From the New World - CORE

Lehigh UniversityLehigh Preserve

Performance Programs Music

Spring 4-19-2013

From the New WorldLehigh University Music Department

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Recommended CitationLehigh University Music Department, "From the New World" (2013). Performance Programs. 102.http://preserve.lehigh.edu/cas-music-programs/102

, Lehigh University Music Department / 2012-2013 Season

Baker Hall Zoellner Arts Center www.lehigh.edu!music

LU MusicDept

: j Lehigh University Music Departmentpresents

z~ ;;z Lehigh UniversityPhilharmonic Orchestra

From the New World!

Eugene Albulescu, conductor and soloist

Friday & Saturday, April 19 & 20, 20138:00 pm Baker HallZoellner Arts Center

Welcome to Zoellner Arts Center! We hope you will take advantage of all the facilities, including Baker Hall, the Diamond and Black

Box Theaters, as well as the Art Galleries and the Museum Shop. There are restrooms on every floorand concession stands in the two lobbies. For ticket information, call (610) ?LU-ARTS

(610-758-2787) or visit www.zoellnerartscenter.org.

To ensure the best experience for everyone, please: • Bring no food or drink into any of the theaters • Refrain from talking while music is being performed • Refrain from applause between movements • Do not use flash photography or recording devices • Turn off all pagers and cellular phones • Turn off alarms on wrist watches • Do not smoke anywhere in the facilities

MUSIC DEPARTMENTSTAFFProfessors - Paul Salemi, Steven Sametz, Nadine Sine (chair)Associate Professors - Eugene Albulescu, William WarfieldProfessors of Practice - Sun Min Lee, Timothy SchwarzLecturer - David DiggsAdjuncts/ Private Instructors - Deborah Andrus, Helen Beedle, Daniel Braden. William Burden.Bob DeVos, Megan Durham, Debra Field, James Finegan, Scott Force, Susan Frickert, John Gaffney, Linda Ganus, Christopher Gross, Tom Guarna. Tim Harrison William Holmes. VicJuris, Emi Kagawa, Robin Kani, Steve Mathiesen, Donna McI--Iugh, Joe Mosello, SandhyaMurthy. Scott Neumann. Albert Neumeyer, Patricia O'Connell, Sharon Olsher, Rebecca Owens,Gene Perla, Irmgard Pursell, David Riekenberg, Dominick Rodriguez, Kim Seifert, Tim Ses­sions, Eileen Wescoe, Andrea Wittchen

Department Coordinator - Olga JacobyLibraries Coordinator - Linda LipkisProgram Coordinator - Linda GanusAccounts Coordinator - Deborah RuthrauffRecording Engineer - William Holmes

ZOELLNER ARTS CENTER ADMINISTRATIVESTAFFAdministrative Director - J. Andrew CassanoArtistic Director - Deborah SacarakisAdministrative Assistant - Cyndy BrinkerAssistant to the Artistic Director: - Trisha KeenanDirector of Audience Services - Sandra AndersonTicket Services Manager - Rachel MillerHouse Manager - Rosalie SandburgDirector of Development - Marcia BaroneDirector of Advertising - Z. Candi StaurinosDirector of Media and Promotions - Lynn FarleyDirector of Scheduling and Rentals - Loreen DomijanScheduling Associate - Sunny MurthyDirector of Community Cultural Affairs - Silagh White

ZOELLNER ARTS CENTER TECHNICALSTAFFProduction Manager - Joshua KovarAssistant Production Manager - R. Elizabeth MillerStage Coordinator - Becky EshelmanAudio Coordinator - Kristian BallLighting Coordinator - Sue RagusaAssistant Lighting Coordinator - Dani DeutschmannCostume Director - Pamela RicheyTechnical Director -Andrew SouthardAssistant Technical Director - Caitlin Howley

PROGRAM

Three Machines for Orchestra

Rhapsody in Blue

Eugene Albulescu, piano

INTERMISSION

Symphony No. 9 in E minor,°τFrom the New World/' op. 95, B. 178

Adagio Largo Scherzo: Malta vivace - Paco sosienuto Allegro con fuoco

Marc Mellits(b. 1966)

George Gershwin(1898-1937)

Antonin Dvorak(1841-1904)

THE LEHIGH UNIVERSITY PHILHARMONIC Eugene Albulescu, Music Director

Strings Coaches, Timothy Schwarz, Sharon Olsher,Christopher Gross, John Gaffney

Brass Coaches, Daniel Braden, David GoldenWoodwind Coach, Silagh White

Percussion Coach, Steven MathiesenOrchestra Manager, Linda Ganus

VIOLIN ITaylor Bond,

concertmaster /\Justin SirrineBen Freeman-Kelsey LeckRichard LiaoStephanie SeredenkoYi LiuPhilip HsaioEmilia SilebiChristine HofmeisterKathy StehlyKaren Ambrose"Mike Montero

VIOLIN II Jack O'DonnellZinan JiangHarry LentzStephanie ChaKim HetrickErin KennedyAli YeagerAmar ShahPeter BalzereitRosemary FreyDominic BeheCheyenne BegleySusan Vitez

VIOLA* Sharon Diane OlsherCasey Hofstaedter*Todd WatkinsIsabelle DalzonSarah EarlyDaniel ShinTakeshi Horochi*Ed Lotto"Nancy Terlaak Poot

CELLOKaitlyn BaumEllen Hospador! Brittany Foster! Max WatkinsDan MessinaMarine PapillaudSam PresentWesley VogelJessie ZaczewskiWhitney Challenger

BASSJames CoptiShenyan WangKonrad Rauscher* John Gaffney/\Timothy Raub

FLUTESKelsey AlpaioDevon DowdEmily PurcellStephanie Rivero

OBOE/ENGLISH HORN=Meghan BrissonSarah LerewHaley Robinson

CLARINET#Zachary Farley-Geoffrey GromanAlexis Lundy#Lauren Mentzer!Anne Smolko

BASSOONAriel ScholzAnne Theurkauf*Silagh White

FRENCH HORNKenny BarryMatthew PaschAndrew LexaCatherine PreysnerBrenda Bukowiecki* James Roberts*Daniel Braden

TRUMPETDaniel Enny!Matt LevyDe Vaughn Roberts* Rick Weisman

TROMBONE-Charlie BremerCarl Blew#Cristiano Lima

TUBA/\Phililp Ioanna

HARPKellen Lowrie

PERCUSSIONDavid LuJohnny VonelliMatt SchellerBryan Lin

PIANOPeter Weigel

OFF1CERSPresident - Taylor BondExternal Vice-Pres. - Kenny BarryInternal Vice-Pres. - Kellen LowrieTreasurer - Emilia Sile biLibrarian - Geoffrey GromanSocial Coordinator - Emily PurcellAlumni Coordinator - Kim Hetrick

*Lehigh faculty/staff =Guest artist #Snyder Scholar !Baker Scholar -Performing Arts Scholar

ABOUT THE ARTISTS

An award-winning performer who com­bines a blazing technique with the artisticintegrity and originality to express musi­cal emotions at their most personal level,Eugene Albulescu' s emergence on the in­ternational scene came in 1994, when hisdebut recording (Albulescu Plays Liszt,MANUl446) earned him the Grand Prixdu Disque Liszt, awarded for the best Lisztrecording of the year, adding Albulescu'sname to that of legendary recipients suchas Horowitz and Brendel.Noted New YorkTimes criUc Harold Schonberg praised Al­bulescu in the American Record Guide forhis "infallible fingers of steel," declaring

that "nothing, anywhere, has any terrors for him." Albulescu performedin New York at BargeMusic in 19%, and later gave his Carnegie Hall de­but in the Stern Auditorium in 2001. He has worked as conductor andsoloist with numerous major orchestras including the New Zealand Sym­phony, The Romanian National George Enescu Philharmonic, the NewYork Chamber Orchestra, the Manukau City Symphony Orchestra, Christ­church Symphony, as well as the French Chamber Orchestra. His record­ings have been released on Ode/Manu label, Ode/BMG, Trust, as well asDownstage Recordings. His recent engagements include a recording withthe New Zealand Symphony on the Naxos Label.

Albulescu's outreach in over one hundred US high schools hasbeen significant, and his program "Inside the Piano" linking technologyand creativity earned him coverage from the major media, including ar­ticlesin the Washington Post, Philadelphia Inquirer, as well as the cover ofClavier Magazine. Albulescu performed al the 2002 Salt Lake City Olym­pics, and was invited to perform at the White House for the Millenniumcelebrations. He has performed and recorded on four continents.

Albulescu started his piano studies in Romania al age six, at theEnescu Music School in Bucharest. His family moved to New Zealand in1984 to escape Romania's Communist regime. He completed his musi­cal studies at Indiana University where, al nineteen, he was the young­est person ever to teach as an assistant instructor. Eugene Albulescu isa Steinway Artist who currently teaches on the music faculty al LehighUniversity in Bethlehem, PA.

PROGRAM NOTES

Mellits: Three Machines

Composer Marc Mellits was born in Baltimore, Maryland in 1966,and is one of the leading American composers of his generation,enjoying hundreds of performances throughout the world everyyear. His unique musical style is an eclectic combination of drivingrhythms, soaring lyricism, and colorful orchestrations that all com­bine to communicate directly with the listener.

Mellits' music is often described as being visceral, making a deepconnection with the audience. "This was music as sensual as it wasintelligent; I saw audience members swaying, nodding, making littlemotions with their hands" (New York Press). He started compos­ing very early, and was writing piano music long before he startedformal piano lessons at age six. He went on to study at the EastmanSchool of Music, Yale School of Music, Cornell University, andTanglewood. Melli ts is often described as a miniaturist, composingworks that are comprised of short, contrasting movements or sec­tions. His music is eclectic, all-encompassing, colorful, and alwayshas a sense of forward motion.

Mellits' music has been played by major ensembles across the globeand he has been commissioned by groups such as the Kronos Quar­tet, Orpheus Chamber Orchestra, Sergio and Odair Assad, Bang OnA Can All-Stars, Eliot Fisk, Andrew Russo, Canadian Brass, NexusPercussion, Debussy Quartet, Real Quiet, New Music Detroit, Mu­sique En Roue Libre (France), Fiari Ensemble (Italy), the Societyfor New Music, LEMUR, Kathy Supove, Syracuse Symphony Or­chestra, and the Albany Symphony's Dog's Of Desire. Marc remainsactive within the acclaimed Common Sense Composer's Collective,a group he helped found, which seeks new and alternative ways ofcollaborating with performance ensembles. Mellits also directs andplays keyboards in his own unique ensemble, the Mellits Consort.He was awarded the prestigious 2004 Foundation for ContemporaryArts Award. On CD, there are over thirty-one recorded works of

Mellits's music that can be found on Black Box, Endeavour Clas­sics, Cantaloupe, CRI/Emergency Music, Santa Fe New Music, In­nova, & Dacia Music. Marc Mellits is on the music faculty of theUniversity of Illinois-Chicago where he teaches Composition andTheory. He lives in Chicago with his wife and two daughters, andspends significant time in Romania.

-Andrew Russo & Gerald Blackhammer

Melli ts says this about his composition:Three Machines, for orchestra, is a three-movement workbuilt more like three machines, rather than three musi­cal movements. It is based on an earlier chamber workcalled Five Machines. This orchestral version was com­missioned by the Carpenter Family for the bicentennialof Vienna, NY, and the score is inscribed "in honor of ourparents who nurtured a deep love for music." The musi­cians work together in tight formation, creating musicallines by close interaction with each other. Each musicianplays a fundamental role with the others, fitting togetherlike cogs in a wheel in one giant machine. The cellos mayhave a line that turns a wheel that connects to the violas,which in turn provides a springboard for the woodwinds,which then triggers the violins to alternate notes in be­tween. All the musicians fit together very closely in thisfashion, and each only play a role in the larger machinethat they all form together. The parts themselves do notreveal this overall musical structure; only when com­bined docs the musical architecture come forth.

Gershwin: Rhapsody in Blue

In 1923, Paul Whiteman, the American bandleader, asked GeorgeGershwin to write a jazz piano concerto for a new all-jazz concerthe wanted to produce in the following year in Aeolian Hall, nearBryant Park in midtown Manhattan, NY. Gershwin initially refused,saying there wouldn't be enough time to finish the piece, let aloneallow for revisions. Soon afterward, when Gershwin was told thatWhiteman's rival, Vicent Lopez, was planning to mount his own all­jazz concert, he decided to forge ahead with the composition, eventhough there were only five weeks before the concert date.

Gershwin got started immediately, and aboard a train to Boston, theinsistent rhythms of the engine inspired the first themes of the piece.In Isaac Goldman's 1931 biography of Gershwin, the composer de­scribes his process:

It was on the train, with its steely rhythms, its rattle-ty bang,that is so often so stimulating to a composer - I frequentlyhear music in the very heart of the noise ... And there I sud­denly heard, and even saw on paper - the complete con­struction of the Rhapsody, from beginning to end. No newthemes came to me, but I worked on the thematic materialalready in my mind and tried to conceive the compositionas a whole. I heard it as a sort of musical kaleidoscopeof America, of our vast melting pot, of our unduplicatednational pep, of our metropolitan madness. By the time Ireached Boston I had a definite plot of the piece, as distin­guished from its actual substance.1

As Gershwin worked fast and furiously on the piece, he coined aworking title of "American Rhapsody." The eventual title, however,was suggested by his lyricist brother and frequent collaborator, IraGershwin, after his visit to an exhibition of paintings by the Ameri­can artist James McNeill Whistler, featuring works with titles suchas "Nocturne in Black and Gold: The Falling Rocket." This poeticand synesthetic melding of language that evoked both imagery and

music appealed to modernist sensibilities of the time, as well assimultaneously referencing the blues/jazz harmonic elements in thepiece. The brothers adopted the new title.

The work was premiered on February 24, 1924 as part of a ground­breaking all-jazz concert in the classical venue of Aeolian Hall, andwas heard by many important music luminaries ranging from JohnPhilip Sousa to Sergei Rachmaninoff.

Though the work now stands as one of the most quintessentiallyAmerican compositions of the twentieth century, emblematic of thedeep role jazz has had in shaping our national musical character,many critics at the time had varying responses to the work. Severalreviewers decried the work's unusual collage-like structure (anotherformal creative strategy that eventually became a characteristic ofModernism in both music and the visual arts) as being amateur­ish and unprofessional, unfit for the classical concert stage. Morerecently, the conductor and pianist Leonard Bernstein, who had adeep regard and affection for the work and often performed it him­self, nevertheless described its unorthodox compositional structurein this way:

The Rhapsody is not a composition at all. It's a string ofseparate paragraphs stuck together. The themes are terrif­ic - inspired, God-given. I don't think there has been suchan inspired melodist on this earth since Tchaikovsky. Butif you \Vant to speak of a composer, that's another mat­ter.... "Rhapsody in Blue" is not a real composition in thesense that whatever happens in it must seem inevitable.You can cut parts of it without affecting the whole. Youcan remove any of these stuck-together sections and thepiece still goes on as bravely as before. It can be a five­minute piece or a twelve-minute piece. And in fact, allthese things are being done to it every day. And it's stillthe "Rhapsody in Blue."2

-Linda Ganus

1 Goldberg, Isaac (1958). George Gershwin: A Study in American Music. F. Ungar Pub. Co, .pp. 81. 2 Greenberg, Rodney ( 1998). George Gershwin. Phaidon Presscpp . 7-+-75

Dvorak: Symphony No. 9, "From the New World"

Antonin Dvorak spent three eventful and stimulating years ( 1892-95) in New York as director of the National Conservatory of Music,and during that period visited Chicago and other points west. Hewas fascinated by the trains, and by everything American; almostas soon as he arrived in the fall of 1892, he began composing thesymphony that was to be his last work in that form, and the only oneto which he affixed a descriptive title: "From the New World." Thework was completed the following May and was given its premiereon December 16, 1893, by the New York Philharmonic under AntonSeidl. It quickly proved to be the most popular of all the Czech mas­ter's symphonic works, and it remains to this day one of the mostbeloved of all symphonies created in our country, by either a nativecomposer or a visiting one.

Between the completion of this score and the premiere there was agreat deal of curiosity, in the popular press as well as musical circles,about Dvorak and his new symphony. He undertook to acquaint thepublic with his objectives and procedures in composing the work.He was motivated, he explained, in part by his wish to show Ameri­can composers how to capture their national spirit in music, usingmusic of the Native Americans and African-American spirituals.

However, Dvorak hardly ever used any but original themes in hismusic. Even in his two sets of Slavonic Dances, so filled with authen­tic folk flavor, there is not a single borrowed tune, and in compos­ing this symphony he followed the same procedure. Henry Thacker(Harry) Burleigh, a student at the conservatory when Dvorak wasits director, frequently sang spirituals for him, and recalled later thatthe composer "just saturated himself in the spirit of those old tunesand then invented his own themes." Indeed, the only specificallyAmerican source Dvorak identified was not a musical one, but a lit­erary inspiration for portions of the symphony ... Henry WadsworthLongfellow's poem Hiawatha.

The Symphony ... opens with a short introduction, anAdagio of about 30 bars ... This leads directly into the Al-

legro, which embodies the principles which I have alreadyworked out in my Slavonic Dances: that is, to preserve, totranslate into music, the spirit of races as distinct in theirnational melodies or folk songs.

The second movement is an Adagio ... but it is differentto the classic works in this form. It is in reality a studyor sketch for a longer work, either a cantata or opera,which I purpose writing, and which will be based uponLongfellow's Hiawatha ... .it appealed very strongly tomy imagination at that time, and the impression has onlybeen strengthened by my residence here ...

In light of the composer's own words, it is hard to imagine howrespected musicians could have continued for years to speak andwrite of themes in this work as having come from folk sources; butthat in itself is perhaps a measure of Dvorak's success in achievinghis stated objective.

But this symphony is not American music. Dvoiak's strong ties tohis native soil were never weakened, and were in fact especiallystrong during his sojourn in the New World. Avidly as he soughtand absorbed the flavor of American life, he never mistook it for hisown and never regarded himself as its spokesman. He enjoyed partof the summer of 1893 in the thriving colony of transplanted Czechsin Spillville, Iowa, where the patterns of his native music were givenrenewed emphasis even as he did the actual sketching and scoringof the aforementioned chamber works. While the Symphony in Eminor represents his impressions of the New World, he pointed out,it is not and could not be, the kind of American music that wouldbe written by an American composer. It is "American" to about thesame degree that Gershwin's American in Paris is "French": as areport home, it is remarkably successful in evoking the spirit and at­mosphere Dvorak, as a visiting Czech, wished to convey in his ownterms-and part of it, even amid the fascination and enthusiasm, ishis undisguised homesickness.

- excerpted from National Symphony program notes, CJ2001 by Richard Freed

The Lehigh University Philharmonic Orchestra is a currently agroup of over ninety talented musicians, most of whom are under­graduate students majoring in disciplines outside of music. Theyregularly perform at their home in the Zoellner Arts Center on thecampus of Lehigh University and have performed at various in­ternational venues in Europe, Asia and South America and Africa.The orchestra also champions student achievement, presentingeach February a marathon of concerto movements where all or­chestra members have a chance to play a concerto movement.

The orchestra's programming focus is the historically importantmain orchestral repertoire, ranging from Bach to Barber and every­thing in between. New multi-media presentations of such worksas the Nutcracker Suite and The Emperor and the Nightingale haveearned the orchestra a reputation for originality. Pioneering newmusic is also a focus. In the past few years the orchestra presentedseveral North American and world premieres, as well as a yearlyconcert featuring works of Lehigh University student composers.

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Many thanks!

Friends of Zoellner Arts Center2012-2013 Season

The Board of Trustees of Lehigh University gratefully acknowledges and recognizes the followingalumni, friends, corporations and foundations for their generosity in supporting

the annual campaign for the Friends of Zoellner Arts Center:

Leadership funding fromVictoria E. and Robert E. Zoellner '54 'l 4GP

Gala2012 and Performance SponsorsAdams Outdoor AdvertisingAir ProductsAL Bazzini Co., IncAlvin H. Butz, IncAmbassador Financial Group, Inc.AnonymousDorothy H. and Dexter F Baker '50 '57G '81HI'Jean V Nevins and Peter E. Bennett '63 '93PNancy M Berman '97H and Alan J Bloch "I 4GPBuzzi Unicem USACapital BlueCrossCaruso Benefits Group, IncEaston Coach CompanySondra W '84 and Damien Q. Elias ' l 4PElysian Fields Specialty FloralsThe Express-TimesValerie Johnson and Patrick V Farrell 'F/SAndrea and Oldrich Foucek III '72 '05P '09PGilbaneGreentree NurseriesPeggy and William F Hecht '64 '70GHighmark Blue ShieldHistoric Hotel BethlehemBetty and Bill Hittinger '44 '71P '73H '75P

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Karen and Alexander G. Tamerler '67TD BankU\VGLV's Women's Leadership InitiativeViamediaDawn L. '82 and John J Vresics, Jr. '81 '12PWeareverWardrobeWells FargoWFMZ-TVYoungsAdvisory Group, Inc.

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Artist ($1,000-$2,499)Rosalie and StevenAaronsonJudith L '80G and J. Richard Aronson 'FISMarcia Moll Barone '86 '93G 'F/S and

Christopher J Barone '86Terri and James BartholomewMaryAnn C Belchunes

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Robert M McGovern, Jr. '60Kathryn E. McQueen-Barnes '87 and Jeffrey BarnesLinda and Michael R MillerMarian J. Nalitt '84 and Devin MurphyJoanne M and John R Patrick '67Jean T and H. Victor Pratt, Jr. '61 '87PJacqueline and Ralph A Puerta '70 '81 G '99GSara M. and William L. Rand '60 '84P '93P''Judith M Haneman-Reid '75 and Thomas E. Reid '75Deborah Sacarakis 'FIS Sharon L Levine and Bruce Samuels '81 -11 PAmy R Fralick and Brad E. Scheler '74 '05P 'OSPKaren L Stuckey '75 and Henry W Seduski, Jr. '!OPJudith and Paul K. Seibert '63 '93PMartin Q Selzer '83Jeffrey J. SernakAnita and Thomas D Shannahan, Jr. '53 '79P' I !GPAmelia W - 79 and Ricardo SilvaNadine J. Sine 'F/SJoAnn F and Todd SnyderMaryann and Alan J. Snyder 'FISRoberta H. and James B. Swenson '59 'F/SJane L and Stephen r. Urban '5 7 '59GSusan G. 'FIS and Marc A VengroveSheau-Ping and David Wu 'FISDonna N. '76G and Wilson W Yale '73 '75G '78GCarol and Edward J. Wroble 'l 5PLinda J. Gamble and Michael D. Zisman '70 'IOPClaire and Gil Zweig 'l 2P

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Friend ($100-$249) Helene and Allen B. Apter '61William Q AscariJanet L. '76 and Joel C. Bacon '75 '76GPaula and Paul BradenJanice BrodySusan and Brian Brooker' 12PFrederick W BuseAndrea Waxman and John F CampionJanet CiminoFred CrawfordCurrent Concepts-Home Automation SpecialistsPeter DectisJames DepietroSandra land James T Edmiston '93PBeverly and Thomas EighmyLaurie F and David A Eisenberg '73James EliasAnne M and A Craig EvansDianne and Richard A FentonBrenda and Eduardo E. Fernandez' 85 'l 4P 'l 6P

Joan and Joseph D. Feskanin '57 '82PLinda FiglioliaGerry Ann and Eric L Flicker '71 '77GHolli M. Warholic '01 and Dennis M. Freed '03Margaret and Daniel Z. Gerhart '67RoyA Gruver '69 'FIS Judith HaaseKevin HancharikTom and Debby HarbinJudith HarrisNicoletteHartBrooke R Hartman, Jr. '54 '81PAndrew and Isabel G. Heffernan '77GCarla and David L Heine '74Marie E. Helmold '81Linda and James L HenryJanice O '78G '88G and Robert HensonDiane V and Thomas V Hoffman 'l 3PPatricia F 'F/S and William L. Hoppe '65GSusan L. '93 and StephenK Hydro '93Virginia and Thomas E. Jensen '56 '60GMariaD. and Jacob Y Kazakia '72G '07P 'FIS Sally and David KeehnDeb and Tom KellerElyse S. Kemmerer '98May KoonPam Pepper 'F/S and William KreiderCarol J. KreitzJacquelineR. KubaA Charles Kuss Ill '52Leslie Roessler and Luc KuykensBrenda A. Lamarca '87 '95GGloria and Antoine P Latour '53Harriett R Logan '89Kimberly J. '08G and Patrick LuybliBrian A March '63 '97PMary Ann MarfiaTricia H. MargollisJoann J. and Martin A Matijasich '71Sue and Bob Meyers '08PCathy and Ronald D. MoroskyGeorganne W. '73G and Eric J. Moyer '75GDavid MyersKaren S and Nicholas Noel III' 74

Nancy B. and WarrenA Norris, Jr. '79GJanet M. Jennings OchDavid PackmanBarbara PearsonTracy PerryJaniceA Phillips F/SLoma and Bill RabeMargorieRaschkeAlan G. Redden '77 '79GBarbaraA '78G and Michael ReinigerBob RenkertEmma ReynoldsLois M. RobertsSheila and Stanley RodgersGeorge D. Ryerson '55Ann SaurmanCarole SchachterKathryn Schnall' 14Sara '73G and BernardH Schonbach '80GJeanM SeibelAlexanderC Senchak '06Tiffany ShankerAnita and Thomas D. Shannahan, Jr. '53 '79P 'I !GPLuAnn and Richard W Silberg · 81 '82GDeborrah Groth and John F Sise '72Lenore G. StecherJohn W StemlerMarjorie Stevens '48WJulia and Bruce C. Swan '68GAurelie Thiele 'F/SFroy and Richard R ThompsonAlla and Ken ToffAbby and Mark S TrachtmanJane and William H. Trotter '67Mary TrubekMelanie S. and ChristopherR Varcoe '97G 'I SPSonja and Clinton WalkerSally and Larry A Wehr '70 '70GLorraine S Wiedorn '84G and Paul G. Wiedom '83 '85G'13PThomas WoodJill Bortz Yannarelland David A Yannarell '83 '93GDavid M. YanoshikGeorge YanoshikJeanne S Zouck

''deceased

List complete as of March 27, 2013 Report errors or omissions to ZoellnerFriends@lehighedu or call (610) 758-5071

September22 at 8 pm23 at 3 pm

October13at8pm14 at 3 pm26 & 27 at 8 pm

November2 & 3 at 8 pm11 at 3 pm17 at 8 pm18 at 2 pm18at4pm

December1 at8 pm2 at 3 pm7 at 8 pm8 at 3 pm9 at 4, 8 pm

January20 at 3 pm

February2 at 8 pm8 at 8 pm15 & 16 at 8 pm17 at 3 pm24 at 3 pm

March2 at 8 pm3 at 3 pm22 & 23 at 8 pm

April7 at 2 pm13 at 8 pm14at2pm19 & 20 at 8 pm21 at 2 pm26 & 27 at 8 pm28 at 3 pm29 at 8 pm

Lehigh University Music Department 2012 - 2013 Season

NY Jazz Repertory Orchestra: A Tribute to the Big Bands Faculty Recital: Emi Kagawa, piano

LU Jazz Fusion: Hollywood Jazz Faculty Recital: Eugene Albulescu, piano & FriendsLU Choral Arts: The Jewel at the Center of the World

LU Philharmonic: Old World England & Russia Vega String Quartet: Romantic Giants Vega String Quartet: Chiaroscuro: Works by Salemi and Jirasek Lehigh Student Chamber Music EnsemblesSenior Recital: Kaitlyn Baum, cello

LU Jazz Ensembles: Fall Concert The Wind Ensemble at Lehigh University: 60! LU Philharmonic: Worlds of Wonder LU Philharmonic: Worlds of Wonder LU Choral Arts: Christmas Vespers in Packer Chapel

Faculty Recital: Helen Beedle, piano with Sam & Denise Miller

NY Jazz Repertory Orchestra: The Music of Jimi Hendrix LU Glee Club & Dolce: The Light Fantastic LU Philharmonic: Concerto Marathon LU Jazz Faculty: The Music of Herbie Hancock East Winds Quintet: All-American

Lehigh Valley Jazz Repertory Orchestra & Randy BreckerFaculty Recital: Timothy Schwarz, violin: Two Views, One Region LU Choir, Glee Club and Dolce: Hot Dates

Senior Recital: Arielle Leacock, sopranoLU Jazz Ensembles: Spring Concert LU Symphonic BandLU Philharmonic: From the New World Lehigh Student Chamber Music EnsemblesLU Choral Arts: Wagner & Verdi The Wind Ensemble at Lehigh University: Wind Spectacular LUVME Student Compositions

front cover imagery by Linda Ganus Please visit our website at http://www.lehigh.edu/music and on Facebook at LU MusicDept

and visit the Zoellner site at zoellnerartscenter.org for more information