WATCH HERE

9th ANNUALFÊTE DE LA MUSIQUE

www.cmcb.org

PROGRAM BOOK

DONATE TODAY

Fête de la Musique began in the summer of 1982 in Paris, France, and has become a

world-wide event, celebrated in over 100 countries and 5 continents. For the 9th year,

CMCB is hosting our own Fête de la Musique! This year, due to COVID-19, we are

hosting this event online, free and open to the public. With music from all corners of

Community Music Center of Boston, we are highlighting performances by our students,

faculty, and teaching artists with music for all ages. Together, we will deliver a diverse

line-up of music to be enjoyed online by our community. Thank you for joining us!

The Lapin Competition, named in honor of former CMCB Executive Director David

Lapin, is an annual event where solo students will perform their studied instrument

and compete for 1st, 2nd, and 3rd place prizes. Winners of the 28th Annual Lapin

Competition will be announced during today’s concert. The Lapin Judges, pictured

above, are a mix of CMCB faculty (Steph Lamprea, Daniel Orsen, and Geoffrey Shamu)

and guest adjudicators (inti figgis-vizueta, Dr. Makiko Hirata, Olivia J.P. Harris, Chris

Jenkins, Nicole DeMaio, and Stanford Thompson).

THE LAPIN COMPETITION AT FÊTE DE LA MUSIQUE

PRIVATE LESSONSPrivate lessons are available for five weeks as 30 minutes, 45 minutes, or 60 minutes

long.

Minimum enrollment of 4 lessons. Lessons occur on a weekly basis. Private Lessons

are available online and in-person, if permitted by our COVID-19 guidelines.

Instruments available to rent include: violin, viola, cello, flute, clarinet, oboe, saxophone,

trumpet, trombone, guitar, french horn, piccolo, lever harp/folk harp.

REGISTER TODAY

NEW!

Free online class!

Songwriting and Self-Expression

with Hannah Lopez (ages 8-14) -- FREE

if you have been engaged in CMCB

programming in the last year!

Wednesdays in July - 2 to 3 PM

or 4 to 5 PM

Registration is open now and closes July 2 -- don’t delay!

Community Music Center of Boston (CMCB) is an arts education nonprofit founded in 1910, with a mission to transform lives by providing equitable access to excellent music education and arts experiences. Over 4,000 students participate in our programs every week. We are proud to act as the largest external provider of arts education to the Boston Public Schools, supporting rigorous, relevant, and culturally-inclusive musical instruction for one of the most diverse school districts in the nation.

ABOUT COMMUNITY MUSIC CENTER OF BOSTON

CMCB is an anchor for local arts education. Our greatest strength is that a student who enters our programs is entering an entire ecosystem that can support them throughout their K-12 education and beyond. CMCB leadership also plays an important role in national conversations on cultural equity and creative youth development.

PROGRAMS

CMCB has programs throughout virtually every neighborhood in Boston, in-school, after-school, and in the summer. With two main divisions, CMCB operates innovative Community Music School Programs at our headquarters in Boston’s South End and Community Engagement Programs with over 30 partners throughout Boston.

HISTORY

CMCB celebrates 110 years of answering Boston’s calls to action. From our Music Therapy work helping reintegrate soldiers home from WWII and the Korean War into civilian life, to our role bringing the arts back into public schools shortly after Boston’s violent school integration crisis in the 1970’s, CMCB’s century-long legacy positions us as an anchor at the intersection of Boston’s arts, culture, and civic life.

FUTURE

We are re-envisioning what community music schools teach, and how they engage with young people. At CMCB, we stand strong in a set of core values and beliefs:

– to provide a combination of sequential after-school, in-school, and summer music instruction which increases student success, retention, and positive development, in both music education and academic growth,

– to prioritize culturally-relevant and learner-centered teaching that fosters thriving communities,

– to remain committed to equity: our longstanding value central to our legacy that animates every aspect of our work, and

– to support youth to be equipped to fundamentally change the arts and culture sector for future generations.

FÊTE DE LA MUSIQUE STAGES

FACULTY@FÊTE STAGE

Ghost Town, The Road Ahead (J. Rosario) ................................ Javier Rosario Trio

Preludes no. 1 and 3 for solo marimba (N. Rosauro) .............. Michael Weinfield-Zell

Our Modern Muse: Sonata no. 4 op. 128 (D. Rahbee) ................ Alexander Morollo Central Park West (J. Coltrane), Four By Five (M. Tyner) ............. Matt Savage Quartet

Rhapsody no. 1 for solo violin (J. Montgomery) .................................. Karl Ørvik

JUNIOR DIVISION LAPIN COMPETITION STAGE

Sonata in C K. 545, 1mov. (W.A. Mozart) ................... Cassandra Alarcon-Gee, pianoFaculty: Alexander Morollo

What Falling in Love Feels Like (Jake25 17) ........................... Adina Barrett, pianoFaculty: Paulius Pancekauskas

Grande Etude de Paganini no. 5 “La Chasse” (F. Liszt) ................. Justin Gao, piano Faculty: Alexander Morollo

Concerto no. 5, 1 mov. Allegro (F. Seitz) ............................ CHarmelie Jerome, violaFaculty: Ann Miklich

Nocturne op. 55 in F minor (F. Chopin) .................................. Dylan Massard, piano Faculty: Paulius Pancekauskas

What’s Wrong With Me (J. Richmond & N. Benjamin) ................ Molly Papazian, voice Faculty: Hannah Sigel

The Liberty Bell (J.P. Sousa) ............................................ Gavin Stephenson, piano Faculty: Paulius Pancekauskas

Reverie in F minor (D. Alexander) ......................................... Jack Tompros, pianoFaculty: Alexander Morollo

Sonatina in F major, 1 mov. (L.W. Beethoven) ............................ Zirong Wang, piano Faculty: Paulius Pancekauskas

Sonatina no. 6 in G major, 1 mov. (L.W. Beethoven) ........................ Maya Xie, pianoFaculty: Paulius Pancekauskas

SENIOR DIVISION LAPIN COMPETITION STAGE

Allegro from Concerto in e minor, RV 484 (A. Vivaldi) .............Kiran Cremer, bassoonFaculty: Janet Underhill

Jazz toccata (M. Goldston) ..................................................... William Hall, piano Faculty: Stephen Yenger

Sonata no. 2 mov 1 (P. Hindemith) .................................... Arthur Koehrsen, pianoFaculty: Manuel García-Baró

Clair de Lune (C. Debussy) .................................................... Jethro Pierce, piano Faculty: Paulius Pancekauskas

Concerto for Oboe I. Rondo Pastorale (R.V. Williams) ............... Ana Rodrigues, oboe Faculty: Anna Bradford

Norwegian Dance no. 1 (J. Halvorsen) .................................. Zhuo Rui Jiang, violinFaculty: Karl Ørvik

Allegro ma non troppo from Concerto in F Major, op. 75 (C.M.V. Weber) .................................................................................................. Carson Saponaro, bassoon

Faculty: Janet Underhill

Sonata in E minor, op. 90, mov. 2 (L.W. Beethoven) ...................... Katie Zhen, pianoFaculty: Alexander Morollo

CMCB PROGRAMS STAGE

Early Childhood Medley ...................................................................... VariousFaculty (in order of appearance): Sébastien Ridoré, Javier Rosario, Anne Edgerton,

Samantha Gambaccini, and Hannah Sigel “Domina” Hurley Core Values Songwriting sample ..................................................................................................................... students from the Hurley K-8 school

Faculty: Hannah Lopez

Long Long Ago virtual duet ................................................. Zoe & Hannah LopezFaculty: Hannah Lopez

Smart from the Start Jingle, “Our Favorite Characters” Songwriting sample .................................................................................. students from Smart from the Start

Faculty: Jenna McQuade

Umoja (V. Coleman arr. J. Underhill) ................................................ Bassoon Band

She Dwells by Great Kenhawa’s Side, Op. 54, No. 2 (S. Coleridge-Taylor, arr. K. Berger) .......................................................................... Chamber Orchestra & Una Voce

PROGRAM NOTES & PERFORMER BIOS

JAVIER ROSARIO TRIO

*Ghost Town and *The Road Ahead (by Javier Rosario) Ghost Town is the opening track of Javier’s debut album, Javier Rosario Trio Vol. I: A Celebration of Life. The Road Ahead will be part of the tracks of Javier’s up-coming new album. Stay tuned for its 2021 release! The beauty of my original music has been possi-ble by the artistry, trust and generosity of my bandmates: Zak King and Scott Kiefner

Javier Rosario Trio members: Javier Rosario (guitarist/composer/ arranger/ bandlead-er), Zak King (drummer), Scott Kiefner (bassist)

BIO: JAVIER ROSARIO

Guitar virtuoso, composer, bandleader, educator and recording artist, Javier Rosario is the first ever Michel Camilo Scholarship winner. The scholarship was an initiative of the Dominican born, Grammy, Latin Grammy and Emmy Award winning pianist. It has been the first scholarship of its kind in the history of the Dominican Republic, where Javier was born in Santo Domingo. In 2006, Javier attended Berklee College of Music with full scholarship, graduating with the highest ratings ever given to a guitarist. In 2009, he performed at the Berklee Jazz and Blues Guitar Night: a concert which only featured the very top players of the entire school.

In 2010, Javier decided to further his studies at the Longy School of Music of Bard College with a master’s degree. There he was acknowledged by his guitar teachers as possibly the highest-level guitarist ever to enter the jazz program.

Among some of the musicians Javier has performed with are: Joe Lovano, John Lockwood, Matt Savage, Zachary King, Scott Kiefner, Aaron Holthus, Avery Logan, Bob Edinger, Vardan Ovsepian, Jeff Galindo, Phil Grenadier, Bret Willmott, Hoo Kim, just to name a few. Javier has performed at Blue Note in New York City, Casa de Teatro Jazz Festival, A-Town Jazz Festival, Strand Theater, Massachusetts’ State House, Cornelia Street Cafe, St. Botolph Club, Berklee Performance Center, Pianos NYC, Shrine World Music Venue, Silvana, Port City Blue, Riverwalk Cafe & Music Bar, Radio Bean Jazz Fest, Thunder Road, Tonic, just to name a few. Javier is a Community Engagement Programs Teaching Artist and faculty member at Community Music Center of Boston and Boston Collegiate Charter School. Javier has been a clinician at the National Conservatory of Music in the Dominican Republic since 2009. In late December of 2019, Javier released his debut album Javier Rosario Trio, Vol. I: A Celebration of Life which has been reviewed nationally and internationally.

MATT SAVAGE QUARTET

Tribute to John Coltrane and McCoy Tyner

The Matt Savage Quartet will pay tribute to two legends of jazz - saxophonist John Col-trane (1926-1967) and pianist McCoy Tyner (1938-2020). As bandmates in the John Coltrane Quartet, these two musicians were integral in adapting jazz (a Black Ameri-can art form) to the chaotic realities of the 1960s civil rights movement. The Quartet adopted an increasingly avant-garde and freeform sound in its later years, pushing the limits of what each instrument could do, and augmenting the sense of inner spirituality in the Quartet’s music. This emotional and intense style was continued by Tyner (the last surviving member of Coltrane’s quartet) in his own groups after Coltrane’s death.

Matt Savage’s group will play one of Coltrane’s most relaxing tunes (“Central Park West”, composed around a 4-key cycle) and one of Tyner’s most exciting pieces (“Four By Five”, which alternates 4/4 and 5/4 time).

Matt Savage - piano, Mark Zaleski - soprano saxophone, Max Ridley - bass, Zachary King - drums

BIO: MATT SAVAGE

Matt Savage, age 29, has had a remarkable 19-year professional career as a jazz musician, bandleader and composer with ensembles of different size. He’s played with some of the biggest names in jazz, including Chick Corea, the Ellington All Stars,

Chaka Khan, Wynton Marsalis, Bobby Watson, Clark Terry, Jimmy Heath, Jason Moran, Arturo O’Farrill, John Pizzarelli, Joshua Redman, Terri Lyne Carrington, Jon Faddis, Jerry Bergonzi and Donny McCaslin among others. He’s also opened for rock legends Neil Young and Stephen Stills, and has performed with Steve Earle, Jackson Browne, Shawn Colvin and Al Stewart. Along the way, he’s recorded twelve albums as leader and one as collaborator. He is a Bösendorfer piano artist.

As a composer, Matt has garnered respect and recognition. He composed and recorded the score for

a full-length documentary film, Sound of Redemption: The Frank Morgan Story. The movie, which premiered in 2014, chronicles the life of the late jazz alto saxophonist Frank Morgan.

Additionally, Savage wrote almost all the songs on his twelve albums, several of which have been used in short documentaries, on web sites, in school music curricula and in government educational materials.

Matt’s latest project is the Matt Savage Groove Experiment’s debut EP, Splash Variations. Splash Variations was released on December 7, 2018, and it was accompanied by a CD release tour in early 2019.

Savage has toured worldwide, including performances at The Kennedy Center, Carnegie Hall, Birdland, Blue Note (NYC), Bohemian Caverns, Smalls Jazz Club, The Town Hall, Dizzy’s Club Coca-Cola, Scullers, the Jazz Standard, the Pantages Theatre, the Iridium, the Berklee BeanTown Jazz Festival, the Monterey Jazz Festival, Heineken Jazzaldia (Spain), the Costa Rica International Jazz Festival, the International VSA Arts Festival, the Jacksonville Jazz Festival,the Ottawa International Jazz Festival, the New Orleans Jazz Festival, the Earshot Jazz Festival, tours of Japan, China, India, Spain, Curacao, Aruba and Singapore.

Media appearances have included Marian McPartland’s “Piano Jazz,” NPR’s “All ThingsConsidered,” “Late Night with Conan O’Brien,” “The Late Show with David Letterman,” the “Today” Show, ABC’s “20/20,” the Discovery Channel, BBC, Telemundo TV, and news shows and documentaries worldwide (including the U.S., Germany, France, Japan and the U.K.) The Wall Street Journal, JazzTimes, JAZZIZ, TIME, WIRED, Der Spiegel, The Jerusalem Report, People Magazine, TIME for Kids, American Way, The Globe and Mail, the Toronto Star, The Boston Globe, the New York Daily News, and others have featured Matt in print.

Having received his Bachelor’s Degree from Berklee College of Music and his Master’s Degree from Manhattan School of Music, Matt balances his professional music career with teaching. Back in the Boston area, Matt is an adjunct professor at Saint Anselm College and Bunker Hill Community College, and also teaches at Community Music Center of Boston and Note-worthy Experiences. He gives masterclasses and workshops domestically and internationally (in English and Spanish) as well as private piano lessons.

MICHAEL WEINFIELD-ZELL

Preludes No. 1 and 3 for solo marimba by Ney Rosauro

PRELUDE N.1 for solo marimba was originally written for guitar, explaining the har-monies from flamenco music, as well as the Spanish mood of the work. The marimba version was completed in 1983 and is dedicated to Rose Braunstein. Throughout its three themes, the spirit of the Spanish music can be felt, and the fingerings of guitar arpeggios are suggested in the third theme.

PRELUDE N.3 was written in 1987, soon after my arrival in Santa Maria, RS, Brazil and is dedicated to my first percussion teacher, Luiz Anunciaçao. The introduction and coda are presented with rolls and are in a choral style. In the second part, two new themes are introduced in a fast alternating motion of the mallets, demonstrating the virtuosity through expressive melodies.

BIO: MICHAEL WEINFIELD-ZELL

Michael Weinfield-Zell is a Boston-based classical and contemporary percussionist and drum set artist, in demand both nationally and internationally. As a featured soloist Michael has been invited to perform in Beijing at the Central Conservatory of Music as well as the Korean Broadcasting Station in Seoul, in addition to the Kennedy Center, the Naumberg Bandshell in New York’s Central Park, and the Pérez Art Museum in Miami. Notable collaborations include So Percussion, Ensemble ACJW (Juilliard/Carnegie Hall), the electronic music duo Matmos, conductors Simon Rattle and David

Robertson, and major symphonic ensembles such as the Kansas City Symphony and GrandTeton Music Festival. He has held appointed positions with the Florida Grand Opera as well as the Honolulu and Annapolis Symphonies.

Dr. Weinfield-Zell regularly performs with the Boston Modern Orchestra Project, Callithumpian Consort, Portland Symphony, Orchestra of Emmanuel Music, Back Bay Chorale, Boston Philharmonic Orchestra, the Atlantic Symphony, and many others in prominent venues all over the city such as Symphony Hall, Jordan Hall, and Sanders Theatre. He recently completed a doctorate in performance from Boston University, and has degrees from the Peabody Conservatory and Yale School of Music where his primary teacher was Robert van Sice.

As a teaching artist Dr. Weinfield-Zell has received numerous invitations to give masterclasses at prestigious music schools and universities across the country including the Peabody Conservatory, Bard College Conservatory of Music, the Lamont School of Music at University of Denver, Kansas University, and University of Massachusetts Amherst where he has been a frequent guest. Currently he coordinates percussion activities for the Boston Youth Symphony Orchestras, one of the largest and most comprehensive youth orchestra programs in the country with over 500 young musicians. Dr. Weinfield-Zell is also on faculty at Powers Music School and Community Music Center of Boston where he teaches applied classical percussion and drum set.

ALEXANDER MOROLLO

The Fourth Piano Sonata Op. 128 of Dianne Goolkasian Rahbee (b. 1938), composed in 2002, features a dedication to a lifelong friend of the composer, a Belgian pianist by the name of Diane Anderson. Rife throughout the work are musical expres-sions of the same name, “Diane”, represented by the descending second. Throughout the sonata we hear this figure and must continually ask, is this a salutation or a signa-ture? Regardless of the answer, this four-movement work takes us on a familiar journey that explores the diverse range of emotions we feel in some of our closest friendships. The composer herself has a special connection to CMCB. While she can directly trace

her teachers to Beethoven himself, and after an illustrious career that spawned from studying at the worlds best music schools, (Juilliard being her stepping stone to the Mozarteum in Salzburg, Austria) she confided in me recently that the best and most memorable musical instruction she received, was during her childhood at the Music Center. Fast-forward over 50 years later, and CMCB is still fostering a musical growth in our community that will stretch through generations. I am honored to present to the community that I’ve fallen in love with, a work by a composer that I’ve loved my entire life and had the privilege to call my piano teacher. I am equally humbled to know that others here call me their piano teacher. As they do so I can’t help but think how nothing separates them from a CMCB student in the 1940s named Dianne, and I can’t help but wonder which one of you will write the next great piano sonata to be performed by one of your students!

BIO: ALEXANDER MOROLLO

Raised in Greater-Boston, pianist Alexander Morollo began his training at the age of six under the renowned piano teacher and composer Dianne Goolkasian Rahbee. After years of performance experience in the classical literature along with contemporary music, Mr. Morollo won the Catherine Dower-Gold Performing Arts Award in 2008 and First Prize in the Young Artists Piano Competition of Western Massachusetts and Connecticut the following year. In 2015, Mr. Morollo was awarded the Mary Ellis Smith Prize for ‘Excellence in the Art of Piano Pedagogy’. He is currently a Signature Series Artist with Midori and Friends. An avid teacher, Mr. Morollo is currently on the piano faculty at the South Shore Conservatory, and the Community Music Center of Boston. Throughout his teaching career he has prepared students for proficiency exams in piano and music theory. He continues to do so through the Royal Conservatory of Music. Several of his piano students of his have been accepted into Bachelor of Music programs themselves, most recently at the Berklee School of Music in Boston and Ithaca College in New York. Mr. Morollo holds a Bachelors of Music from Emerson College, and a performance diploma and Master of Music from the Longy School of Music.

KARL ØRVIK

Rhapsody no. 1 for solo violin by Jessie Montgomery

Jessie Montgomery has garnered critical acclaim as both a composer and violinist. Her compositions have been performed by major orchestras, chamber ensembles and soloists, and recent commissions have come from the Orpheus Chamber Ensemble, the National Choral Society, and the ASCAP Foundation. She is a founding violinist of

PUBLIQuartet, and a current member of the Catalyst Quartet. As a Black musician, she has enjoyed a long-time association with the Sphinx Organization, where she was a two-time laureate of the Sphinx Competition, and is currently composer-in-residence with the Sphinx Virtuosi. Rhapsody no. 1 for solo violin was composed in 2014.

BIO: KARL ØRVIK

Karl Ørvik, violin and viola, has appeared in solo and chamber music recitals throughout the United States, as well as in Canada, Norway and South Korea. He has been a concerto soloist with the Bangor, Racine and Green Bay Civic symphonies, and has extensive experience as a concertmaster and section player with numerous other orchestras in New England and the Midwest. An enthusiastic chamber musician, he is a former violinist with the Boston Public Quartet, and concertizes frequently with Stonehill College’s resident faculty ensemble, the Stonehill Trio. As the founding violinist of Trio Klaritas, he has performed on concert series in Boston, New York City and Los Angeles, as well as at the Tanglewood Music Center and Weill Recital Hall in Carnegie Hall. Mr. Ørvik has taught violin and viola in a variety of settings, and he works easily with students of all ages and abilities. He is an adjunct professor of violin and viola at both the University of New Hampshire and Stonehill College, and a long-time member of the string faculty at the historic Community Music Center of Boston, where he was the recipient of the 2017 Marilla MacDill Prize for Teaching Excellence. In the summers he teaches at the UNC-Asheville Chamber Music Workshop in North Carolina, the Point Counterpoint music festival in Vermont and the Youth and Muse festival in Boston. He has been published in the ASTA Journal, and is the author of New Scale Method, an innovative scale method book for advanced violinists and violists. A native of Canada, Mr. Ørvik has studied with many distinguished musicians, including Roman Totenberg, Stephen Majeske and Calvin Wiersma, and members of the Muir, Cleveland, Cavani, Fine Arts and Portland string quartets. He holds performance degrees from the Cleveland Institute of Music and Lawrence University, and in January of 2012 he received his DMA from Boston University.

CHAMBER ORCHESTRA & UNA VOCE

She Dwells by Great Kenhawa’s Side by Samuel Taylor-Coleridge

I am so excited to commemorate the first federal holiday of Juneteenth with our concert at 6 pm. Our performance of “She Dwells by Great Kenhawa’s Side” was written by a phenomenal, British composer interested in exploring his family’s history, his father having been descended from African American slaves. Samuel Coleridge-Taylor wrote that he wanted to be known for his treatment of African American melodies just like “Brahms has done for the Hungarian folk music, Dvorak for the Bohemian, and Grieg for the Norwegian.”

Coleridge-Taylor chose an 1842 poem by Henry Wadsworth Longfellow (a poet active in the Boston/Cambridge community) as the backdrop to this piece. Longfellow was interested in changing the minds of Southerners by encouraging them through this poem to educate and free their slaves. How appropriate that we are able to honor Samuel Coleridge-Taylor, a world-class composer who chose to use his artistry to explore and share his lineage amidst a culture and experience of racism and bigotry and a poet dedicated to using his white privilege to “change the hearts of the Southerners on this subject.” The full poem, sung by Una Voce and CMCB faculty/staff is attached below.

I can’t thank the CMCB community enough for their collaboration and support. A special thanks to Hannah Sigel and Una Voce for their excitement and hard work in collaboration. Huge thanks also to the faculty and staff who added to the synergy with a special shout out to Timothy Paek for putting together the video and audio. And one can not leave out Janet Underhill and Stephanie Chen for their advice and dedicated support.

And to the Chamber Orchestra, I am so grateful to you all for your hard work on this important project. It has been a pleasure to get to know you. To keep playing your instruments and to power through during a pandemic is no easy task, particularly as we waded back into more in-person interactions along with all that comes with the end of the school year: AP exams, spring sports, etc. You should be immensely proud! I know I am proud of you and all you have accomplished.

Congratulations to Sam, Josh, and David on high school graduation, and particular congrats and gratitude to David for his incredible, hard work on an arrangement of Christopher Larkin’s score to the video game “Hollow Knight” which we are desperate to perform in the Fall.

(Kathleen Berger)

Long since beyond the Southern Sea Their outbound sails have sped,While she, in meek humility, Now earns her daily bread.

It is their prayers, which never cease, That clothe her with such grace;Their blessing is the light of peace That shines upon her face.

Text by Henry Wadsworth Longfellow (1807 - 1882), “The good part”, appears in Poems on Slavery, first published 1842

She Dwells by Great Kenhawa’s Side

She dwells by Great Kenhawa’s side, In valleys green and cool;And all her hope and all her pride Are in the village school.

Her soul, like the transparent air That robes the hills above,Though not of earth, encircles there All things with arms of love.

And thus she walks among her girls With praise and mild rebukes;Subduing e’en rude village churls By her angelic looks.

She reads to them at eventide Of One who came to save;To cast the captive’s chains aside And liberate the slave.

And oft the blessed time foretells When all men shall be free;And musical, as silver bells, Their falling chains shall be. And following her beloved Lord, In decent poverty,She makes her life one sweet record And deed of charity.

For she was rich, and gave up all To break the iron bandsOf those who waited in her hall, And labored in her lands.

THANKS TO OUR SPONSORS

WITH SUPPORT FROM

The piano played in student videos recorded in Allen Hall is dedicated as the Kurt and Mary Cerulli Steinway.

With Additional Support from JEFFREY THOMSON AND DAVID JANERO