From this world...and then...:UMD Wind Orchestra - LIVESTREAM
From this world...and then... - LIVESTREAM
UMD Wind Orchestra
Friday, December 10, 2021 . 8PM
Photo by David Andrews
Principal People:
Michael Votta, Jr., conductor
Christine Higley, graduate conductor
James Stern, violin
Special Announcement:
Please note: This event will be available to view only during the performance. The video will not be available to view after the concert.
Event Attributes
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Estimated Length:
This performance will last approximately 90 minutes, including a 15 minute intermission.
Take a musical journey into the future of life on this planet. Apotheosis of This Earth grapples with the ecological consequences of humankind’s violence towards nature. Composed by Karel Husa in 1971, its themes are still relevant today. Also, experience the world premiere of Dana Wilson’s violin concerto titled Of my dream before me… featuring Professor James Stern on violin and inspired by the Langston Hughes poem "As I Grew Older." Rounding out the program will be Lili Boulanger’s D’un matin de printemps (Of a Spring Morning), J.S. Bach’s My Jesus! Oh, What Anguish, BWV 487 and Johannes Brahms' Three Chorale Preludes.
Program:
Lili Boulanger: D’un matin de printemps (Of a Spring Morning)
Johannes Brahms: Three Chorale Preludes, Op. 122
Dana Wilson: Of my dream before me… (world premiere)
Karel Husa: Apotheosis of This Earth
J.S. Bach (attr.) / Reed: My Jesus! Oh, What Anguish, BWV 487
About the UMD Wind Orchestra (UMWO):
Led by Michael Votta, Jr., UMWO is a leading voice among collegiate ensembles in premiering new works for winds. This season’s engaging performances will feature faculty soloists and world premieres of new works and masterworks of the 20th and 21st centuries.
PROGRAM MENU: PROGRAM · PROGRAM NOTES · ABOUT THE ARTISTS
PROGRAM
D’un matin de printemps
Lili Boulanger (1893–1918)
arr. Francois Branciard (b. 1979)
Three Chorale Preludes, Op. 122
Johannes Brahms (1833–1897)
arr. John Boyd (1944–2004)
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Behold, a Rose is Blooming
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O World, I Now Must Leave Thee
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O God, Thou Faithful God
Christine Higley, graduate conductor
Of my dream before me…*
Dana Wilson (b. 1946)
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No longer the light
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I lie down in the shadow
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Bright like the sun
James Stern, violin
INTERMISSION
Apotheosis of This Earth
Karel Husa (1921–2016)
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Apotheosis
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Tragedy of Destruction
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Postscript
My Jesus! Oh, What Anguish
J.S. Bach (1685–1750)
arr. Alfred Reed (1921–2005)
*Indicates a world premiere performance
PROGRAM NOTES
D’un matin de printemps (Of a Spring Morning)
Lili Boulanger
Born: August 21, 1893, Paris, France
Died: March 15, 1918, Mézy-sur-Seine, France
Composed: 1917–1918
Arranged by Francois Branciard
Born: 1979
Arranged: 2008
The score calls for piccolo, 2 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 10 clarinets, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, harp, 3 horns, 2 cornets, 2 bugles, 2 trumpets, 3 trombones, 3 sax horns, tuba, string bass and percussion.
Duration: 6 minutes
Lili Boulanger was born into a family of musicians—her Russian-born mother was a singer, and her father, a composer, was awarded the Prix de Rome in 1835. It was at age two that her musical gifts were first noticed. It was that same year that she contracted pneumonia which permanently weakened her immune system. This unfortunate event would condition the rest of her life during which she would contract numerous other infections throughout her childhood and adolescence when finally tuberculosis would cause her premature death at age 24. Lili Boulanger studied music with her sister Nadia (born in 1887) taking private lessons with Georges Caussade, and upon the advice of Gabriel Faure, she then integrated the composition class of Paul Vidal at the Paris Conservatory. After several attempts, she was awarded the Prix de Rome in 1913 for her Cantata Faust et Helene. As the first woman to have won this prestigious competitive award, many articles were written about her success in the international press during the era of the suffragettes, contributing to the emancipation of women. Her first stay in Rome at the Villa Medicis was interrupted by the First World War. She returned to Paris where she and her sister founded the Franco-American Committee at the Paris Conservatory to help musicians who had been sent off to war. In 1916, upon return from Rome, she started composing La Princesse Maleine, an opera based on the work of Maeterlinck, which still remains unfinished. After an abrupt decline in her health, she returned to Paris where she died in the spring of 1918. Her work was inspired by themes like war and religious prayer, and her mentors were J. Massent, G. Faure and C. Debussy. Her catalogue is comprised of several pieces for choir, piano parts and chamber music, which were orchestrated with great ease and make us regret even more the premature death of one of French music’s most moving shooting stars.
— Bio by the Publisher
It was during her final winter days, in 1917–1918, that Lili Boulanger imagined a piece, brimming with life, for violin, cello and piano. This bouncy morning reminder, contemplating soft spring sunshine, was performed for the first time in February 1919 at the Societe Nationale de Musique. The posthumous act was Nadia’s initiative (1887–1979), who herself played the piano part. The older sister of the “Boulangerie”—a friendly nickname given to the Parisian household and its three Prix de Rome prize holders living close to the Place Clichy—was the one who would live decades perpetuating her sister’s memory via the transmission of legacies of this younger sibling who died much too soon, and worked throughout her lifetime scrupulously on the publication of different versions of Un Matin de printemps.
It was in 1922 that Durand Publishers would publish a violin (or flute) version with piano. There are very few remaining indicators about the conception of the symphonic version which would be published in the Durand Publisher catalogue only in 1993 (just like the initial version for trio in 2006). In the current folio of this short piece, we can’t help but be reminded of the shades and colors used by Claude Debussy in his Nocturnes or La Mer. If this piece presents a traditional construction in the A-B-A format, with an obstinate rhythm, using an energetic theme noted gay and light, followed by a mysterious episode in which we see the sun piercing through, blazing and happy, then concluding with a triumphal return of the first episode, one must look with a close eye at all of the subtleties and rich harmonies of this miniature, which was the work of a young 24-year-old woman.
It was in 2008, following the proposal of the Musique des Gardiens de la Paix in Paris, who encouraged students of the Paris Conservatory to write orchestrations for piano parts of French chamber music, that Francois Branciard, student of professor Denis Cohen, imagined a brilliant and luminous version of Lili Boulanger’s work. This version was perfectly in line with the great transcriptions of the French school, where different conductors of French military orchestras of the 20th century shined (from Guillaume Balay to Roger Boutry, as well as Pierre Dupont or Desire Dondeyne…) His orchestration was tailored with great finesse and showcased the woodwinds and saxophones. With measured art of the instrumentation, he has managed to overshadow the string section to create an ensemble which is perfectly original and justified, as well as also proposing a piece of music which finds its natural place within the great tri-colored essence of the concert band.
— Program Note by the Publisher
Three Chorale Preludes, Op. 122
Johannes Brahms
Born: May 7, 1833, Hamburg, Germany
Died: December 3, 1897, Frankfurt, Germany
Composed: 1896
Orchestrated for wind ensemble by John Boyd
Born: January 1, 1944
Died: December 31, 2004
Arranged: 1996
The score calls for piccolo, 2 flutes, 2 oboes, English horn, bassoon 2, contrabassoon, 3 clarinets, bass clarinet, contrabass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 4 horns, 3 trumpets, 3 trombones, euphonium, tuba, string bass and timpani.
Duration: 10 minutes
The Chorale Preludes were composed by Johannes Brahms in May and June of 1896. Arthur Egidi, in an article written for the Brahms-Heft of “Die Musik,” attributes their existence to the composer’s illness at the time. He refers also to the work by which they had been immediately preceded—the four Serious Songs, Op. 121—in order to show that for some time Brahms had been pondering on serious subjects.
It seems quite natural that, having completed his extensive collection of folksongs which represented an ideal of melodic style for him, Brahms should have also given expression to his love of chorale melodies. The art of chorale harmonization had already been well represented in his motets. In turning to the form of organ prelude Brahms was returning to a form of his youth, for the early works include a prelude and fugue upon a chorale, ‘O Traurigkeit, O Herzeleid.’ As with parallel cases of the motets, Brahms' response is to the aesthetic character of the works, including their spiritual associations, rather than to any functional purpose or imitation. As far as is known, Brahms never played the organ in his later years, but his compositions had profound influence on the German organ school of the early twentieth century, represented chiefly by the work of Reger and Karl Elert.
In short, these preludes also have a pathetic meaning applying to ourselves. They are the last handshake of a master who, even to the end, could not part from us without an earnest repetition of his life-long admonition to build up rather than destroy, and to hold the past in reverence. The setting for winds by John Boyd and edited by Frederick Fennell is dedicated to the memory of their friend and colleague, John P. Paynter.
— Program Note by the Publisher
Of my dream before me… (world premiere)
For violin and chamber ensemble
Dana Wilson
Born: 1946, Lakewood, Ohio
Composed: 2021
The score calls for solo violin, flute, oboe, 2 clarinets, bassoon, trumpet, horn, trombone, string bass and percussion.
Duration: 15 minutes
The title of this work and each of the movements come from the poem “As I Grew Older” by Langston Hughes.
— Program note by Publisher
Apotheosis of This Earth
Karel Husa
Born: August 7, 1921, Prague Czechoslovakia
Died: December 14, 2016, Apex, North Carolina
Composed: 1971
The score calls for piccolo, 3 flutes, 3 oboes, 2 bassoons, contrabassoon, E-flat clarinet, 3 clarinets, alto clarinet, bass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, bass saxophone, 4 trumpets, 4 horns, 4 trombones, 2 baritones, tuba, string bass, timpani and percussion.
Duration: 30 minutes
Husa studied at the Prague Conservatory in his native Czechoslovakia (now Czech Republic) and at the Paris Conservatory where his teachers were Arthur Honegger and Nadia Boulanger. He was widely respected as a composer and conductor before coming to the United States in 1949. Many of his compositions illustrate the successful amalgamation of 12-tone technique with Czech melody, rhythm and brilliant colors. He was awarded the Pulitzer Prize in Music in 1969 for his String Quartet No. 3, one of a long list of compositions written for a variety of musical media. He won the $150,000 Grawemeyer Award from the University of Louisville for his Cello Concerto, written in 1989. Husa’s Music for Prague 1968, (written as a result of the Soviet invasion of his native city) has won much praise in performances throughout the world. In 1995 he received the Czech Republic's State Medal Award of Merit, the nation’s highest civilian award. Other awards include honorary doctorate degrees from the Cleveland Institute and from Mount Saint Vincent, Coe, and Baldwin-Wallace Colleges. Husa taught composition and conducted the orchestra at Cornell University.
— Bio from Program Notes for Band
The composition of this work was motivated by the present desperate stage of mankind and its immense problems with everyday killings, war, hunger, extermination of fauna, huge forest fires and critical contamination of the whole environment. Man’s brutal possession and misuse of nature’s beauty, if continued at today’s reckless speed, can only lead to catastrophe. The composer hopes that the destruction of this beautiful Earth can be stopped, so that the tragedy of destruction—musically projected here in the second movement—and the desolation of its aftermath (the “Postscript” of the third movement) can exist only as a fantasy, never to become reality.
In the first movement, “Apotheosis,” the Earth first appears as a point of light in the universe. Our memory and imagination approach it in perhaps the same way as it appeared to the astronauts returning from the moon; the Earth grows larger, and we can even remember moments of tragedy—as illustrated by the xylophone near the end of the movement. The second movement, “Tragedy of Destruction,” deals with the actual brutality of man against nature, leading to the destruction of our planet, perhaps by radioactive explosion. The Earth dies, a savagely, mortally wounded creature. The last movement is a “Postscript,” full of the realization that so little is left to be said—the Earth has been pulverized into the universe, the voices scattered into space. Toward the end, these voices—at first computerlike and mechanical—unite into the words, “this beautiful Earth,” simply said, warm and filled with regret…and one of so many questions comes to our minds: “Why have we let it happen?”
— Program Note by Karel Husa
My Jesus! Oh, What Anguish
Johann Sebastian Bach
Born: March 31, 1685, Eisenach, Germany
Died: July 28, 1750, Leipzig, Germany
Composed: 1736
Arranged for Wind Ensemble by Alfred Reed
Born: January 25, 1921, Manhattan, New York
Died: September 17, 2005, Miami, Florida
Arranged: 1974
The score calls for 3 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 3 clarinets, alto clarinet, bass clarinet, contrabass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 4 horns, 3 trumpets, 2 cornets, 3 trombones, euphonium, tuba, string bass and timpani.
Duration: about 6 minutes
My Jesus! Oh, What Anguish (“Mein Jesu! Was Fur Selenweh”) is one of a group of 69 so-called “Sacred Songs and Airs” attributed to J.S. Bach, each of which exists only in the form of a single melodic line with figured bass. These pieces were first published in 1736, some 14 years before Bach’s death, as the musical settings for a huge collection of 954 sacred songs and hymns assembled by Georg Chirstian Schemelli and edited by Bach himself. In 1832, they made their first appearance as an addendum to the 371 four-part, fully harmonized chorales in an edition published by C.F. Becker. Ever since that time, there has been some disagreement among musical scholars as to just how many of these 69 melodies were actually written by Bach himself, how many were merely arranged by him, or even if there were actually that number at all that were in any way composed or worked on by him. The standard Bach-Gesellschaft edition, for instance, lists 75 such pieces, not 69, and on the other hand, one of the greatest authorities on German evangelical church music, Johannes Zahn, claimed that only 21 of the 69 (or 75) should be considered as Bach’s own work, and all of the rest credited to other composers. However this may be, it is interesting to observe that since the first separate appearance of this group of pieces in 1832, there have been at least eight other editions prepared by different authorities and published, and that the melody of My Jesus! appears in all of them; its authenticity as an original work from Bach’s own hand seems never to have been questioned by any of the compilers and editors of these collections during the past 150 years.
For all of its apparent simplicity of musical construction (a small two-part form, with each part repeated once), this music is deeply moving and of great expressiveness. In the present realization for winds from the figure bass, Bach’s harmonic intentions have been faithfully adhered to throughout, and except for choices of specific voicing and instrumental colors, nothing has been added to one of the most haunting and poignant expressions of sorrow and compassion to be found in all of Western music.
The first performance of this new setting took place in November 1974, with the University of Miami Symphonic Wind Ensemble under the direction of Frederick Fennell.
— Program Note by Alfred Reed
ABOUT THE ARTISTS
CONDUCTORS
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MICHAEL VOTTA, JR., has been hailed by critics as “a conductor with the drive and ability to fully relay artistic thoughts” and praised for his “interpretations of definition, precision and most importantly, unmitigated joy.” Ensembles under his direction have received critical acclaim in the United States, Europe and Asia for their “exceptional spirit, verve and precision,” their “sterling examples of innovative programming” and “the kind of artistry that is often thought to be the exclusive purview of top symphonic ensembles.” He currently serves as director of bands at the University of Maryland School of Music where he holds the rank of professor. Under his leadership, the UMD Wind Orchestra (UMWO) has been invited to perform at the international conference of the World Association of Symphonic Bands and Ensembles as well as multiple national and divisional conferences of the College Band Directors National Association. UMWO has also performed with major ensembles such as the Baltimore Symphony Orchestra, the Orpheus Chamber Orchestra, Eighth Blackbird and the Imani Winds. UMWO has commissioned and premiered works by Stephen Jaffe, Andre Previn, Steven Mackey, Alvin Singleton, James Syler and numerous others.
Votta has taught conducting seminars in the US, Israel and Canada, and has guest conducted and lectured throughout the world with organizations including the Beijing Wind Orchestra, the Prague Conservatory, the Eastman School of Music, the Cincinnati College-Conservatory of Music, the National Arts Camp at Interlochen, the Midwest Clinic and the Conductors Guild.
His performances have been heard in broadcasts throughout the US, on Austrian National Radio (ÖRF) and Southwest German Television, and have been released internationally on the Primavera label. Numerous major composers including George Crumb, Christopher Rouse, Louis Andriessen, Karel Husa, Olly Wilson, Barbara Kolb and Warren Benson have praised his performances of their works.
His arrangements and editions for winds have been performed and recorded by university and professional wind ensembles in the US, Europe and Japan. He is also the author and editor of books and articles on wind literature and conducting.
He is currently vice president of the College Band Directors National Association. He has served as president of the Big Ten Band Directors Association and editor of the CBDNA Journal, and has been a member of the boards of the International Society for the Investigation of Wind Music (IGEB) and the Conductors Guild.
Before his appointment at Maryland, Votta held conducting positions at the University of North Carolina-Chapel Hill, Duke University, Ithaca College, the University of South Florida, Miami University (Ohio) and Hope College.
As a clarinetist, Votta has performed as a soloist throughout the US and Europe. His solo and chamber music recordings are available on the Partridge and Albany labels.
CHRISTINE HIGLEY has just started her first year as a doctoral student in wind conducting at the University of Maryland, College Park, where she serves as a wind conducting graduate assistant and studies under Michael Votta. Before coming to Maryland, Higley attended California State University, Los Angeles (CSULA), where she earned her Master of Music degree in instrumental conducting in Fall 2020, studying under Emily Moss and Christopher Gravis. In addition to her wind conducting responsibilities, Higley taught courses including “Intro to Music Education” and “Intro to Classical Music in Western Culture” at CSULA. She also served as the president of the CSULA chapter of the National Association for Music Education.
Before pursuing her graduate degrees, Higley was the band and orchestra director at Sunset Ridge Middle School in Salt Lake City, Utah, from 2014–2018. She also taught elementary school beginning band and served on staff for the Copper Hills High School Marching Band.
In addition to teaching and conducting, Higley enjoys life as a horn player. She was the horn section leader for the CSULA Wind Ensemble and Symphonic Band, and has played with the Salt Lake Symphonic Winds, the Brigham Young University Idaho Symphony Orchestra and various chamber groups. She has studied with Nathan Campbell, Jon Klein and Bruce Woodward. Higley earned her B.M. in music education from BYU-Idaho.
JAMES STERN is a multi-faceted musician whose violin playing has been heard worldwide and cited by the Washington Post for “virtuosity and penetrating intelligence.” He has performed at the Marlboro, Ravinia, Banff and Bowdoin festivals as well as at New York’s Alice Tully Hall and Carnegie Hall. He did all of his formal training at the Juilliard School where his teachers were Louise Behrend, Joseph Fuchs and Lewis Kaplan.Stern is a member of two critically acclaimed ensembles, the Stern/Andrist Duo with his wife, pianist Audrey Andrist, and Strata, a trio in which they are joined by clarinetist Nathan Williams. The duo has performed throughout the United States, Canada and China, with additional recitals in Munich and Paris. The trio has received enthusiastic repeat engagements at San Francisco Composers Inc (for which they were listed as one of San Francisco Classical Voice’s “highlights of 2005”), the Piccolo Spoleto Festival and New York’s historic Maverick Concerts. Strata has recently commissioned new works from Kenneth Frazelle and the late Stephen Paulus, giving the world premieres at, respectively, the Secrest Artist Series in Winston Salem, North Carolina, and New York’s Merkin Concert Hall.
Well-known to Washington, D.C., audiences, Stern has performed as a member of VERGE ensemble, the 21st Century Consort, the Smithsonian Chamber Players and the Axelrod Quartet, at such venues as the Corcoran Gallery, the German and French Embassies, the Smithsonian Institution, the Library of Congress, the National Gallery, the Phillips Collection, Strathmore Mansion and the White House. In frequent appearances at The Clarice Smith Performing Arts Center at the University of Maryland, he has brought innovative programming that includes performing in multiple capacities (as violist, pianist, conductor, reciter and arranger), and providing program annotations that are integral to the performance. His numerous chamber music and new music recordings can be heard on Albany, Bridge, Centaur, CRI, Dorian/Sono Luminus, Enharmonic, New Focus and New World. His recording of the Sonatas and Partitas by Bach was released on Albany Records.
A passionately devoted teacher, Stern has served on the faculty of the Cleveland Institute of Music and the University of the Pacific Conservatory of Music. He is currently professor of violin and coordinator of the String Division at the University of Maryland School of Music. In summers, he has performed and taught at the University of Maryland’s National Orchestral Institute + Festival, the Orfeo International Festival, the Schlern International Festival, ASTA International Workshops, California Summer Music, the Brian Lewis Young Artists Program, the Master Players Festival and the Starling/Delay Violin Symposium at the Juilliard School.
The works of DANA RICHARD WILSON have been commissioned and performed by such diverse ensembles as the Chicago Chamber Musicians, Formosa Quartet, Canadian Brass, Detroit Chamber Winds and Strings, Buffalo Philharmonic, Xiamen Symphony, Netherlands Wind Ensemble, Syracuse Symphony and Tokyo Kosei Wind Orchestra. Solo works have been written for such renowned artists as hornists Gail Williams and Adam Unsworth; clarinetists Larry Combs and Richard MacDowell; trumpeters James Thompson, Rex Richardson and Frank Campos; flutists Wendy Mehne and Kate Steinbeck; oboists David Weiss and Michael Henoch; bassoonists Michael Kroth and Christin Schillinger; saxophonists Steven Mauk and Jamal Rossi; bassist Nicholas Walker; trombonist Tom Ashworth; pianist Nick Weiser; and drum set player Gregory Evans.He has received grants from, among others, the National Endowment for the Arts, New York Foundation for the Arts, New England Foundation for the Arts, New York State Council for the Arts, Arts Midwest and Meet the Composer. His compositions have been performed throughout the United States, Europe and East Asia. They have received several prizes, including the Sudler International Composition Prize and the Ostwald Composition Prize, as well as awards from the International Trumpet Guild, the Flute New Music Consortium and the International Horn Society; are published by Boosey and Hawkes, Alfred Music Publishers, the American Composers Forum and Ludwig Music Publishers; and can be heard on over twenty recording labels, as well as on national radio broadcasts such as Performance Today.
Dana Wilson holds a doctorate from the Eastman School of Music and is Charles A. Dana Professor Emeritus at the Ithaca College School of Music. He is co-author of “Contemporary Choral Arranging,” published by Prentice Hall/Simon and Schuster, and has written articles on diverse musical subjects. He has been a Yadoo Fellow (at Yaddo, the artists’ retreat in Saratoga Springs, New York), a Wye Fellow at the Aspen Institute, a Charles A. Dana Fellow and a Fellow at the Society for Humanities, Cornell University.
UNIVERSITY OF MARYLAND WIND ORCHESTRA
Music Director
Michael Votta, Jr.
Graduate Conductor
Christine Higley
Flute
Natalie Bartholet
Ruyuan Li
Matt Ober
Hadas Sandalon
Erica Spear
Piccolo
Natalie Bartholet
Matt Ober
Erica Spear
Oboe
Katelyn Estep
Joshua Faison
Michael Helgerman
English Horn
Katelyn Estep
Michael Helgerman
Bassoon
Joseph Florance
Patrick Heinicke
Jimmy Ren
Alex Wiedman
Contrabassoon
Alex Wiedman
Clarinet
Kyle Glasgow
Chase Hogan
Ashley Hsu
Brooke Krauss
Sophie Ross
Katie Urrutia
Matthew Vice
Lauren Walbert
Andrew Zhang
E-Flat Clarinet
Kyle Glasgow
Ashley Hsu
Alto Clarinet
Sophie Ross
Bass Clarinet
Chase Hogan
Brooke Krauss
Soprano Sax
Joshua Mlodzianowski
Alto Sax
Joshua Mlodzianowski
Willie Hadnot
Tenor Sax
Emily Wolf
Baritone Sax
Abigail Jones
Bass Sax
Lauratu Bah
Horn
Garrett Cooksey
Emerson Miller
Zach Miller
Kat Robinson
Isaac Vallecillo
Kaitlyn Winters
Saxhorn
Zach Miller
Kat Robinson
Kaitlyn Winters
Contrabass Saxhorn
Marlin Thomas
Trumpet
Antony Eleftheriou
Alfred Muña
Jacob Rose
Brennan Rudy
Reece Updike
Flugelhorn
Jacob Rose
Jacob Weglarz
Trombone
Eusung Choe
Brett Manzo
Adrian Sims
Bass Trombone
Ted Adams
Euphonium
Hiram Diaz
Tuba
Cameron Farnsworth
Marlin Thomas
Timpani
Peter Handerhan
Bruce Perry
Percussion
Matt Dupree
Peter Handerhan
Bruce Perry
John Plate
Devon Rafanelli
Harp
Heidi Sturniolo
Bass
Paul Nemeth
Graduate Assistants
Christine Higley
Brad Jopek
Alexander Scott