¡Un Saludo Musical a México!

Celebrating Mexico’s
Bicentenario de la Independencia
y
Centenario de la Revolución Mexicana
ASU Symphony Orchestra
Gary W. Hill, conductor
Gregory Gentry, guest conductor
Featuring Special Guest Artists
Jeff Nevin and Mariachi Champaña Nevín
And
The ASU Symphonic Chorale
Friday, October 8, 2010
7:30pm
ASU Gammage Auditorium
School of Music
Herberger Institute for Design and the Arts
Arizona State University

Program
El Salón México (1936)........................................................................................................... Aaron Copland
(1900-1990)
Tito’s Say (1990/2010), text by Alberto Álvaro Ríos ..............................................................James DeMars
I. The Industry of Hard Kissing
(b. 1952)
II. The Bath
III. Listening Into Night
IV. Her Secret Love, Whispered Late in Her Years
V. Ventura & Clemente
Allison Stanford, soprano soloist
Andrew Brigges, baritone soloist
Gregory Gentry, conductor
~Intermission~
Sinfonía India (1936) ................................................................................................................ Carlos Chávez
(1899-1978)
Concerto for Mariachi and Orchestra, “Pasión Mexicana” (1997) ........... José L. Hernández & Jeff Nevin
I. Introducción - Introduction
Fiesta de Sones – Festival of Sones
II. Serenata en Garibaldi – Serenade in Garibaldi
III. Jalisco Canta –Jalisco Sings
with Guest Artists Jeff Nevin & Mariachi Champaña Nevín

Out of respect for the performers and those audience members around you,
please turn all pagers, cell phones, and watches to silent mode. Thank you.

Tito’s Say
Tito's Say was commissioned by the Arizona Choral Society and received its premiere at St. Mary's
Basilica in Phoenix in May of 1990 under the baton of guest conductor, John Daly Goodwin. For this
cantata composer James DeMars selected passages from four poems by the acclaimed Arizona poet,
Alberto ("Tito") Rios, who is known for an insightful "magical realism" infused with the border town
imagery of his youth. The poems provide five aspects of love and life; from the gritty twist of a cheating
spouse to the poignant reflections of old age, the sensual flirtations of tango, humorous reflections on
aging and finally the imagined childhood love of his grandparents Ventura and Clemente. During the
premiere performance at St. Mary's Basilica in Phoenix the frequently suggestive or disturbing text led to
a most unusual chase scene as the producer (Richard Romero) moved quickly and quietly around the hall
staying just a step ahead of the church authority who was furious about the perceived sacrilege and intent
on finding Richard to cut the work from the concert. Fortunately Richard prevailed and the audience
heard our new work. JD
I. The Industry of Hard Kissing
CHOR: The inquietude of this matter of love!
BASS: Oh. (obligato)
Knocking cows over when they sleep,
they get mad.
SOP: Oh. (obligato)
CHOR: Ordinary life falls the quickest,
is easy to make beathe hard.
BASS: The quiet of a sad desire
for someone you cannot have again,
this small cancer of the happy soul!
CHOR: You cannot have again, again, again,
Ordinary life falls the quickest,
Is easy to make breathe hard.
BASS: So we kiss! Kiss harder or not at all;
Something saved for the other,
for the whistles and the cheeses of another life, another mouth,
SOP: Another woman!
BASS: and a thousand new words are what you must say now,
SOP: So suddenly,
BASS: Instead of the other woman,
CHOR: You cannot have again,
BASS: there is no other woman,
CHOR: Yes, there is!
SOP: No, no, no…
BASS: there is no other woman, and there is.
SOP: Ah!
CHOR: Ordinary life falls the quickest,
Is easy to make breathe hard.

II. The Bath
The woman undressed and put her lashes on for decoration,
so as to bather lavishly.
She kept them in the water next to her bed
where her teeth had been long ago.
She floated in the water
watching her skin fold again and again.
These were her treasures, her only heirlooms left
and she guarded them now like diamond earrings,
She thought as she looked that she would like very much
to be buried with them on.
Slowly they float from her body
as boats on the water.

III. Listening Into Night
Music drifts in from the street,
Until it is the fourth wall of the room.
So thin, maybe Brazilian, at first,
A samba on the sand beneath the light.
The quiet evening sun
Settling all at once into shadow,
Into the tight tango strain of a nervous night,
Suddenly gathered at the neck,
A flute, a clarinet, a girl who will cry,
A thousand moons, a single sky.
I am sitting on a couch and dreaming of the outside,
Ten things, ten songs, ten parts of a long, long woman,
And the woman always walks tight, complex,
Ten parts of a leg, the back of a head,
The hair that she holds in her hand,
Dreaming of the outside.
Dreaming of the music in the house,
White curtains and the light,
An open window, no morning here,
Only late afternoons and that which follows,
Always sand, and always clean and white and moveable,
As if that part of an eye that is central and dark,
That is for seeing into darkness is ignored,
Suddenly swallows up it self,
And the world it sways,
It moves as is again,
It is young and wants to be.

IV. Her Secret Love, Whispered Late in Her Years
Solo Soprano:
Gravity wants me.
Gravity can’t get enough of me.
Every time I try to leave, it finds a way to bring me back.
It shows up wherever I go.
It’s always been this way.
Sometimes catching me by surprise at the ankle,
trying to wrestle me to the ground.
It makes me laugh and I give in.
This thing that wants me,
This amorous creature,
This magnet to my body –it is a beast,
But I would miss it if it weren’t there.
When I was young, headstrong and full of stars,
Not ready for any embrace,
More than the necklace those stars made for me.
But gravity, not the stars, caught my tears.
Each time I was with child, it whispered my name in the night.
As I grew heavier through the years it only asked for me all the more.
It brought my hair down
And made my summer dresses fall from me.
In every step I have taken, long companion unswerving,
never leaving my side it has turned me.
Gravity wants me.
Gravity can’t get enough of me.
But now I am the one who’s drawn to its arms,
And I am the one who opened the door.
Now I am the one, I am the suitor.
I say very nice things.
I’m desperate these days,
I’m desp’rate and ready
To lie down with it.

V. Ventura & Clemente
Ventura had hair of the jungle, long, long
like words of the monkeys and parrots, long, long
like vines and the roots without end;
all pulled back, knotted and tight
with the help, the insistence of her mother;
her mother who had cheeks like persimmons,
her face always tasting the peel,
using the energy of their taste to pull
so the face of Ventura’s young girl-head
was skull white bone and big clack teeth like the cartoon,
unconnected.

WOM: Almost sounding like fat ducks
MEN: that every day she fed
WOM: clack, clack, clack-clacking so
MEN: after she stopped her work in the peeling secretariat
of a third but ambitious supervisor of federal railroads
CHOR: ev’ry day she fed them popcorn (“palomitas”)
And one day she could not because of snow!
Snow for the first time that she could remember this early, this far to the south,
they opened their mouths and ate the snow,
the white bits, (“palomitas”) they thought had come from her,
Ventura, Ventura, Ventura’s young girl-head,
she laughed and laughed
and opened her mouth without making a sound in the late afternoon
so sacred in one freedom, the crickets stopped to listen, listen, listen,
but no less than he….
Clemente, from behind the bouganvilleas
had smoked his colored cigarette,
watching her this moment then letting her go,
simply letting her go,
like smoke to its most secret place,
to the place smoke always goes,
this Ventura leaving a memory.
This Ventura, sweet like the cane in his eyes
so that the rest of his body caught fire with jealousy.
MEN: The world had always erupted through him,
WOM: and always bad!
MEN: breaking through to the side of what might be,
CHOR: Wishing, wishing, wishing
to whisper the Spanish love songs,
breaking through to the side of what might be,
WOM: he dared no
MEN: nothing could be
WOM: he dared not
MEN: nothing could be
CHOR: nothing could be so, so simple!
How he wanted her,
he could not endure
the inquietude of this matter of love!
Ventura had hair of the jungle, long, long
like words of the monkeys and parrots,
long, long, long, long, ah.
BASS: How she laughed out her true self
SOP: Ah!
CHOR: Ventura, Clemente, Ventura!

Concerto for Mariachi and Orchestra, “Pasión Mexicana”
I. Introducción - Introduction
¡De la teirra,
de la raza,
del cielo,
de la noche,
de la luna,
y del sol vengo yo!

From the land.
from the people,
from the sky,
from the night,
from the moon,
and from the sun come I!

¡Soy la voz de mi pueblo,
de mis padres,
de su alma;

I am the voice of my homeland,
of my ancestors,
of your soul;

Soy la voz Antigua,
llevo la historia de México
y la traigo,
de primera luz la traigo
al futuro, y hasta el fin de la vida!

I am the ancient voice,
I carry with me the history of Mexico
and I bring it,
from first light I bring it
into the future, and until the end of life!

¡Soy Mariachi,
soy Mariachi,
soy la voz de México!

I am Mariachi,
I am Mariachi,
I am the voice of Mexico!

Fiesta de Sones – Festival of Sones
¡Ay ay ay ay!
Estos sones tan sabrosos
son los sones que alimentan
a este pobre Corazon!

Ay ay ay ay!
These “tasteful” sones
are the sones that nourish
this poor heart!

¡Ay ay ay ay!
Es el son tradicional
que se toca con el alma
ya a lo puro natural!

Ay ay ay ay!
It is the traditional son
that is played with the soul
and purely naturally!

¡Ay ay ay ay!
Cuando canto mis canciones
siempre termino con sones
de mi tierra regional!

Ay ay ay ay!
When I sing my songs
I always end up with sones
from my regional homeland!

II. Serenata en Garibaldi – Serenade in Garibaldi
Estos versos que te canto
te los canto con amor
porque tú eres a quien quiero
con todo mi corazón.

These verses that I sing to you
I sing to you with love
because you are the one that I cherish
with all of my heart.

Son los versos de un mariachi
que por fin llegó a querer
aquel sueño de su vida
que ahora es su consentida
ya la dueña de su ser.

These are the verses of a mariachi
who has finally come to love
the dream of his life
who is now his one and only
and the owner of his being.

Ay amor, cuanto te quiero.
Ay amor, ya soy feliz.
¡Me has llenado el mundo entero
con tu amor que es verdadero
que ahora puedo ya vivir!

Oh my love, how much I cherish you.
Oh my love, I am now happy.
You have filled my entire world
with your love that is true
so that now I can live!

Esta noche en Garibaldi,
nunca se me olvidara
porque has dicho que me amas,
porque me entregaste tu alma
par siempre hasta el final!

This Night in Garibaldi,
I will never forget you
because you have told me that you love me,
because you have handed me your soul
for ever until the end!

Son los versos del mariachi
que te canta con amor.

These are the verses of the mariachi
that sings to you with love.

III. Jalisco Canta –Jalisco Sings
¡Gracias le doy a mi tierra por brindarme su
regalo
que es el son de mi mariachi que lo canto con
orgullo y con todo el corazón!
¡Miren a lo que he llegado, gracias a mi
tradición!
¡He vestido nuevos sones con las notas que del
cielo llenan mi mundo de amor,
he vestido nuevos sones con las notas que del
cielo llenan mi mundo de amor!

I give thanks to my homeland for providing me
her gift
that is the son of my mariachi that I sing with
pride and with all of my heart!
Look at how far I have come, thanks to my
tradition!
I have dressed up new sones with notes from
heaven that fill my world with love,
I have dressed up new sones with notes from
heaven that fill my world with love!

¡Ay ay ay ay Jalisco canta
con orgullo apasionado, y desde tierra caliente
se oye el ritmo de su son!

Ay ay ay ay Jalisco sings
with passionate pride, and from the “hot land”
you hear the rhythm of her son!

¡Ay, es la música de Dios!
¡La que nació en mi tierra, mi tierra bendita que
llena de orgullo mi corazón!

Ay, this is the music of God!
That which was born in my land, my blessed
land that fills my heart with pride!

¡Amo mi tierra!
¡Que es mi tierra consentida!
¡Y mi música les doy
porque soy
¡El Mariachi!
¡El Mariachi!
¡El Mariachi soy!
¡Desde mi alma,
Jalisco Canta!

I love my homeland!
That is my one and only homeland!
And my music I give to you
because I am
The Mariachi!
The Mariachi!
I am The Mariachi!
From my heart,
Jalisco sings!

¡Lo que mi tierra me ha dado es mi alma
Jalisciense
y una bella piel morena que se prende como el
fuego cuando canto esta conción!
¡Mi vida es como el río que llega hasta el Mar de
Dios!
Por eso le doy las gracias,
porque sé que un río sin agua es un mundo sin
amor,
Por eso le doy las gracias,
porque sé que un río sin agua es un mundo sin
amor!

What my homeland has given me is my “Jalisco
soul”
and a beautiful brown skin that glows like fire
when I sing this song!
My life is like the river that opens into the
Sea of God!
For this I give thanks to her,
because I know that a river without water is
a world without love,
for this I give thanks to her,
because I know that a river without water is
a world without love!

¡Este es,
es mi mundo,
mi mundo de amor!
¡El mundo de amor!

This is,
is my world,
my world of love!
The world of love!

Special Guest Artists
Jeff Nevin, Ph.D., is an award winning classical composer whose works have been performed by
the San Diego Symphony, the La Jolla Symphony, the California EAR Unit, the Peninsula Symphony,
Mariachi Sol de Mexico, the Sol de Mexico Symphony Orchestra, and many other ensembles. Also a
skilled performer, he is the founder and Artistic Director of Mariachi Champaña Nevin, principal trumpet
in the La Jolla Symphony, a frequent substitute with the San Diego Symphony and has performed with
artists including Charlotte Church, Kenny Loggins, The Moody Blues, Garison Keilor and Mariachi
Vargas de Tecalitlan. Dr. Nevin's theater credits include Music Director for the world college premier of
"Mariachi Quixote", the first musical with a full mariachi-music score, and Music Director for the La
Jolla Playhouse Spanish and English productions of Lorca's "Blood Wedding".
Dr. Nevin received his Bachelor of Music degree in music theory and composition from the
University of Illinois at Urbana-Champaign in 1990. He later studied at Arizona State University, where
he received his Master of Music degree in music theory and composition in 1992. He earned his Ph.D. in
music theory and composition from the University of California at San Diego in 1998. Dr. Nevin is
currently Professor of Music and Director of Mariachi Activities at Southwestern College in Chula Vista,
CA, where he is developing a mariachi curriculum that is the first such program of its kind. He has given
lectures to music educators across the country on the subject of incorporating mariachi music into public
school curricula, and he is the Artistic Director of the Mariachi Scholarship Foundation. Dr. Nevin's first
book, Virtuoso Mariachi, was published by University Press of America in 2002 (available directly from
University Press of America or Amazon.com) and he is currently writing a full line of method books that
will allow mariachi music to be easily inserted into "traditional" music programs anywhere.
Mariachi Champaña Nevín is making a name for itself as a virtuoso ensemble of
uncompromising quality with a multicultural aesthetic unique in the world of music. Led by accomplished
classical and mariachi trumpeter, composer, professor and author Jeff Nevin, Ph.D., this ensemble's
performances, recordings and workshops have thrilled and inspired mariachi and Classical-music
enthusiasts alike. Turning effortlessly from classic, very traditional Mexican music to transcriptions of
beloved works from Classical music literature, their skill and authenticity within both of these traditions
is a thrill to behold.
With the creation of Symphonic Mariachi Champaña Nevín, Jeff Nevin has augmented the
mariachi's string section, creating a lush sound that will truly delight and amaze. This is a unique
ensemble of the finest "born and bred" mariachi musicians together with world-class classical musicians,
combined to create a sound and spirit unlike any other. The only mariachi in the world of its kind,
Symphonic Mariachi Champaña Nevín boasts current or former members of mariachis Vargas de
Tecalitlan, Sol de Mexico, Los Camperos and others along with current or former principal strings and
trumpets from orchestras such as the San Diego Symphony, Orquesta Filharmonica de la Ciudad de
Mexico, Orquesta de Baja California, New Mexico Symphony, and many others.
Jeff Nevin and Mariachi Champaña Nevín have appeared on television in at least 7 countries,
their recordings are programmed on the DMX Satellite Radio network that reaches 80 million daily
listeners, they are featured in the recent documentary film "Viva el Mariachi", they recorded the theme
song to the Televisa TV program "Viva California, Viva Mexico" which airs 12 times per week, and they
have become frequent guests of KPBS radio and television in San Diego, both performing live in studio
and conducting on-air interviews discussing various issues related to their work.
As soloists with major symphony orchestras, in recital performances, educational performances,
on recordings or while conducting student workshops, Mariachi Champaña Nevín never fails to enthrall
and inspire!

Guest Librettist
Alberto Álvaro Ríos, born in 1952 in Nogales, Arizona, is the author of ten books and chapbooks of
poetry, three collections of short stories, and a memoir. His books of poems include The Theater of
Night, winner of the 2007 PEN/Beyond Margins Award, along with The Smallest Muscle in the Human
Body, a finalist for the National Book Award, Teodoro Luna’s Two Kisses, The Lime Orchard Woman,
The Warrington Poems, Five Indiscretions, and Whispering to Fool the Wind. His three collections of
short stories are, most recently, The Curtain of Trees, along with Pig Cookies and The Iguana Killer. His
memoir about growing up on the Mexico-Arizona border—called Capirotada—won the Latino Literary
Hall of Fame Award and was recently chosen as the OneBookArizona 2009 selection.
Ríos, honored this year with the University of Arizona 2010 Outstanding Alumnus Award, is the
recipient of the Western Literature Association Distinguished Achievement Award, the Arizona
Governor’s Arts Award, fellowships from the Guggenheim Foundation and the National Endowment for
the Arts, the Walt Whitman Award, the Western States Book Award for Fiction, six Pushcart Prizes in
both poetry and fiction, and inclusion in The Norton Anthology of Modern Poetry, as well as over 200
other national and international literary anthologies. His work is regularly taught and translated, and has
been adapted to dance and both classical and popular music.
His most recent book, The Dangerous Shirt, is just out from Copper Canyon Press.
Ríos is a Regents’ Professor at Arizona State University, where he has taught for over 28 years
and where he holds the further distinction of the Katharine C. Turner Endowed Chair in English.

Faculty Composer
James DeMars, composer/conductor, belongs to a generation that is revealing a new integration of world
music with the range, depth and stylistic variety of the classical tradition. His works include orchestral
concertos for violin, piano, African drum ensemble, pow-wow singers, Native American flute, several
cantatas, a requiem mass and an opera.
Ensembles that perform DeMars' music include the New York Choral Society, Brooklyn
Philharmonic, Mormon Tabernacle Choir, Utah Symphony, Philadelphia Orchestra, Buffalo
Philharmonic, Phoenix Symphony, California Symphony, Chicago Sinfonietta, Tucson Symphony,
Anchorage Symphony, Choer et Orchestre Francais D'Oratorio (Paris), Wuppertal (Germany) Orchestra.
DeMars has received commissions from the NEA, the Heard Museum, Flynn Foundation, Art
Renaissance Foundation, the Phoenix Symphony, Canyon Records, the European-American Foundation,
the Phoenix Boys Choir, I Solisti di Zagreb, and the Arizona Commission on the Arts.
As a conductor, DeMars' performances include the national premiere of his work, An American
Requiem, at the Kennedy Center in Washington and nationally televised performances at Cathedral of St.
John the Divine in New York. In 1998 he conducted the European premiere of the requiem in Paris at
Église La Trinité with Choer et Orchestre Francais D'Oratorio and was inducted to the French Order of
Arts and Letters.
With Native American flutist R. Carlos Nakai he has created four CDs for Canyon Records. Two
World Concerto received two Native American Music Awards and led to the 2008 release of DeMars'
inter-cultural opera, GUADALUPE. In 2010 he received the Arizona Artist of the Year Governor's
Award.
Aesthetic influences include the writings of Joseph Campbell and Albert Camus.

Faculty Conductors
Gregory Gentry is Director of Choral Performance at Arizona State University’s School of Music, where
he administers the doctoral, masters, and undergraduate choral conducting programs. Gentry made his
Carnegie Hall conducting debut in 1994, returned in 2008 to conduct Schubert’s Mass in G, and in 2010
will return again to conduct Mozart’s Coronation Mass. His choral editions include "Dnes Hhristos" by
Titov (Musica Russica, 2009) and "Cor meum et caro mea" by Rameau (National Music Publishers,
2004). In February 2009 Gentry made his Phoenix Symphony conducting debut with Stravinsky’s
Symphony of Psalms. Now in his fourth season as Chorus Master with the Phoenix Symphony, Gentry’s
work can be heard on the world premiere recording of Mark Grey’s Enemy Slayer: A Navajo Oratorio
(Naxos, 2009).
Gary W. Hill is the Evelyn Smith Professor of Music and Director of Ensemble Studies at Arizona State
University, where he conducts various ensembles and teaches graduate conducting.
Prior to Hill's appointment at ASU, he was Director of Bands at the University of MissouriKansas City Conservatory of Music, where he also served as Music Director for the Kansas City Youth
Wind Ensemble, and conducted two professional groups: the Kansas City Symphony Brass Ensemble and
newEar, a chamber ensemble devoted to contemporary music. Previously, he held a similar post at East
Texas State University and was Associate Director of Bands at the University of Colorado, Boulder. Hill
began his teaching career in Michigan where he served as Director of Bands for the West Bloomfield and
Traverse City public schools.
High school, university, and professional ensembles under Hill's direction have been featured
performers at dozens of professional conferences and in venues throughout North America, and Europe.
Performances conducted by him have consistently drawn praise from composers, performing musicians,
and critics alike for their insightful, inspired, and cohesive realizations, and for their imaginative
programming. As a guest conductor and clinician, appearances in more than a dozen countries and
throughout most of the United States have included performances with myriad bands and orchestras.
Additionally, he is in constant demand as a conducting teacher and as a clinician for instrumental
ensembles.
Hill’s current creative/research agenda includes: an exploration of biochemical reactions spawned
by the musical process; the use of digital technology in performance and conducting pedagogy; and work
on a monograph concerning the past, present, and future of the wind band.
Gary W. Hill is a member of numerous professional organizations including the World
Association of Symphonic Bands and Ensembles, the Music Educators National Conference, The Society
for American Music, The American Bandmasters Association, and the College Band Directors National
Association, for which he hosted the Fiftieth Anniversary National Conference (1991) as well as the joint
conferences of the North Central and Southwestern Divisions in conjunction with The Society for
American Music (1998), served as president of the Southwestern Division (1989-91), and as national
president (2003-05).

Symphonic Chorale Personnel
Gregory Gentry, conductor
Charissa Chiaravolloti, assistant conductor
Elizabeth Ames, rehearsal pianist
Soloists
Allison Stanford, soprano
Andrew Briggs, baritone
Soprano 1
Erin Lewis
Sarah Smith
Carter Tholl
Laura Noack
Rachel Hastings
Carmel Richards
Katrin Murdok

Soprano 2
Justine Farenga
Lynette Nuñez
Heidi Wohl
Ryanne Hammerl
Bora Na
Hannah Bentley
Kira Rugen

Alto 1
Suzanne Rovanni
Charissa Chiaravalloti
Grace Kim
Elizabeth Dingess
Cara Williams
Kelsey Gross
Amy Bailey

Alto 2
Wendy McWilliams
Marcy McKee
Corinne Denny
Christine White
Kerry Ginger
Erin Calata
Lisa Bustos

Tenor 1
Ryan Glover
Joseph Curtis
Josiah Hagstrom
Eric Brandhorst
Jerron Jorgensen

Tenor 2
William Gorton
Nathan Richard
Nicholas Fuqua
Justin Staebell
Travis Clement

Bass 1
Vernon Huff
Vasilli Makavos
Sean Hale
Craig Payne
Peter Walsworth
John Suru

Bass 2
Mario Morillas
Sam Kreidenweis
David Darling
Andrew Briggs
Christopher Kelly
Joshua Hillman

ASU Symphony Orchestra Personnel
Violin I
Verena Ochanine*
Chandra Susilo
Samuel Park
Asia Doike
Brandon Ironside
Lauren Sanders
Boyang Wang
Christopher Davis
Anne Sorenson^
Sarah Williamson
Terra Warger
Thalia Coombs
Violin II
Santino Ellis-Perez^
Yuanmiao Li
Olivia Lemmelin
Hanna Yang
Brittany Davidson
Chistopher Hale
Ye Rim Kim
Tiffany Weiss
Claire Tatman
Julie Sebag
Grace Rieck

Viola
Isadora Trinkle^
Hyun Sun Yoon
Ria Hodgson
DaeMin Kim
Alexis Pillow
Alexandra Birch
Audrey Salmon
Cello
Yu-Ting Tseng^
Hyon Song
Molly Rife
Andrew Bukowinski
Sabina Ahmad-Post
Sharon Oh
Edward Schumacher
Alex Mariscal
Contrabass
Chunyang Wang^
Thomas Malizewski
Nicholas Villalobos
Jose Solis
Rossine Parucci
Flute/Piccolo
Jenna Daum^
Mine Hea Kim
Ashley Stahl
Joshua Stockam

Oboe
Erin Goad^
Emily Kupitz
Tiffany Pan^
Allison Pickett
Melissa Sassaman^
E-flat Clarinet
Kimberly Endel
Clarinet
Daniel Bailey
Vincent Dominguez^
Chiao-Ting Feng
Erica Low
Katherine Palmer^
Caitlin Poupard^
Bass Clarinet
Matthew Miracle
Bassoon
Blake Blackman
Bryan Eckert^
Jennifer Schuster
Mary Stuckemeyer
Horn
Lauren Kerrick^
Angelica Monclova
Anna Uhlemann
Guan Lin Yeh

Trumpet
Bryan Ewing^
Malachy Rodriguez
Shao-Chun Tsai
Antonio Villanueva^
Trombone
Joshua Bledsoe^
Erin Hogan
Bass Trombone
Seth Vatt
Tuba
Christopher Gurtcheff
Harp
Juliana Scholle
Piano
Jui-Ling Hsu
Percussion
Marilyn Clark
Spencer Goad
Matt Hand^
Joe Millea^
Joe Perez
Alana Wiesing
* Concertmaster
^ Principal

Upcoming Events
Pictures at an Exhibition and
Voices from the Gallery:
A Celebration of Music and the Visual Arts
November 1, 2010
7:30 p.m.
ASU Gammage
ASU Symphony Orchestra

Composers in the Concentration Camp
February 16, 2011
7:30 p.m.
ASU Gammage
ASU Jewish Studies
ASU Symphony Orchestra
With Guest artist Maestro Israel Yinon

Wind Band Folktales
November 4, 2010
7:30 p.m.
ASU Gammage
ASU Wind Bands

Concert of Soloists
March 7, 2011
7:30 p.m.
ASU Gammage
ASU Orchestra with
Student Concerto Winners

Masterworks for Orchestra and Choir*
November 5, 2010
7:30 p.m.
Pinnacle Presbyterian Church
ASU Orchestra and Choral Union
A Folkloric Holiday Celebration
December 5, 2010
2 p.m.
ASU Gammage
ASU Instrumental and Choral Ensembles
With Guest Artist Maestro Carl St. Clair
A Living iPod: What’s Your Story?
February 3, 2011
7:30 p.m.
ASU Gammage
ASU Wind Bands

ASU Has Talent!*
March 9 & 10, 2011
7:30 p.m.
ASU Gammage
ASU Studio Orchestra,
Student Talent Contestants,
and Celebrity Judges!
Metaphors and Legends
April 8, 2011
7:30 p.m.
ASU Gammage
ASU Symphony Orchestra
ASU Choirs
Carnival II
April 12, 2011
7:30 p.m.
ASU Gammage
ASU Ensembles

*Ticketed event.
For more information, please visit music.asu.edu/calendar or call 480-965-TUNE (8868)