EASTERN DIVISION CONFERENCEFebruary 21-22, 2020Philadelphia, PA

Boyer College of Music and Dance

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WELCOME From the Dean and Vice Provost for the Arts

CBDNA Conference Attendees,

Greetings and welcome to Philadelphia and Temple University. I am thrilled that

we are able to host the College Band Directors National Association Eastern

Division Conference on our vibrant urban campus.

With nearly 1000 students, over 230 full- and part-time faculty, and more than

600 events each year, the Boyer College of Music and Dance is a vital part of the

cultural life at Temple University. In addition to music and dance majors, we reach

a huge portion of the general University population through non-major classes

and ensembles, including a community concert band, chorus, jazz band and

string orchestra, all of which are open to all members of the Temple community

without audition. We also reach into the community through the Temple Music Preparatory Division, offering high-

quality non-credit music and dance instruction to students from birth through adulthood, including early childhood

music foundations classes, individual and class lessons, comprehensive jazz and classical instruction for school-

aged Philadelphia students with limited financial means, and challenging ensemble training at the highest level.

We pride ourselves in excellence, and prime examples of this are our Instrumental Studies Department, helmed

by Terell Stafford, including our B and Program, led by Director of B ands P atricia Cornett. T his department and

program have been growing in size and artistic strength for many years, supported by the drive to provide our

students with a bridge between the academic and professional worlds, an aspect that is at the heart of all of

our programs. We do this through performing at conferences such as this one, and through our commitment to

commissioning, performing and recording new works, which has led to 5 GRAMMY® Nominations for recordings

by our student ensembles, including 2 for the 2019 recording of Vince Mendoza’s Constant Renaissance featuring

the Temple University Studio Orchestra and soloists Terell Stafford and Dick Oatts.

Please enjoy your time here at Temple University and thank you for making a sustained commitment to music

education, a passion that we share.

Sincerely,

Robert Stroker Dean and Vice Provost

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WELCOME From the Director of Bands

Dear Conference Attendees,

It is my great pleasure to welcome all of you to Temple University! We are

so pleased to have the opportunity to host this conference and share our

vibrant campus with all of you. We hope you find the events of this

conference to be exciting, relevant, and thought-provoking. I know you will

enjoy the first-rate performances, sessions, and lectures taking place

throughout the weekend, and I would also invite you to find a bit of time to

explore our great city while you’re here. On behalf of my Department Chair,

Terell Stafford, and my colleague Matthew Brunner, we welcome you to

Philadelphia!

Patricia Cornett Conference Host Temple University

About the Temple BandsFounded in 1925, the Temple University Bands have enjoyed over 90 years of excellence in musical performance

from concert halls to athletic venues. Temple University Bands comprise the Wind Symphony, Symphonic Band,

Concert Band, Collegiate Band, Diamond Marching Band and Basketball Bands, and the Night Owls Campus

Community Band. The mission of the Temple University Bands is to provide interesting, challenging, and diverse

musical experiences of the highest quality to students, audiences, and fans. The University Bands play a large role

in the musical life of the campus and the Philadelphia area.

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Schedule of Events

FRIDAY, FEBRUARY 21, 2020

9:00 am Registration/Check In ROCK HALL LOBBY

10:00 am Session: Classics Revisited: Making chamber music a viable option for all band programs Anthony Rivera, Santa Clara UniversityROCK HALL AUDITORIUM

10:30 am Session: “Play the way you think, not the way you feel”: Marcel Tabuteau’s Legacy and the Philadelphia Orchestra AestheticEllen Exner, New England ConservatoryROCK HALL AUDITORIUM

11:15 am Session: The Missing “Procession” of Vincent Persichetti’s Divertimento for BandChristopher Westover, Denison University ROCK HALL AUDITORIUM

11:45 am Panel Discussion: Small College AdvisingCharles Peltz, moderatorLuke Abruzzo, Drexel UniversityAnnalisa Crannell, Franklin & Marshall CollegeROCK HALL AUDITORIUM

12:45 pm LUNCH BREAK

1:30 pm Registration/Check In TEMPLE PERFORMING ARTS CENTER LOBBY

2:00 pm Session: The Reorchestration of Michael Gandolfi’s Vientos y TangosMichael Gandolfi, composerTemple University Collegiate BandMatthew Brunner, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

3:00 pm Performance: Rowan University Wind EnsembleJoseph Higgins, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

4:00 pm Session: A Clarinet Virtuoso’s Influence on the Works of MozartMatthew Westgate, University of Massachusetts AmherstROCK HALL AUDITORIUM

4:45 pm Performance: West Chester University Wind SymphonyGreg Martin, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

5:45 pm DINNER BREAK

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7:30 pm Performance: Temple University Wind SymphonyPatricia Cornett, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

A reception for all conference attendees will follow the Temple Wind Symphony performance in the Temple Performing Arts Center Lobby

9:15 pm & 10:00 pm Shuttle buses from Temple Performing Arts Center to Doubletree Hotel

SATURDAY, FEBRUARY 22, 2020

8:30 am Registration/Check In HOWARD GITTIS STUDENT CENTER

9:00 am Session: A Forum for Eastern Voices – Small (Program) College Planning SessionCharles Peltz, moderatorHOWARD GITTIS STUDENT CENTER, ROOM 200A

10:15 am Session: Beethoven’s Octet, op. 103 with Members of The Philadelphia Orchestra Wind SectionPatricia Cornett, Temple UniversityROCK HALL AUDITORIUM

11:30 am Session: In Search of Meaning: Frank L. Battisti – the Conservatory Years and Into the New MillenniumMitchell B. Lutch, University of Northern ColoradoROCK HALL AUDITORIUM

12:30 pm Lunch/Business MeetingLunch is provided for all registered conference attendeesTEMPLE PERFORMING ARTS CENTER LOBBY

2:00 pm Performance: University of Connecticut Wind EnsembleVu Nguyen, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

3:00 pm The Crane Wind EnsembleBrian K. Doyle, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

4:00 pm Session: Musical Adventures in Haiti: Community-Engaged Performance ToursJames Spinazzola, Cornell UniversityROCK HALL AUDITORIUM

5:30 pm Performance: CBDNA Eastern Division Intercollegiate BandElizabeth Peterson, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

6:30 pm Performance: University of Delaware Wind EnsembleLauren Reynolds, conductorTEMPLE PERFORMING ARTS CENTER – LEW KLEIN CONCERT HALL

7:30 pm & 8:15 pm Shuttle buses from Temple Performing Arts Center to Doubletree Hotel

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Session Descriptions

Chamber Music for Small Programs Anthony Rivera

Works for chamber wind ensembles and transcriptions of music originally for other genres allow students to perform repertoire not normally part of the wind ensemble experience.

This clinic will 1) affirm the benefits of chamber music within the large ensemble context 2) give an overview of historical practices of the use of transcriptions, and 3) provide guidance in adapting or transcribing chamber works. The clinic will provide a variety of repertoire options to fit the needs of both small and large programs.

“Play the way you think, not the way you feel”: Ellen Exner Marcel Tabuteau’s Legacy and the Philadelphia Orchestra Aesthetic

Marcel Tabuteau was the Philadelphia Orchestra’s solo oboist (principal) from 1915 to 1954, during its early halcyon years under legendary conductors Leopold Stokowski and Eugene Ormandy. While Ormandy is generally credited with establishing the unmistakable “Philadelphia Sound,” made famous through decades of justifiably celebrated recordings, many of the key ingredients were selected for him by Stokowski. Among Stokowski’s most potent choices was to recruit the young Frenchman Tabuteau, whose musicianship within the orchestra, combined with over twenty-five years of teaching at the Curtis Institute of Music, became essential to the Philadelphia Orchestra’s distinctive sonic profile. This presentation explores the enduring aspects of the Tabuteau legacy and asks what it might mean to the school of oboe playing he founded that in 2019, the orchestra appointed a new principal oboist outside of the Tabuteau lineage for the first time in a century.

The Missing “Procession” of Vincent Persichetti’s Divertimento for Band Christopher Westover

Vincent Persichetti’s earliest compositions are among the first serious contributions to our repertoire by one of the leading composers of the time. Though his sketches, manuscript scores, letters, and other personal documents are well preserved, a detailed textual examination of the genesis of his wind-band works via these materials has not yet been the focus of extended research. This paper demonstrates that the study of these materials has real implications on the performance of works that are central to our repertoire beginning with Persichetti’s paradigmatic Divertimento for Band.

This paper exhibits the work’s principal sources and establishes their genealogical relationship. It also establishes the relationship of a newly discovered score to the work’s two earliest scores. Shedding new light on the performance of Divertimento, it further reveals the composer’s first ideas on tempi and expressive markings. The paper’s most exciting revelation is the recently discovered full score of “Procession,” a discarded movement which was included in early drafts. This paper unveils a type-set transcription of the manuscript and discuss its performance implications. With the performance details found in its source material this paper invites a fresh perspective on the work, making a cornerstone of our repertoire new again.

Panel Discussion: Small College Advising Charles Peltz, moderator

Student advising has long since become a specialized field, gone are the student’s dog-eared cards filled in by hand and approved by a department secretary. The students in small colleges engage with advisors over a host of issues more than simply deciding classes. Yet, those issues are often what prevent students not majoring in music from continuing to play their instruments in ensembles. Today’s panelists, who engage regularly with students outside of music programs, will give insight into thoughts and actions we may not be aware of, those thoughts and actions which compel a student towards, or away from, music participation.

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The Reorchestration of Michael Galdolfi’s Vientos y Tangos Michael Galdolfi Temple University Collegiate Band

This session will explore the flexible instrumentation of Michael Gandolfi’s reorchestration of Vientos y Tangos with the Temple University Collegiate Band, an ensemble comprised primarily of non-music majors. The composer will demonstrate the possibilities of various instrument substitutions through a hands-on session with this ensemble.

A Clarinet Virtuoso’s Influence on the Works of Mozart Matthew Westgate

Anton Stadler was the preeminent wind player in Vienna in the 1780s. While Stadler himself was not a significant composer and did not contribute a wealth of great music to the world with his own writing, he made a substantial contribution to the development of clarinet writing and its literature through his influence on Mozart’s compositions. After Mozart settled in Vienna in 1781 and began a relationship with Stadler, the clarinet assumed a much more important and soloistic role in his music. Using selected examples of Mozart’s works that include clarinets, this presentation will demonstrate how Mozart became more and more adept in exploiting the technical and expressive qualities of the instrument as the 1780s progressed. This unique relationship between a brilliant virtuoso and a gifted composer produced significant solo and chamber works, more substantial clarinet parts to be included in Mozart’s symphonic works and operas, and advanced the art of clarinet playing.

A Forum for Eastern Voices – Small (Program) College Planning Session

The Eastern Division is committed to our colleagues in small programs as vital members of our shared musical ecosystem, whether they be within large schools or at small colleges. Those directing ensembles in these institutions are developing the awareness of music in those students who will become our audiences, patrons and parents of school musicians. In this session we will, in an open forum, hear from those small program colleagues as to what CBDNA might do for them. In addition, we all will address together ways your Eastern Division might support these colleagues and their students. Among the topics to consider: Divisional satellite events; partnerships with local and regional music merchants; relationships with high school directors; online and social media resources and topics from the membership.

Beethoven’s Octet, op. 103 Patricia Cornett with Members of The Philadelphia Orchestra Wind Section

Jonathan Blumenfeld, oboe Matthew Shipp, oboe Ricardo Morales, clarinet Gi Lee, clarinet Jeff Lang, horn Jeff Kirschen, horn Angela Anderson Smith, bassoon Holly Blake, bassoon

In celebration of the 250th anniversary of Beethoven’s birth, members of the Philadelphia Orchestra wind section will explore this extraordinary work for wind octet. Excerpts from the piece will be interspersed with insights from players on elements of style, balance, tempo selection, articulation, and interpretation of dynamics.

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In Search of Meaning: Frank L. Battisti — Mitchell B. Lutch The Conservatory Years and Into the New Millennium

Two previous authors have focused on the first 14 years of Frank Battisti’s career at Ithaca (NY) High School. In 1994 Brian Norcross wrote One Band That Took a Chance and in 2010 Bruce Musgrave coauthored the second with Battisti, The Best We Can Be. My book, In Search of Meaning: Frank L. Battisti – The Conservatory Years and Into the New Millennium, (Meredith Music) documents the life and work of Frank L. Battisti, the years he spent conducting and teaching at the conservatory level and beyond. This past fall semester marked the 50th anniversary of Frank’s first semester teaching at New England Conservatory (1969). He taught for a year and a half previously at Baldwin-Wallace Conservatory. Frank was the motivation that inspired Brian Norcross and Bruce Musgrave to previously chronicle his work at Ithaca High School, and motivated me to write this book. In this session, I join with them in shining a light on the illustrious and legendary career of Frank L. Battisti. To include remarks by Gunther Schuller, Karel Husa, Michael Colgrass, Frederick Fennell, Donald Hunsberger, and many more.

Musical Adventures in Haiti: Community-Engaged Performance Tours James Spinazzola

Performance tours are not new; they have long been an integral part of the collegiate and high school ensemble experience. Bands, choirs and orchestras have been routinely traversing the globe to build camaraderie, expose students to different c ultures a nd s ignificant ve nues, an d to sh are mu sic an d go odwill. As be neficial as the se tours may be, their efficacy is nevertheless limited with respect to cultural outcomes. Students’ cultural exposure is typically limited to tourism, and community relationships are usually related to a one-off m usical e vent, a s opposed to sustained collaboration. While these can be good starting points, the full potential of touring can only be realized by integrating traditional tours, purposeful community engagement, and service-learning.

A community-engaged performance tour focuses on four key factors: cross-cultural exchange, global awareness, genuine partnership with off-campus c ommunities, a nd s tructured s tudent r eflection. Th e to ur is pr edicated on inclusivity, such that the educational institution and community partner are on equal footing. Both entities share, learn, and benefit from the relationship. Participants from both sides pool their resources and use music as a vehicle to achieve societal and cultural objectives – all without sacrificing musical goals or curricular learning outcomes.

CBDNA Eastern Division Intercollegiate BandDr. Elizabeth Peterson, conductor

Rehearsal InformationAll rehearsals will take place in Presser Hall, room 240 (Arronson Rehearsal Hall).

Perusal scores will be available in each rehearsal.

SCHEDULE

FRIDAY, FEBRUARY 21, 2020

Rehearsal #1 1:00–5:00 pmRehearsal #2 7:00–9:00 pm

SATURDAY, FEBRUARY 22, 2020

Rehearsal #3 9:00 am–12:00 pmRehearsal #4 1:30–3:00 pm

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Concert ProgramsRowan University Wind Ensemble

Joseph Higgins, conductorFriday, February 21, 2020

3:00 pm

Adam Schoenberg (b. 1980)Transcribed by Don Patterson

“Rondo” from American Symphony (2011/2014)

Ronald Searle Suite (1957/1962) Lyn Murray (1909–1989) Orchestrated by Frederick Sterner

II. ManV. SunVI. FireVII. WattVIII. The Age of SteamIX. WhaleXI. Miracles & Finale

Nuevos Vientos y Tangos (2004/2020) Michael Gandolfi (b. 1956)

Broadloom (2015) Kala Pierson (b. 1977)

“My Hands are a City” from Symphony No. 1 (2009) Jonathan Newman (b. 1972)

West Chester University Wind SymphonyGreg Martin, conductor

Friday, February 21, 20204:45 pm

Canzona (1951)

Kelly’ Fies ld (2006)

Symphony No. 6 for Band, op. 69 I. Adagio allegroII. Adagio sostenutoIII. AllegrettoIV. Vivace

Samue Barl ber (1910–1981) Commando March (1943)

Peter Mennin (1923–1983)

Jennifer Higdon (b. 1962)

Vincent Persichetti (1915–1987)

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Temple University Wind SymphonyPatricia Cornett, conductor

Matthew Brunner, guest conductorCarol Jantsch, guest soloist

Friday, February 21, 20207:30 pm

Fanfare for a Joyful Occasion (1958) William Alwyn (1905–1985)

A Solemn Place (2013) Wayne Oquin (b. 1977)Matthew Brunner, conductor

Three Miniatures (1992) Anthony Plog (b. 1947)I. AllegroII. SlowlyIII. Allegro vivace

Carol Jantsch, tuba

Strata (2020) Kathryn Salfelder (b. 1987)I. PlayfulII. GrievingIII. Nostalgic

*world premiere*

Sinfonia DeLuxe (Symphony No. 3) (2020) Jay Krush (b. 1953)I. The Skyscraper and the PrairieII. Ghost SongsIII. Streamliner

*world premiere*

University of Connecticut Wind EnsembleVu Nguyen, conductor

Rod Nelman, guest soloistSaturday, February 22, 2020

2:00 pm

A Cornfield in July and The River (1991) Hamlin Garland (1860–1940) (text)William Penn (b. 1943) (music)

Rod Nelman, bass

Christina’s World (Idyll for Winds, Brass, and Percussion Kenneth Fuchs (b. 1956)After a Painting by Andrew Wyeth) (1997)

Symphony No. 2 (2019) James Syler (b. 1961)I. AndanteII. AdagioIII. Passacaglia and Fugue

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The Crane Wind EnsembleBrian K. Doyle, conductor

William L. Lake, Jr., guest conductorCasey Grev, guest soloist

Saturday, February 22, 20203:00 pm

An Outdoor Overture (1942) Aaron Copland (1900–1990)

Quicksilver (2017) Stacy Garrop (b. 1969)I. Antics of a Newborn GodII. Guiding Souls to the UnderworldIII. Messenger of Olympus

Casey Grev, saxophone

D’un Matin du Printemps (1918) Lili Boulanger (1893–1918)Trans. François Branciard

William L. Lake, Jr., conductor

Shenandoah (2019) arr. Omar Thomas (b. 1984)

Prelude, Siciliano, and Rondo (1963) Malcolm Arnold (1921–2006)I. Prelude Trans. John P. PaynterII. SicilianoIII. Rondo

CBDNA Eastern Division Intercollegiate BandElizabeth Peterson, conductor

Saturday, February 22, 20205:30 pm

Florentiner March (1907) Julius Fučik (1872–1916)

Peace Dancer (2017) Jodie Blackshaw (b. 1971)

Angels in the Architecture (2009) Frank Ticheli (b. 1958)

Dance of the Jesters (from The Snow Maiden) (1873/1997) Peter Tchaikovsky (1840–1893)Trans. Ray E. Cramer

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University of Delaware Wind EnsembleLauren Reynolds, conductorEileen Grycky, guest soloistSaturday, February 22, 2020

6:30 pm

Roma (2011) Valerie Coleman (b. 1970)

Summerland (1937) William Grant Still (1885–1978)

Concertino Caboclo (2012) Jess Langston Turner (b. 1983)I. Iara’s SongII. Negrinho do PastoreioIII. CaiporaIV. Iara’s Song IIV. Saci Pererê

Eileen Grycky, flute

Poème du feu (1978) Ida Gotkovsky (b. 1933)I. MajestuosoII. Prestissimo

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Boyer College of Music and Dance Music FacultyINSTRUMENTAL STUDIESTerell Stafford (FT)Department Chair

Matthew Brunner (FT)Director of Athletic Bands

Patricia Cornett (FT)Director of Bands

Andreas Delfs (FT)Director of Orchestras

Phillip O’Banion (FT) Artistic Director for Percussion

Eduard Schmieder (FT)Artistic Director for Strings

FlutePrema Kesselman Loren Lind+Mimi Stillman Adeline Tomasone Patrick Williams+

OboeJonathan Blumenfeld+ Elizabeth Masoudnia+ Peter Smith+

ClarinetSamuel Caviezel+ Paul Demers+Gi LeeRicardo Morales+#

Saxophone Matthew Levy Frank Mazzeo Marshall Taylor

BassoonAngela Anderson+ Daniel Matsukawa+ Michelle Rosen William Short+

HornAngela Bilger Randy Gardner Jeffry Kirschen+ Jeffrey Lang+ Jennifer Montone+# Shelley Showers+ TrumpetDavid Bilger+# Jeffrey Curnow+ Robert Earley+ Nate Hepler Anthony Prisk+ Eric Schweingruber

Trombone Jarred Antonacci Blair Bollinger+# Paul BryanEric Carlson+ Nitzan Haroz+# Philip McClelland Matthew Vaughn+

Tuba/Euphonium Carol Jantsch+ Jay Krush

PercussionPhillip O’Banion (FT) Alan Abel+ Christopher Deviney+Rolando Morales-MatosWilliam Wozniak

ViolinEduard Schmieder (FT)Laura H. Carnell Professor Meichen Barnes Davyd Booth+ Aisha DossumovaElina Kalendarova+ Hirono Oka+ Barbara Sonies

ViolaDaniel Avshalomov Che-Hung Chen+ Kerri Ryan+Ana Tsinadze

CelloJeffrey Solow (FT) Ohad Bar-David+ John Koen+ Jesús Morales Kathryn Picht-Read+ Double Bass Joseph Conyers+ John Hood+Robert Kesselman+ Anne Peterson

Classical Guitar James Hontz Allen Krantz

HarpElizabeth Hainen+ Maria Luisa Rayan#

JAZZ STUDIESTerell Stafford (FT)Department Chair

Jazz Piano Bruce Barth Tim Brey Julian Horner

Tom Lawton Josh Richman Elio Villafranca

Jazz Bass Mike Boone David Wong

Jazz Guitar Jake Kelberman Greg Kettinger Mike Moreno

Jazz Drums Justin Faulkner Steve Fidyk Byron Landham Dan Monaghan

Jazz Voice Carla Cook Christie DashiellRuth Naomi Floyd Najwa Parkins

Jazz SaxophoneChris Oatts Dick Oatts (FT)Tim Warfield, Jr. (FT)

Jazz Trumpet Terell Stafford (FT) Marcell Bellinger Joe Magnarelli Nick Marchione Jon ShawJohn Swana Jazz Trombone Joe McDonough Mark Patterson

Jazz VibraphoneTony Miceli

Jazz Organ Pat Bianchi Lucas Brown

Arranging/ Composition Todd Bashore Norman David

Pop Song WritingDoug Hawk

KEYBOARDCharles Abramovic (FT) Department Chair

Sara Davis Buechner (FT) Clipper Erickson Ching-Yun Hu Joann Kirchner Joyce Lindorff (FT) Cathy Liu

Lambert Orkis (FT) Maria del Pico Taylor (FT)Mikhail Yanovitsky Ellen Youssefian Eunhae Grace Yun

MUSIC THERAPYDarlene Brooks (FT) Department Coordinator

Bradley Biedermann Anthony Decuir Cheryl Dileo (FT) Lillian EyreJosh LucasWendy Magee (FT) Kelly MeasheyHelen Shoemark (FT) Margaret Tileston Adenike WebbMike Zanders (FT) MUSIC EDUCATIONAlison Reynolds (FT)Department Chair

Yeliza Aleman-Gaetan Beth Bolton (FT) Nathan Buonviri (FT) Dustin Cates (FT) Deborah Confredo (FT) Diane Dannenfelser Rollo Dilworth (FT) Kathleen Flaherty Timothy Flaherty Suzanne Hall (FT)Elizabeth Hohwieler Dominic MinniJustin Moore Michael NorrisElizabeth Parker (FT) Nicole Robinson Jonathan Shaw Lyndsie Wilson

MUSIC STUDIESCynthia FolioDepartment Chair

Composition (all FT) Alexander deVaron Cynthia Folio Matthew Greenbaum Jan Krzywicki Maurice Wright

Music History (all FT) David CannataShana Goldin- Perschbacher Steven Kreinberg Alisha Nypaver Lindsay Weightman Stephen Willier Steven Zohn

Music Theory (all FT) Alexander deVaron Cynthia FolioMichael Klein Jan Krzywicki Edward Latham Noriko Manabe Music Technology (all FT) Sandra JamesDavid McDonnell David Pasbrig Adam Vidiksis Maurice Wright

VOCAL ARTSPaul Rardin (FT)Department Chair

Mitos Andaya Hart (FT) Christine Anderson (FT) Dustin Cates (FT)Lauren Cohen Marcus DeLoach (FT) Rollo Dilworth (FT)Rachelle Fleming (FT)Warren Freeman Lorie Gratis (FT) Luke HousnerLawrence Indik (FT) Kathryn Leemhuis (FT) Randi Marrazzo William MayoMary McCormick Brandon McShaffrey Wesley MorganKim Robson Kathleen Shannon Hoejin SimJulie Snyder Tyler Tejada Grant Uhle Sheryl Woods

KEY(FT) Full Time Faculty

+ Current or previous member of The Philadelphia Orchestra or Metropolitan Opera

# Special arrangement