance is underwritten collaborations between the Symphony and by generous donors, sponsors and commu- the SDSU School of Music and Dance. nity partners – I hope you will join me in thanking them. A full list of supporters can The university is committed to supporting be found on Page 15 of this program. the arts on campus and in our greater San Diego community. Arts Alive SDSU, which Thank you to everyone for your commitment On behalf of the students, faculty, staff and evolved from the university’s strategic to the arts. alumni of San Diego State University, it is plan, sponsors more than 350 events a great pleasure to welcome you to Copley annually, including concerts, films, and I hope you enjoy San Diego State University Symphony Hall at the Jacobs Music Center theater and dance performances. Proceeds Downtown! – home of the San Diego Symphony – for from tonight’s performance will support San Diego State University Downtown. music education scholarships for SDSU students, who spend a full academic year It is a privilege and an outstanding honor teaching music in K-12 classrooms. They Elliot Hirshman for our San Diego State students to reached more than 100,000 K-12 students President perform in this historic venue, and I am in the San Diego region in the past year. San Diego State University

Welcome from the San Diego Symphony

The San Diego Symphony Orchestra is All of these opportunities for our young committed to providing educational and people to experience music listening and performance opportunities for students of music making in the Jacobs Music Center all ages. This year we have celebrated the are part of a strategic effort to showcase connection between our area elementary the connection between our professional schools, high schools, colleges, and musicians, our performance space, and the universities as we highlight the impor- importance of music in our lives. tance of music education. Students who Dear Friends, are exposed to and engaged in music in We are pleased to provide the opportunity their early life develop a greater sense of for the San Diego State School of Music We are delighted to welcome the performing themselves, of language, and of the world and Dance to perform on our stage, and we ensembles of the San Diego State School around them. hope this is only the beginning of many of Music and Dance to the Jacobs Music performances that bring together students, Center stage for the very first time. This We continue our programs for pre-school faculty, staff, professional musicians, and collaboration represents one further way that and school aged children, and will host audiences to share in the joy of making our two institutions work together. Many our annual side-by-side concert featuring music together. of our musicians are on the faculty of San students from four area youth orchestras Diego State, and we regularly hold master performing alongside members of the San classes with our guest soloists and SDSU Diego Symphony. Additionally, on April music students. This evening’s performance 23, for the first time, we will be hosting Martha A. Gilmer, CEO is a testament of our mutual desire to a high school band festival on our stage. San Diego Symphony Orchestra collaborate more deeply in the future. DOWNTOWN PROGRAM 3 About the School of Music and Dance

The San Diego State University School of Music and Dance has been a part of SDSU for over 75 years and delivers specialized educational instruction, experiences, and career development for students by creating an artistic environment based on the unique strengths and knowledge of our accomplished faculty. Our programs emphasize experimental development through high quality performances, professional engagement, and applied practical training in music and dance. Each student’s career aspirations are advanced under the supervision of a supportive and skilled faculty through a comprehensive professional curriculum.

The mission of San Diego State University’s School of Music and Dance is to provide the highest quality education for performers, entrepreneurs, choreographers, educators, researchers, composers, and those whose interests are in fields related to music and dance. In addition, the School of Music and Dance is committed to provide the general student, our future audience, with the deepest understanding and appreciation of music and dance. The School of Music and Dance serves as varied intellectual and ethnic student body in a culturally rich environment.

4 DOWNTOWN PROGRAM About Tonight’s Ensembles

The SDSU Wind Symphony is the premier our duty as ambassadors for the Arts; develop wind group at San Diego State University. The and foster a relationship with the surrounding ensemble embraces the wind band movement community, city, and schools by presenting through promoting the repertoire of the past meaningful events, workshops, and concerts as well as the music of today. Under the to diverse audiences within educational and leadership of Director of Bands Dr. Shannon professional contexts; and earn a local, re- Kitelinger, the ensemble builds on its long gional, national, and international reputation tradition promoting the advancement of the of excellence through consistency in work wind band medium. Through rehearsal and ethic, discipline, dedication, enthusiasm, and performances of diverse repertoire, students willingness. are exposed to a wide variety of compositional techniques, rehearsal processes, and expressive OTHER ENSEMBLES AT SDSU possibilities that challenge each student to develop individual musicianship. The School of Music and Dance is also home to a number of other performance ensembles. The Marching Aztecs and other SDSU SDSU has long had one of the premier Jazz Athletic Bands, under the leadership of Bryan Studies programs in the United States and Ransom, round out one of the most compre- regularly attracts the finest talent from the U.S. hensive Wind Studies programs on the West and abroad. Coast. These ensembles serve as ambassadors of SDSU’s standards of excellence and provide SDSU Opera offers students the opportunity musical entertainment at our many national- to perform operatic literature in staged produc- ly-recognized Division I sporting events. tions as well as in workshop format. The SDSU Symphony Orchestra is the top The University Dance Company (UDC) orchestral ensemble at the university. Mem- performs on and off campus in formal and bership in the orchestra is through audition informal settings. The concerts provide valu- and is open to all qualified students regardless able pre-professional experience for company of major. The Symphony Orchestra performs members. repertoire that is representative of many mu- sical style periods and historic contexts. The In addition, The School of Music and Dance program offerings are carefully balanced to has many other ensembles including Guitar provide performers and audience members Ensemble, Piano Ensemble, Latin Percussion alike with a wide and varied selection of quality Ensemble, New Music Ensemble, various musical works. Standard orchestral literature is Chamber Ensembles, and Percussion Ensemble. the foundation, providing the experience nec- To receive occasional notices about upcoming essary for students pursuing a career in music. events, send your email address to The ensemble is open to all qualified performers by audition. Auditions are held prior to each [email protected] semester. The SDSU Chamber Orchestra Subject line: Presenting Newsletter includes members of the Symphony Orchestra and provides orchestral support to the School of Theatre, Television, and Film. AZTEC FIGHT SONG The principal choral ensembles in the School Fight on and on ye Aztecs then, Mighty Montezuma of Music and Dance are the Aztec Concert We will win again Choir and the SDSU Chamber Choir. The Keep your spirits high mission of the Vocal Arts area encompasses Never bow a knee many ideals including: make music at a mean- We will fight till victory ingful level on a regular basis in both rehearsal and performance; display technical and artistic Fight on and on ye Aztecs then, mastery and an intelligent and informed approach Proudly raise your banners high to music making through performance of For it’s the Red and Black quality literature; form a human connection to Hail to our team San Diego Aztecs fight! the sound created; acknowledge and respect

DOWNTOWN PROGRAM 5 Tonight’s Program SDSU WIND SYMPHONY

The Glory and The Grandeur...... Russell Peck (1945-2009) (1988/2006) Percussion Trio Danny Chavarin, Shota Hanai, Andrew Kreysa

Inuksuit...... Brent Dutton (b. 1950) (2015) World Premiere Performance

“Elsa’s Procession to the Cathedral” from Lohengrin...... Richard Wagner (1813-1883) (1850) Arr. John Bourgeois

INTERMISSION

SDSU SYMPHONY ORCHESTRA

Concerto Grosso...... Ralph Vaughan Williams (1872-1958) (1950) Featuring students from the SDSU Community Music School and members of the SDSU Faculty/San Diego Symphony Orchestra Intrada Burlesca Ostinata Sarabande Scherzo March and Reprise

Symphonic Dances from West Side Story...... Leonard Bernstein (1918-1990) (1950) Prologue (Allegro moderato) Meeting Scene (Meno mosso) “Somewhere” (Adagio) “Cool” Fugue (Allegretto) Scherzo (Vivace leggiero) Rumble (Molto allegro) Mambo (Presto) Finale (Adagio) Cha-cha (Andantino con grazia)

SDSU SYMPHONY ORCHESTRA & COMBINED CHOIRS

“Ode to Joy” from Symphony No. 9...... Ludwig van Beethoven (1770-1827) (1824) **See Page 9 for complete German text and English translation Catharine Bishop, soprano Latifah Smith, mezzo-soprano Shahen Ohanian, tenor Joshua Lee, baritone

A special thanks to the SDSU Marching Aztecs, under the direction of Bryan Ransom, for providing pre-concert music.

6 DOWNTOWN PROGRAM About the Program SDSU WIND SYMPHONY Inuksuit Elsa’s Procession to the (2015) Cathedral (1850) The Glory and the Grandeur Brent Dutton Richard Wagner, (1988) (Professor of Music, SDSU) Arranged by John Bourgeois Russell Peck World Premiere Performance Elsa’s Procession to the Cathedral sets The Glory and the Grandeur (1988) was the stage for the wedding procession of originally commissioned for the Greens- Elsa to Knight Lohengrin from Act 2, boro Symphony Orchestra, Paul McRae, An inuksuik (plural inuksuit) is a hu- Scene 4 of Richard Wagner’s romantic music director, with Percussion Group man-made stone landmark used by the opera, Lohengrin. Knight Lohengrin’s Cincinnati performing as the soloists. The Inuit, Inupiat, Kalaallit, and Yupik of the success during a battle in scene 1 spurs present version was commissioned by Arctic region of North America. These thoughts of revenge by the character, the University of North Texas Percussion Stonehenge-like markers serve multiple Telramund, who begins to plant seeds of Area for the Wind Symphony for a pre- functions for the people of the regions. doubt in Elsa about the origin of Lohengrin, miere performance at the Percussive Arts The most common type of inuksuk is a which she has been forbidden to learn. Society International Convention in Aus- single stone pillar, positioned in an upright On the day Elsa and Lohengrin are to be tin, Texas in November 2006. The wind manner. These structures are found from married, she convinces him to divulge his version was inspired by the many requests Alaska to Greenland. The inuksuit may true identity leading to a grim demise. Peck received from people who wanted have been used for navigation, as a point to use the work with winds. Peck chose of reference, a marker for travel routes, The following is a description of the scene to arrange the piece himself because he fishing places, camps, hunting grounds, at the procession as stated by Wagner in a feels his use of instruments is a major part or a food cache. In Northern Alaska, the letter to a friend: of what defines his style. The composer Inupiat people used inuksuit to assist in writes the following about the piece: the herding of caribou into contained areas Elsa must, on the high ground before for slaughter. the palace, actually come to a stop. Since its premiere, this concerto has She is moved and affected, as if over- become one of my most popular The composer provides the following come by bliss. Only after 8 measures works, no doubt in part because the information regarding the work: does she once more proceed very three percussionists moving among slowly toward the cathedral, some- The arctic in winter is a most formi- their dozens of different instruments times, pausing, cordially and naively dable place. It is a landscape devoid is quite fascinating visually. It was acknowledging greetings. Not only of trees and landmarks. The frozen air a brainbreaking effort to work out does it take shape this way, but it is profoundly cold. To travel through this choreography, but absolutely actually becomes what I intended it to its snowy vastness is a life threatening necessary to allow the percussion- be; namely, no march-like procession, challenge. The traditional inhabitants ists to use all their uniquely varied but the infinitely significant advance of this world, the Inuit, had to find a sound resources. The stage setup of Elsa to the altar. way to navigate the tundra without was also planned to create a kind of the aid of roads. They did this by geographical aspect to the piece, with Wagner originally composed Elsa’s building cairns that marked the way percussion sound bouncing back- Procession to the Cathedral for two male to villages or food or both. Inuksuit is and-forth, spinning around in space, choirs and orchestra with a female chorus an Inuit term that can be translated as and in general coming from different added to the last 16 measures, however, “stands like a man”. The stone “men” locations. This spatial aspect is part of the first performance of the piece was were as frozen as everything else the composition’s formal structure. given by a band in Potsdam before the around them but they pointed toward premier of the opera in Weimer by Liszt. The title is from a poem by Edgar life. I found the image of these dark Allan Poe: “. . . the glory that was frozen stones surrounded by a world Bourgeois arranged his band transcription Greece, the grandeur that was Rome.” of disorienting white snow and white of Elsa’s Procession to the Cathedral I always loved that line and wanted in skies that showed the way home to be in 1997. This arrangement begins in the this case to evoke the glory associated a powerful one. Once I had this idea exact same orchestration as Wagner’s with the bright clarity of percussion in mind, the music came very quickly original work, with a woodwind choir along with the grandeur associated to me. It was almost as if it had been announcing the wedding procession. A with the power of its drums. As a con- in my subconscious all these years just gradual crescendo and increase in instru- certo, this single-movement piece is waiting to be unlocked. I dedicate this mentation leads to the climax of the piece extremely virtuosic, demanding ath- work to the San Diego State University mirroring the lyrics in the original version, letic strength as well as subtlety and Wind Ensemble past, present, and “Hail to you, O blessed virgin! Hail Elsa lightness of touch. It also involves an future with my eternal thanks for all von Brabant!” This evening’s setting con- unusually critical rhythmic capacity they have meant and mean to me. cludes true to the end of Act 2 of the opera, of the three percussionists to dovetail with heralding trumpets, a raucous organ, intricate parts amidst a complexity of and fortissimo chords heard in the winds. orchestral color. DOWNTOWN PROGRAM 7 About the Program SDSU ORCHESTRA the love music again, the procession strolling through the streets, . . . greeting accepting “the tragic reality, the vision of many acquaintances or friends after his Concerto Grosso (1950) Somewhere.” The idea is that the dance long seclusion.”) Ralph Vaughan Williams sequence distills the essence of the drama, as dance so often does so admirably. The Ninth Symphony stands apart from Vaughan Williams’ Concerto Grosso is Beethoven’s other symphonies—and from an occasional piece, and he composed it The symphonic orchestration is in part nearly all that follow it, as well—by virtue in 1950 for the 21st anniversary of the the work of the composer’s associates, of its humanistic message, enormous scale, Rural Music Schools Association. Though a common practice on Broadway. What and organic unity of design. it belongs, like his Tallis Fantasia and results is a good deal richer in sonority Partita, to the great tradition of English than theater-pit scoring, and, at the same At first glance, the Ninth appears to be a music for strings, it is a rather unusual time, offers a smorgasbord of sounds not conventional, if unusually large, symphony contribution, being written for three kinds ordinarily heard at symphony concerts: in four movements, with the slow movement of player and dividing the orchestra into most notably, the finger-clicking and the placed not second, but third, just before the three groups: Concertino for skilled raft of percussion (keyboards, battery, finale (as in the Hammerklavier Sonata). players, Tutti for semi-skilled, and Ad Lib tuned drums, and traps, not to mention the But the finale is like nothing else in sym- for beginners. The Concerto Grosso’s five police whistle). Though “classical” com- phonic music: scored for four soloists, full movements have plenty of good melodies. posers from Gershwin to Milhaud to the chorus, and orchestra, it is extremely long The premiere was in the Royal Albert present have assiduously pursued the ideal (longer than any of the other movements) Hall on November 18, 1950, when over of symphonic jazz, the end product is too and highly complex—almost a symphony 400 performers were involved, most of often an uncomfortable mélange. (A hundred in miniature, with its own introduction, them in the Ad Lib orchestra. Today, the -piece ensemble reading precise notation scherzo-like section, slow music, and SDSU Symphony Orchestra is joined by feels inauthentic to begin with; so do the grand conclusion. the SDSU Community Music School on evening dress and sumptuous venue.) The symphony begins audaciously with the Ad Lib and Tutti orchestral parts and Here, however, the solution is seductive, those celebrated first measures, which by our esteemed San Diego Symphony for the combined allure of Broadway stage struggle mightily, as the composer himself members and faculty in the Concertino and Philharmonic Hall is precisely what so often did, to arrive at a perfect sym- orchestra. defined so much of Bernstein’s career. phonic theme. (And then listen, at the Symphonic Dances from West You will hear a virtual encyclopedia of outset of the scherzo that follows, to how Side Story (1950) popular jazz and dance rhythms (swing, Beethoven seems to mimic the falling Leonard Bernstein mambo, cha-cha) and just about every kind fourths and fifths that define the sympho- of syncopation in the book. Eventually, ny’s opening, as if he were making light of Look elsewhere for a medley of the the ear begins to make the connection his own troubles.) The entire movement — pretty songs from West Side Story. This between the Jets’ whistled salute (the first rooted in D minor, but ranging widely—is is the jeans-and-sneakers ballet music, in thing you hear) and the Maria motive. conceived on the greatest scale (even though which the studied nocturnal cool of the It is said that the composer found these it is the only first movement in a Manhattan gangs ends in a hot rumble, and many other of his thematic ideas in Beethoven symphony which does not disaster, and apotheosis. You’ll recognize the symphonic repertoire he regularly include a repeat of the exposition). The the sinister deserted street-music from the conducted. beginning of the recapitulation—the beginning of the show and the extended moment that’s supposed to reprise the references to “Cool” and “Somewhere.” “Ode to Joy” from Symphony symphony’s opening—is, almost by ne- No. 9 (1824) cessity here, startlingly new—a complete The principal sections of this work can be Ludwig van Beethoven reinterpretation of the first measures, now identified asPrologue (Allegro modera- defiant, fortissimo, and in D major. to), the growing rivalry between the Jets Since his early twenties, Beethoven had and the Sharks; Somewhere (Adagio), a wanted to write music for Schiller’s Peace is shattered with what Wagner visionary dance sequence in which the An die Freude (Ode to Joy), a glorified admiringly called the Schreckensfan- two gangs unite in friendship; Scherzo drinking song with a strong humanistic fare—a fanfare of terror: a wrenching (Vivace leggiero), the gangs break out message. He toyed with it several times, eruption that is actually the dissonant of the city into open space, fresh air, and sketched a number of musical ideas, and combination of two triads—B-flat major sunshine; Mambo (presto), reality returns even included two lines from Schiller in (the key of the preceding slow movement) as the gangs compete in dance; Cha-Cha his opera Fidelio. When he finally settled and D minor (the key of the symphony (Andantino con grazia), the lovers’ first down to work on a new symphony—his as a whole). And with that noise, Beetho- meeting based on Maria; Meeting Scene first in a decade—in 1822, he was impa- ven opens a new chapter in the history (Meno mosso), they speak; Cool Fugue tient to pull together all the ideas that had of music. What follows is a carefully (Allegretto), during which the Jets try to been germinating in his imagination for staged drama in which cellos and basses control their hostility; Rumble (Molto thirty years. (And, according to Anton imitate operatic recitative; the music of allegro), a fight ending in the death of Schindler, only after he finished it nearly the three previous movements is quickly the gang leaders; and Finale (Adagio), two years later “could he again be seen reviewed and dismissed; and a new theme

8 DOWNTOWN PROGRAM About the Program is suggested, which, when it finally takes The Ode to Joy text employed, and slightly modified, shape, is a song so perfect and so simple it sounds like a hymn or a folk song. by Beethoven was written by the German poet, Johann (Beethoven, in fact, labored painstakingly Christoph Friedrich von Schiller, in the summer of 1785. It over this theme.) was a celebratory poem addressing the unity of all mankind. And then—in a move that must have stunned his first audience and has left INTRODUCTION INTRODUCTION virtually every composer since dumb- (Ludwig van Beethoven) (Ludwig van Beethoven) founded, wondering how he or she might Baritone Baritone top it—Beethoven welcomes the sound of O Freunde, nicht diese Töne! Oh friends, not these tones! the human voice into the symphony. The Sondern last uns angenehmere Let us strike up our voices in more earlier recitative returns and now is actually Anstimmen, und freudenvollere! Pleasing and more joyful sounds! sung (Beethoven wrote the text, as a kind of preface to Schiller’s ode, himself); AN DIE FREUDE ODE TO JOY Beethoven’s wonderful melody is finally (Friedrich Schiller) (Friedrich Schiller) given words. (In the end, Beethoven used Baritone, Quartet, and Chorus Baritone, Quartet, and Chorus only half of Schiller’s poem, deleting in Freude, Schöner Götterfunken, Joy, fair spark of the gods, the process any obvious drinking-song Tochter aud Elysium, Daughter of Elysium, references.) And from there Beethoven Wir betreten feurer-trunken, Drunk with fiery rapture, Goddess, creates, before our eyes and ears, a new Himmlische, dein Heiligtum! We approach thy shrine! kind of movement, combining elements Deine Zauber binden wider, The magic reunites those of symphony and concerto (there’s a big, Was die Mode streng geteilt; Whom stern custom has parted; virtuosic cadenza for the four soloists), Alle Menschen warden Brüder, All men will become brothers classical variations, Turkish marches Wo dein sanfter Flügelweilt, Under thy gentle wing. (complete with cymbals, triangle, and bass Wem der grosse Wurf gelungen, May he who has had the fortune drum), majestic slow meditations, and, Eines Freundes Freund zu sein, To gain a true friend finally, a gigantic double fugue. We ein holdes Weib errungen, And he who has won a noble wife Mische seinen Jubel ein! Join in our jubilation! The humanistic message of Beethoven’s Ninth has been welcomed far and wide— Ja, we auch nur eine Seele Yes, even if he calls but one soul from Japan, where New Year’s sing-along Sein nennt auf dem Erdenrund! His own in all the world. performances are as popular as our Mes- Und wer’s nie gekonnt, der stehle But he who has failed in this Must steal away alone and in tears. siahs, to Berlin, where, to celebrate the Weinend sich aus diesem Bund! destruction of the Wall in 1989, Leonard Freude trinken alle Wesen All the world’s creatures Bernstein changed Freude (joy) to Freiheit An den Brüsten der Natur; Draw joy from nature’s breast; (freedom), claiming that “Beethoven Alle Guten, alle Bösen Both the good and the evil would have given us his blessing in this Folgen ihrer Rosenspur. Follow her rose-strewn path. heaven-sent moment.” Küsse gap sie uns und Reben, She gave us kisses and wine Einen Freund, geprüft im Tod; And a friend loyal unto death; Wollust ward dem Wurm gegeben, She gave lust for life to the lowliest, Und der Cherub steht vor Gott. And the Cherub stands before God. Tenor Solo and Chorus Tenor Solo and Chorus Froh, wie seine Sonnen fliegen Jouyously, as his suns speed Durch des Himmels Prächt gen Plan, Through Heaven’s glorious order, Laufet, Brüder, eure Bahn, Hasten Brothers, on your way, Freudig, wie ein Held zum Siegen. Exulting as a knight in victory. Chorus Chorus Freude, schooner Götterfunken, Joy, fair spark of the gods, … … Seid umschlungen, Millionen! Be embraced, Millions! Diesen Kuss der ganzen Welt! Take this kiss for all the world! Brüder über’m Sternenzelt Brothers, surely a loving Father Muss ein lieber Vater wohnen. Dwells above the canopy of stars. Ihr strürzt nieder, Millionen? Do you sink before him, Millions? Ahnest du den Schöpfer, Welt? World, do you sense your Creator? Such’ ihn über’m Sternenzelt! Seek him then beyond the stars! Über Sternen muss er wohnen. He must dwell beyond the stars. Freude, schöner Götterfunken! Joy, fair spark of the gods! DOWNTOWN PROGRAM 9 Tonight’s Conductors DR. SHANNON KITELINGER Director, SDSU Wind Symphony

of Pennsylvania. His primary conducting ranging from beginning to advanced teachers have been Eugene Migliaro Cor- repertoire. poron, Dennis Fisher, and Jack Stamp. Awards and honors include: 2012 Music Shannon has taught at the high school, Educator of the Year from the California middle school, elementary, and university Music Educator’s Association-Southern levels, also serving as the assistant con- Border Section, quarterfinalist for the ductor for the Lone Star Wind Orchestra, a 2014 GRAMMY Music Educator Award, professional wind band based in the 2010 IUP Young Alumni Achievement Dallas-Fort Worth metroplex. During his Award, Who’s Who in Fine Arts Higher time at SDSU, ensemble enrollment has Education, and Who’s Who Among Shannon Kitelinger is the Director of tripled and his groups have been featured at American Teachers. Dr. Kitelinger’s Bands at San Diego State University where several local, state, and regional conferences. professional memberships include: The he conducts the university Wind Symphony, College Band Directors National Associ- Symphonic Band, and Concert Band, as Dr. Kitelinger has been a recording ation, Pi Kappa Lambda National Music well as teaching courses in conducting, production assistant for the critically Honor Society, Tau Beta Sigma, and Phi wind literature, and serving as the under- acclaimed GIA Windworks series, the Mu Alpha Sinfonia Music Fraternity. graduate student advisor. Klavier Wind Project, the GIA Com- poser’s Collection, Naxos Wind Band Dr. Kitelinger received a Doctor of Mu- Classics, and also the Teaching Music sical Arts and Master of Music degree in Through Performance in Band series. He conducting from the University of North is published in ten volumes of Teaching Texas and a Bachelor of Science degree in Music Through Performance in Band as music education from Indiana University the author of teacher’s resource guides

MICHAEL GERDES Director, SDSU Symphony Orchestra

proclaimed “refined, dynamically nuanced” with the Bacau Philharmonic and The and “restrained but unmistakably lucid” Moldova Philharmonic Choir of Iasi by San Diego Story. The premiere of Suite along with honor orchestras of Alpine Noir by the SDSU Symphony received a Valley, Grossmont Union, The California “Bravo” award as one of the six significant Music Educator’s Association, Southern musical events in San Diego during 2015. California Band and Orchestra Directors Gerdes is serving in his second season Association All-Southern Middle School as Assistant Conductor for the La Jolla Orchestra, San Diego Unified, and Sweet- Symphony and will make his subscription water Union. Prof. Gerdes serves as an concert debut in 2017. Selected by the executive of the Los Angeles Conducting San Diego Union Tribune as one of three Institute, President of the San Diego Pro Michael Gerdes is the Director of Or- “Faces to Watch” in Classical Music during Arte Voices board, and a member of the chestras at San Diego State University his first year as Director of Orchestras, New West Electronic Arts & Music Orga- where he conducts the San Diego State professor Gerdes is focused on creating nization Board. This summer he will serve Symphony Orchestra, Chamber Orchestra, a thriving orchestral community at San as Director of Orchestras for the Bravo and Opera Orchestra. His performanc- Diego State University. International Music Academy and the San es with the San Diego State Symphony Diego Summer Music Institute. have been hailed as “highly sensitive and Mr. Gerdes maintains an active calendar as thoughtfully layered” and his conducting a guest conductor, most recently working

10 DOWNTOWN PROGRAM Tonight’s Conductors DR. PATRICK WALDERS Director, Aztec Concert Choir, SDSU Chamber Choir

Walders and his wife Katie founded the of the region. He served as President for San Diego Pro Arte Voices, a professional the Virginia American Choral Directors chamber choir and non-profit organiza- Association from 2009-2011. He was the tion engaging professional artists of all Associate Conductor of the National Phil- disciplines for the advancement of the arts harmonic Chorale and Artistic Director of in San Diego. He is founder and artistic the National Philharmonic Singers based director of the annual San Diego Summer in Washington, D.C. Choral Festival & Conducting Workshop, designed to give teachers, church musicians, Patrick has performed as a professional students, amateurs, and professionals a baritone soloist and consort artist through- high-quality summer choral performing out the northeastern United States and A native of Buffalo, NY, Dr. Patrick outlet and conducting experience. southern California. He sings with the Bach Walders maintains an active career as a Collegium San Diego and The Berwick professional vocalist, music educator, Before moving to San Diego, he was Chorus of the Oregon Bach Festival. church musician, clinician, and conductor. Director of Choral Activities at James Joining the faculty of San Diego State Madison University for seven years where Dr. Walders holds a bachelor’s degree in University in August 2011 as Director he built the largest choral program in music education from the State University of Choral Studies, he was charged with Virginia that included over 120 voice majors of New York (SUNY) College at Fredonia, building the undergraduate and graduate and six graduate conducting students. He a master’s degree in choral conducting choral program. Now an Associate Profes- served on the committee that founded from the Westminster Choir College, and sor, he conducts the Aztec Concert Choir the first DMA (Doctor of Musical Arts) a doctorate in conducting from the and SDSU Chamber Choir and leads a curriculum in the Commonwealth as well University of Maryland-College Park. thriving graduate program in Choral Con- as the planning committee for the state- ducting that offers the Masters of Music of-the-art Forbes Center for the Arts that degree and Artist Diploma. changed the face of the campus and culture

The SDSU Music Education Program

SDSU’s Music Education teacher preparation program is The Music Education Fellowship (MEF) is an additional, nationally recognized for its innovative curriculum design externally funded program for a select group of music that focuses on direct and relevant teaching experiences education students. Fellows spend an entire school year for the student. This experiential approach has resulted in prior to student teaching as an assistant to a mentor 100% successful placement of new teachers, and contin- teacher. These future music teachers are guided over a ues to explore creative and impactful methods of teaching long period of time thus allowing for development of needed by today’s K-12 public school music educators. classroom management skills along with music teaching Key to our reputation for excellence is a very strong techniques and artistic excellence. Fellows report longer connection with over 50 public school music teachers that and more satisfied teaching careers as a direct result of serve as mentors and presenters to our undergraduates. their MEF experiences. The Music Education Fellowship This link is essential for our future teachers to learn best provides a scholarship to each Fellow to participate in this practices from experienced K-12 master teachers. SDSU state-of-the art program as they work their way through currently furnishes over 65% of the music educators in their undergraduate degree program. San Diego County schools, thereby impacting the musical education of thousands of K-12 students.

Proceeds from this performance will support the SDSU Music Education Program. The impact of this support will resonate for many years to come, as new generations benefit from the specialized training and dynamic artistic education provided to the students of San Diego State University. DOWNTOWN PROGRAM 11 Tonight’s Performers Trumpet Adam Larocca – Encinitas, CA; SDSU WIND SYMPHONY Music Education Joshua Stewart* – Anaheim, CA; Sasha Stone – Valley Center, CA; Greg Anderson – Graduate Conducting Music Performance Music Education Assistant Nicholas Virtue – Palmdale, CA; Jake Gamelin – Chino Hills, CA; Abigayle Weaver – Graduate Conducting Music Education Music Composition Assistant Dominic Leak – San Diego, CA; Music Education *=Section Leader Flute Nicholas De La Riva – Chula Vista, CA; +=Co-Section Leader Music Education Jamie Burke* – Orange County, CA; Lindsay Ross – Foothill Ranch, CA; Music Performance Music Education SDSU ORCHESTRA Sierra Johnson – Poway, CA; Music Performance/Education Violin I Anna Sharp – San Diego, CA; Horn International Business Kennan Langsford* – La Mesa, CA; Rita Murphy* – Burbank, CA; Lionel Avila – Lincoln, CA; Music Professional Studies Business Management/Music Performance Music Performance Jordan Blackman – San Diego, CA; Ayrton Pisco* – Brasilia, Brazil; Beverly Flores-Castro – San Diego, CA; Economics Music Performance Music Education Alex Faxel-Ligouri – Lafayette, CA; Aryan Blouchard* – Laguna Niguel, CA; Liberal Studies Mechanical Engineering Thea Hanner – Lafayette, CA; Janie Hsiao – Cupertino, CA; Oboe Sustainability Music Performance Juliana Gaona+ – Bogatá, Colombia; Bryce Johnson – San Diego, CA; Music Taylor Carlson – San Diego, CA; Artist Diploma Kinesiology/Music Performance Dawn Striker-Roberts+ – Salem, IL; Austin Moser – San Diego, CA; Music Performance Trombone Biology/Chemistry Althea Espinal – San Diego, CA; Paige Kobdish – Bakersfield, CA; James Caestecker* – San Clemente, CA; Undeclared Music Busines Entrepreneurship Music Education Yeeun Kim – Daejeon, South Korea; Skyler MacKinnon – San Diego, CA; Liberal Studies/Music Performance Music Education Bassoon Giovanno Bonilla – Pomona, CA; Katie Woodruff* – San Diego, CA; Music Education Violin II Music Education Diego Quinto – Rocklin, CA; Jesus Cervantes* – San Diego, CA; Music Education Euphonium Music Performance Scott Johnson – Salt Lake City, UT; Matt Roth – Glendale, AZ; Dominick Maldonado* – Lake Forest, CA; Anthropology/Music Performance Business Finance Music Education Alejandro Garcia – Los Angeles, CA; Daniella Banks – Rocklin, CA; Music Performance Music Education Clarinet Jasmin Rikard – Chula Vista, CA; Music Education Katrina Earl* – San Diego, CA; Jasmine Delarosa – Chula Vista, CA; Performance Tuba Biology Brittany Barnes – San Diego, CA; Derek Lee* – Chino, CA; Laura Roberson – El Cajon, CA; Music Education Music Education Music Professional Studies Jori Bachman – Sacrament, CA; Joey Ortiz – San Diego, CA; Chantal Alvarez – El Centro, CA; Music Education Music Performance/Education Music Education Janet Ta – San Diego, CA; Geraldine Chau – Sacramento, CA; Music Education Music Entrepreneurship Renee Thompson – San Diego, CA; Double Bass Rachel Sobel – Newbury Park, CA; Professor of Mathematics Camellia Aftahi* – San Diego, CA; Psychology Christian Lozano – Temecula, CA; Music Education Music Education Owen Morgan Killian Voutour – San Diego, CA; Viola Music Education Piano/Organ Hui-Ling Hsu* – Taipei City, Taiwan; Music Performance Saxophone Jennifer Hsu – San Diego, CA; Daisy Kiner-Kopp – San Diego, CA; Music Performance Music Education Martin Fierro+ – Tulare, CA; Ian Moore – Bournemouth, UK; Music Education Music Performance Jesus Sanchez – Oxnard, CA; Percussion Stephanie Cheng – Hong Kong, China; Music Education Psychology Samantha Holmes+ – Murrieta, CA; Donald Wiseman* – San Diego, CA; Patrick Aquino – Hercules, CA; Music Education Music Education Music Performance Jonathan Veloz – Fontana, CA; Joseph Nelson – Chula Vista, CA; Music Professional Studies Music Education

12 DOWNTOWN PROGRAM Tonight’s Performers Cello Saxophone Stacey Barnett – San Diego, CA; Vocal Performance Kun Liu* – Changji, China; Daniel Kamon – San Diego, CA; Mary Ann Carr-Wilson^ – San Diego, CA; Music Performance Music Performance Vocal Performance Kayla Whip – Rancho Santa Margarita, CA; Lauren Cernik-Price – San Diego, CA; Music Performance Horn Vocal Performance Trina Nielsen – Temecula, CA; Natea Cooke – Los Angeles, CA; Music Performance Kennan Langsford* – La Mesa, CA; Music Entrepreneurship Eunhee Park – Seoul, South Korea; Music Professional Studies Stephanie Cox; Biochemistry Music Performance Jordan Blackman – San Diego, CA; Atena Cyrus – San Diego, CA; Brianna Deschenes – San Diego, CA; Economics Communication Psychology Julia Sanders – San Diego, CA; Music Elizabeth Figueroa – San Diego, CA; Timothy Schoonover – Santee, CA; Abigayle Weaver – Smethport, PA; Vocal Performance Linguistics Conducting Giuliana Flores – Tijuana, Mexico; Marketing Antonia Fuchs – Ravensburg, Baden-W., Bass Trumpet Germany; Interdisciplinary American Nathaniel Mayne* – Livermore, CA; Joshua Stewart* – Anaheim, CA; Studies Music Performance Music Performance Karen Garcia – Tijuana, Mexico; Camellia Aftahi – San Diego, CA; Dominic Leak – San Diego, CA; Vocal Performance Music Performance Music Education Valerie Garcia – Downey, CA; Owen Morgan – Austin, TX; Andrew Higdon – San Diego, CA; Music Education Education Public Administration Monica Gonzalez – Chula Vista, CA; Marissa Aguirre – Fresno, CA; Philosophy Education Tanya Gutierrez – Tijuana, Mexico; Marline Cota – San Diego, CA; Trombone Vocal Performance Music Therapy Skyler McKinnon* – San Diego, CA; Megan Kraft – Davis, CA; Music Education Music Education James Caestecker* – San Clemente, CA; Nanako Kurachi-Shimotsuke-shi – Flute/Piccolo Music Education Tochigi, Japan; Psychology Ning Li – Beijing, China; Sociology Christine Choi* – San Diego, CA; Giovanni Bonilla – Pomona, CA; Kimberly Maldonado – Orange County, CA; Music Performance Music Education Vocal Performance Jeremy Manlangit – San Diego, CA; Kiana Mason – Clayton, CA; Music Performance Tuba Vocal Performance Jaime Burke – Orange County, CA; Pricilla Moreno; English Music Performance Derek Lee – Chino, CA; Music Education Elizabeth Murphy – San Carlos, CA; Business Administration Oboe/English Horn Ngo Anh – San Francisco, CA; Percussion Marketing Juliana Gaona* – Bogotá, Colombia; Koral Ortiz – Truckee, CA; Music Performance Don Wiseman* – San Diego, CA; Music Education Finance Dawn Striker-Roberts – Salem, IL; Shelby Riggs – Omaha, NE; Music Performance Joseph Nelson – Chula Vista, CA; Music Education Vocal Performance Anna Stearns – Fulton, MO; Anna Scade – Madrid, Spain; Music Sasha Stone – Valley Center, CA; Music Education Music/Interior Design Greg Anderson – Springville, UT; Rebecca Vaden – Simi Valley, CA; Clarinet Conducting Psychology Jake Gamelin – Chino Hills, CA.; Christina Villanueva – La Mesa, CA; Katrina Earl* – San Diego, CA; Composition Music Education Music Performance Katherine Wiedeman – San Ramon, CA; Brittany Barnes – San Diego, CA; Psychology/Music (Voice) Music Piano Megan Winslow^ – San Diego, CA; Music Education Christian Lozano – Temecula, CA; Jennifer Hsu – Mira Mesa, CA; Michaela Wood – Castro Valley, CA; Music Education Music Performance Civil Engineering Bassoon Katie Woodruff* – San Diego, CA; AZTEC CONCERT CHOIR Altos

Music Education Raelynn Bichitty – San Diego, CA; Maria Didur – Collaborative Pianist Russell Corpuz – Chula Vista, CA; English Music Education Paul Infantino – Assistant Director Sydney Carteris^ – San Diego, CA Martin Fierro – Tulare, CA; Kelly Dinh – Anaheim, CA; Music Education Sopranos Music (Piano)/Pre-med Marissa Aguirre – Fresno, CA; Jessica Hubbard – San Diego, CA; Music Education Music (Voice)/Professional Studies

DOWNTOWN PROGRAM 13 Tonight’s Performers Jillian Jackson – Long Beach, CA; Nakul Tiruviluamala – San Diego, CA; Gianna Hamilton – San Diego, CA; Music (Voice) Music Theory/Composition Music Education Willow Lark – Santa Cruz, Ca; Ryosuke Umeki Julia Hong – Palo Alto, CA; Environmental Engineering Music Composition Lili Mooneyham – Mission Viejo, CA; Stephanie Ishihara* – San Diego, CA; Music (Voice)/Social Work Basses Vocal Performance Juliana Oñate – Pasadena, CA; Jason Berman – Vista, CA; Ibis Laurel [Graduate Assistant] – Public Administration Music Education Chiapas, Mexico; Choral Conducting Alexa Pazos – Chula Vista, CA; Andres Jaramillo; Music Entrepreneurship Jennifer Lee (A1/S2) – Chula Vista, CA; Anthropology Marshall Kanute – St. Charles, IL; Music Vocal Performance Alice Sokolova – San Diego, CA; Dominique Lawson – Chatanooga, TN; Erwin Ritua – Chula Vista, CA; Electrical Engineering/Music (Voice) Music Entrepreneurship Music Education Sara Spafford-Freese – Chula Vista, CA; Carlos Ocadiz – San Diego, CA; Latifah Smith – San Diego, CA; Anthropology Psychology Vocal Performance Danielle Stathas – San Diego, CA; Nathan Powers – Thousand Oaks, CA; Gabi Urdaz* – Chatsworth, CA; Hospitality and Tourism Management Microbiology Music Education Marielena Teng – San Diego, CA; Mark Relon – San Diego, CA; Sr. Warda Yousif (S2/A1) – San Diego, CA; Music Education Environmental Engineering Music (Voice) Isabelle Thomas – Albuquerque, NM; Brandon Sherman^ – San Diego, CA; Vocal Performance Vocal Performance Kathryn Vieira – San Diego, CA; Keith Sattely^; Choral Conducting Tenors English British Literature Sam Spaeth – El Cajon, CA; Audit Nick Sullivan – San Diego, CA; Antonia Washington-Brown – Sanford, FL; Donaciano Talamantes – Chula Vista, CA; Jazz Studies Music Education Spanish/Linguistics Daniel Johnson – San Diego, CA Angela Wolfe – San Diego, CA; Miguel Tamayo – National City, CA; Yo Oh* – San Ramon, CA; Biochemistry Microbiology Music Entrepreneurship Sandy Younan Severiano Wada – Lancaster, CA; Shahen Ohanian – Clovis, CA Jazz Studies Sean Taylor – Fountain Valley, CA; William Youngling – Chula Vista, CA; Tenors Sociology/Communication Music (Guitar)/Professional Studies Juan Carlos Acosta^ – San Diego, CA; Choral Conducting Basses Luis Aguilar; Music Education SDSU CHAMBER CHOIR Joshua Lee – Incheon, South Korea; Giovanni Bonilla – Pomona CA; Vocal Performance Music Education Maria Didur – Collaborative Pianist Thomas Lokensgard – Poway, CA; Jason Cabusas – Fresno, CA; Vocal Performance/Accounting Liberal Studies Sopranos Kevin Lomes* – San Diego, CA; Joseph Durant – Chula Vista, CA; Music Education Music Education Desire Admire – San Diego, CA; Paul May* [Graduate Assistant] – Joey Erece Psychology/Pre-Med Imperial Beach, CA; Choral Conducting Esteban Gage – Chula Vista, CA; Caty Bishop [Graduate Assistant] – Laguna Nicholas Newton – San Diego, CA; Music, Psychology Hills, CA; Choral Conducting Vocal Performance Andrew Gutierrez – Santa Barbara, CA; Maggie Collins – Kingsport, TN; Joshua Read – San Diego, CA; Sociology Vocal Performance Accounting Fernando Gutierrez – Madrid, Spain; Carly Cummings – Santa Barbara, CA; Michael Reyes – Yucca Valley, CA; Business Admininstration/Theatre Arts Vocal Performance Jazz Studies Shota Hanoi – San Diego CA; Hanabi Ito – Tokyo, Japan; Slav Sokolov – Odessa, Ukraine; Percussion Performance Music Education Vocal Performance Adam Larocca – Encinitas, CA; Gina Mazziotti – Northville, MI; Jordan Takeuchi – Rio Oso, CA Music Education Vocal Performance Jonathan Lopez – San Diego CA; Mariam Mouawad – Zahlé, Lebanon; * - Section Leader Music Education Vocal Performance ^ - Alumni Mitch Rosenthal – Woodbury, NJ; Carly Newman+ – San Diego, CA; Music Music Education Luis Mendez – Chula Vista, CA; Amanda Olea* – San Diego, CA; Music (Voice)/Professional Studies Vocal Performance Khoi Nguyen – Can Tho, Vietnam; Lisa Parente* – Davis, CA; Music (Piano)/Professional Studies Vocal Performance Alex Patterson – Lancaster, PA; Kaitlyn Taylor – Great Falls, MT; Theatre Music Education Andrew Snyder – San Diego, CA; Jazz Studies Altos Sean Taylor – Fountain Valley, CA; Emily Bruning – Palm Desert, CA; Theatre Communication/Sociology Megan Gleeson (A1/S2) – Temecula, CA; Brandon Thibeault – San Diego, CA; Music Education Vocal Performance

14 DOWNTOWN PROGRAM Donor Recognition

Las Patronas San Diego Chargers Football Amrum & Mirian Lakritz San Diego Bowl Game Assn. Thank You! Family Trust San Diego Chapter of Sweet Christopher Latta Adelines to all of our generous supporters Marvin and Reinette Levine San Diego Downtown Partnership to the Liberty Productions The San Diego Foundation School of Music and Dance Edith O. Lieber Trust The San Diego Symphony Marian Liebowitz, D.M.A. Sapphire Energy, Inc. for making our programs possible. Haroldine Liggett* William and Christine Schindler We have done our best to make this list as accurate as possible. David and Patricia Lokensgard San Diego Kiwanis Club Should you find a discrepancy or would like to be removed, please Los Angeles Raiders Foundation call Elizabeth Allison at 619-594-4548. Frank J. Losey, DDS Inc. Sylvia Shepherd* Luth and Turley Inc. Joao Siffert John R. Adams Trust Dorado Dorado Stephanie Majer* Sigma Alpha Iota Charlotte Albrecht Charlotte and Anthony Dunn* Denise Malicki, M.D., Ph.D. Sigma Alpha Iota San Diego Frank W. Almond, Ph.D. Estate of Douglas G. Dunston Andrea Fisher Maril Alumnae Armed Services YMCA Brenton Price Dutton May Centers Inc. Richard T. Silberman Terry Atkinson Dan and Phyllis Epstein Frank McCarty Sandra B. Silverstein Aztec Shops, Ltd. Robin Escovado* Thomas Mcmanus* Anton Smunt Aztec Warrior Foundation Bob Evans William McWilliams SNATS, SDSU Chapter Vera Bala* Kellie Evans-O’Connor Mesa Distributing Company, Inc. Nancy Spector and Alan R. Diana Barliant* F. H. Pratt-Kurz Richard Metcalfe II Memorial Spector, M.D., Ph.D. Angela Bass Danah H. Fayman Fund Christine Springston* Jane Smisor and James* Bastien Joseph J. Fisch and Joyce Axelrod The Minneapolis Foundation Thomas and Cynthia Stauffer Bata Footwear Bruce Fischer Moose McGillycuddy’s Pub Sol Stillman* Publishing Belwin Patricia Warnke Fischer* Music Teachers Association of CA Susie Sullivan Bertrand Music Enterprises, Inc. Karen Follingstad, Ph.D. Musical Merit Foundation of William and Virginia Sumner Byrna Bicknell* Burton Fox Greater San Diego Ralph Taylor* Boom and Gunderson Family Marvin Fox, Ph.D.* Diana Nadel* Jennifer Terpstra Fund Edith Garrett* National Philanthropic Trust The University Club Sam and Rie Bloomfield Ann & Gordon Getty Foundation Arne Knudsen and Laurinda Viola Treeweek Foundation Girard Savings Bank Nikkel Eugene Vacher* The Boston Foundation Morley Golden Tom Oberjat William and Kathleen Valeri Barbara and Eugene Bowman* Robert M. Golden Foundation Father Michael O’Connell Pamela Valinet The Mary Bremer Foundation Wynnona Goldman Terry L. O’Donnell, Ph.D. Peter J. Van Benschoten Iris Brown Ethel Greene Dickey Trust Oil Gulf Foundation Debra Wanger Theodore Brunson* Robert and Cynthia Griego Matthew J. Olow Harold and Chalone Warman Esther Burnham Kelli A. Hanson, M.D. David and Linda Pain Pitt and Virginia* Warner California Music Project Ruth Lorena Harris Trust Quynh Palomino Jeanette and Byron* Webb Cameron and Jane Baird Lynn Edington-Hogg and Merle E. Nick Panos Susan* and Stephen L. Foundation Hogg, Ph.D. The Parker Foundation Weber, Ph.D. DeAnn Cary, Ph.D. House of Czech & Slovak Phi Mu Alpha Music Fraternity David Weeks Caterpillar Foundation Republics Phi Mu Epsilon P. David Weeks* Jeff Cava Charles Hoyt* Piano Exchange Weingart-Price Fund Center For World Music Hudson Bay Seafood Sima Picaizen* West Coast Finnish American Rudy and Carol B. Cesena Jack in the Box, Inc. Herbert Popper* Singers Martin J. Chambers Lee and Cindy Jackson The Presser Foundation Jo Ann White Champion Photo Inc. Jewish Community Foundation Price Philanthropies Foundation Benjamin Wilkes* Donna Conaty Joseph Johnson* Sol Price* Nowell Wisch Nikki and Benjamin G. Clay Marianne Kaarsberg-Handrus* Lowell Pritchard* Sharon L. Wolchik, Ph.D. Nancy Cochran Paula Kalustian Kedar and Mary Mackenzie Pyatt Ellen Woolley* Colwell Family Genevieve Kaplanski Leslie Quiett Dale and Betty Worm* Carolyn and Clifford W. Karwoski Family R S Foundation Yamaha Corporation of America Colwell, Jr., M.D. Harold Katz* Radio City Music Hall Charles D. Yates* Coronado Cays Yacht Club Elizabeth Kimery Reagents Applications Inc. William Yeager Crump Life Insurance Leean Knetzer Edward C. Reed Bill Yellen Services, Inc. Evelyn and Larry Kooperman William E. Rhea Bonnie and James Cusack La Jolla Debutante Committee Janet Robinson Bella De Groot La Jolla Kiwanis Foundation Rockley Family Foundation *DECEASED Vernon Dennis* La Jolla Music Society Patti Roscoe Marydale and Norman* Dessel La Jolla Womans Club Norman Rost* Richard Diciedue Evelyn and William San Diego Chapter Dixieland Jazz Society Lamden, Ph.D. S.P.E.B.S.Q.S.A. San Diego State University would like to gratefully acknowledge each donation, however, space limitations only allows us to recognize supporters who have given $2,000 or more.

DOWNTOWN PROGRAM 15