HomeMy WebLinkAbout2014-327 Arts - Lindsay Ann Leach-Sparks for Spring 2014 Arts Grant Agreement $500 ORANGE COUNTY ARTS COMMISSION z m
A r u u r+r r k R r S SPRING,2014 GRANT AGREEMENT
C0MMISSI0M G'� Ulu \\
THIS AGREEMENT, entered into this 16th day of June, 2014, by and between Orange County
("County"), by and through the Orange County Arts Commission ("Arts Commission") sand
Lindsay Ann Leach-Sparks ("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth ot'
local arts experiences by providing funding and support for diverse high quality programs an(i
proj ects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizati011s
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration anci
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto anci
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed five hundred dollars ($500) bavc
been awarded by the Arts Commission to the Grant Recipient for the approved Project.
These funds must be matched at least dollar-for-dollar with cash from the Grant
Recipient's funds not derived from either Orange County appropriations or the North
Carolina Arts Council.
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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Revised May 2012
A. Implementation. The Project implementation shall take place between July 1,
2014 and June 30, 2015. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing, to the / its
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereot'.
Consent to project modifications shall not be unreasonably withheld. /arts
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein,the modifications shall be deemed approved.
C. Non—assignment. The grant cannot be assigned or transferred to a different pro'Icct
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three I;)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstand i ng
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on July 6, 2015 . The Final Report shall be in the format required by the
North Carolina Arts Council. Failure to submit the Final Report or late
submission of the Final Report, for any reason, shall be grounds for denial and!or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Payment. The Arts Commission shall release the grant funds in the amoural of'
$500 to the Grant Recipient.
6. Publicity
A. Acknowled eme Credit must be given to the Orange County Arts
Commission using the Arts Commission logo and if State funds are received
to the North Carolina Grassroots Program in brochures, news releases,
programs, and all other printed and online publications. Copies of such printed
materials must accompany the evaluation report. When no printed in.Formatioin Is
used, verbal credit shall be given. In addition, all print and promotional material
must include the following credit line (check all that apply):
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Revised May 2012
i. x County Funds Only. "This program is supported by the Orange Couruy
Arts Commission. "
ii. North Carolina Arts Council Funding. "This program is supported by
the Orange County Arts Commission with funds from the Grassroots Progr(,1n
of the North Carolina Arts Council, a state agency."
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHiIIARTS.com
website and display ExploreChapelHil ARTS.com publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
ExploreChapelHilIARTS.com (ExploreChapelHillARTS.com logo preferrvd)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChapelHillARTS.com publicity materials.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real. or personal
property that results from or is in any way connected to the use of the grant fitnds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied. to
obligate or make representations on behalf of the County or the Arts Commission, In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below(hereinafter referred to as
"default"),the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with anti
provision of this Agreement, as determined by the Arts Comlission in its
sole discretion.
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Revised May 2012
(iii) Failure to adhere to the terms of applicable county, state or federal laws.
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or regi.lire
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governins Law. This Agreement shall be interpreted in accordance with the hm s
of the State of North Carolina and the Orange County.
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
For and on behalf of the Grant Recipient
i dsay nn Leach-Sparks Date
For and on behalf of Orange County Government
Fiffitk`A' ` h , County Manager Date
bOnn j e- -(4vLmnl,er-sle
For and on behalf of Orange County Arts Commission/approved as to technical content
Steve Brantley,Economic Develop nt Director Date
App rov to r and legal sufficiency
--711114
Annette!M. Moore, Sta Attorney Date
4
Revised May 2012
This instrument has been pre-audited in the manner required by the Local Government Budget
and Fiscal Control Act
Clarence G. Grier,Administrative and Financial Services Date
5
Revised May 2012
Artist Project Grant - Spring
� ...�, J
2014- 15 Application Form
ORANGE COUNTY ARTS Orange County Arts Commission
COMMISSION
Promoting the artistic and cultural development of Orange County, North Carolina
1 Artist Information C
Applicant Name L I IJDS4y ANN LCAC'H - PAfKS
Mailing Address S ?i� "►`f� b• � C.#�l ' L *u 4 �16 c)-7 57tjo
Daytime Phone 441 c 849—2-102 Fax Number VI
Email Address LAS-Phd-ff• Lfc L6)q- Web Site Lc.JUuCU
DUNS Number Q 79,4 /0-7c-2
2 Grant Request Summary
Arts Program Grant Request 't I 61C,n Total Cash Match
Summary Statement for Proposed Use of Arts Program Grant RECo(Zl))W_--I 0 -Ld F'"FoICNOWCE 7 HE F601"E
G�tf►9i ,c+ YYLCiS c- of f"lu_C�0 h HL(flF_e
3 Narrative
Write a description, up to three pages, single spaced, that describes the following under separate subheadings
• Proposed Project—what will you do, where will it be performed or displayed,when will the preparations
and public component take place, list any organizational partners.
• Community Impact—describe the project's public component, how many people will be impacted.
• Artist Experience —include a brief description of your similar arts projects in the past.
4 Application Checklist (in this order, do not staple, bind, or put into individual folders)
1 copy each: (Only 1 sided, 8 1/2"x 11'; white paper)
• Application Form, Page One, Including Signature
• Narrative
• Budget Sheet
• Itemized Budget (if necessary)
• Resumes of artist(s).
1 copy each:
• Sample programs, press, or other materials from this or similar past programs.
• Sample work by artist produced in the last three years:
For example,for visual arts submit a PC-compatible CD or DVD, slides or high quality photographs(5-10
images); for dance or theater arts submit a PC-compatible CD or DVD, or video tape (3-5 minute sample); for
music and spoken word submit a PC-compatible CD or DVD, or audio tape(1-2 selections); for literary arts
submit a manuscript(10-15 pages).
Label all sample work with artists'/organizations' name,title of work(s), date of work. For visual arts include
sheet rk dimensions, media. Indicate top of image.
g- Llm>-wl LcA-cp SP wrs
Art tur Date Typed or Printed Artist Name
INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
Questions? Call us at(919) 968-2011 • Deliver Application to: 501 West Franklin Street, Chapel Hill, NC
Narrative-Dr. Lindsay A. Leach-Sparks
Proposed Project–
In the spring of 2012, I completed my doctoral dissertation entitled
Performing Hugo Kauder:An Expansion of Flute Literature in order to bring the
chamber music_of the largely unknown Austrian-American composer Hugo Kauder
(1888-1972) to light in academia and musical performance circles. Hugo Kauder
combines the attributes of Renaissance and modern styles,writes in a vocal idiom,
and creates unique instrumental ensemble combinations making his music,
challenging, interesting,and enjoyable. Although these qualities and compositional
techniques can be found in some other classical literature,their combination in
Kauder's repertoire represents a unique opportunity for studyand performance.
With the Orange County Artist Project Grant, I plan to continue to promote
my research and expose the community at large to the music of Hugo Kauder
through concerts,lecture-recitals,and a professional CD recording featuring the
music of Hugo Kauder. My CD recording will be published for digital distribution (on
iTunes, Amazon, CD Baby,and other distributors) and will include the first
professionallypublished recordings of Kauder's Trio No.2 for Flute, Oboe, Piano;
Trio for Flute, Cello,Piano; Trio for Flute,Horn, Piano; Sonata for Flute and Piano; and
Suite for Flute Alone.
The concert portion of the project will help to promote the music of Kauder
and create local interest in Kauder's music and the CD. Possible concert venues will
include (but are not limited to) UNC Chapel Hill campus recitals, Carolina Meadows,
Duke Chapel concert series recitals, Moore County concert series (at the Weymouth
Center, Brownson Memorial Presbyterian Church, and Cameron Presbyterian
Church), UNC Pembroke campus recitals,and Methodist University recitals.
I am also planning several regional and national lecture recitals featuring
Kauder music that will help to foster interest in the composer and this CD. The first
of these lectures will be at the Raleigh Area Flute Association (RAFA) Festival in
October 2014 and continue with similar lectures (still in application) at the Mid-
Atlantic Flute Fair(Alexandria,VA), Florida Flute Fair (Orlando, FL), Kentucky Flute
Festival (Louisville, KY),the Central Ohio Flute Association (Columbus, OH),
Pittsburgh Flute Club (Pittsburgh, PA), Flute Society Mid-South (Tennessee),and the
National Flute Association (Washington DC- 2015 and San Diego, CA- 2016), among
others. I have also applied to present at the North Carolina Music Educators'
Association In-Service Conference in November 2014 (Winston Salem) and the
National Association for Music Education Music Program Leaders Conference
(Baltimore,summer 2015).
My ultimate goal in the course of this project is to gain momentum in
publishing a full biography on Hugo Kauder—something I have already discussed
with several scholars and the Hugo Kauder Society in New Haven, CT.Aside from
this project, I am in the midst of publishing magazine and journal articles for Mute
Talk,the Journal of the American Musicological Society, and the Journal of the Society
ofAmerican Music about Hugo Kauder and about my doctoral research that will also
work to gather interest in Kauder as a focus for research and performance. My
biography will expand a portion of my doctoral dissertation document, creaming a
full document of research on Kauder that can be utilized for future scholarly
endeavors.
A revival of Kauder's repertoire through this project,would not only be a
significant addition to flute literature,but it would also support the Hugo Kauder
Society's mission of promoting exposure, analysis, and the continued performance
of Kauder's works. The current quest for new and interesting compositions remains
a populartopic in the music community, and myproject fills this need byproviding
an introduction to Kauder and his compositional style through experiencing his
music.
Community Impact—
The impact on the Orange County community will take several significant
forms. I plan to perform a series of free concerts in and around Orange Courtythat
would serve the residents of this region. These include larger venues such as UNC
Chapel Hill and Duke U niversity as well as smaller ones like Carol Woods, Carolina
Meadows, and the Gathering Place. I plan to make this music accessible to citizens
of all ages, races, and walks of life: students, seniors, academics,educators and
everyone in between. The musical community here would also benefit from learning
about the unique repertoire of this unknown composer,and in turn, musicians and
artists could expand their repertoire choices and research topics to include Kauder
further broadening their knowledge and artistic scope.
In addition to recording locally (I plan to use VoChor Recording Services
based in Durham and record on the U NC campus), I am collaborating with Ideal
artists including Andrew McAfee (Horn Professor at U NC Chapel Hill), Brent Wissi6
(Cello Professor at U NC Chapel Hill), Nancy Whelan (local collaborative pianist,
graduate of Meredith College and former Duke University staff accompanist), and
Joseph Robinson (former Principal Oboe of the New York Philharmonic and current
NC resident). This collaboration will bring attention to the musical community of
Orange County as the recording is disseminated regionally and nationally.
Once the project is done,the CD will be introduced to the community through
distribution in local businesses. I plan to donate copies of the CD to local public and
university libraries, K-12 schools, restaurants,and bookshops,thereby serv.ng as
many populations as possible. My continued exposure at local arts events and
performance appearances will further present Kauder's work to the greater
community.And, I will continue promotion of this project through my connections
with the North Carolina Virtual Public School,the North Carolina Music Educator's
Association,and the North Carolina Arts Coordinators.
Artist Experience–
In 2008, I was awarded a grant from the Moore County Arts Council in which
I successfully completed a press kit, including a professional solo recording
(included here in my application packet). Because I have the experience and
resources from my previous project, I not only have the majority of my current
project planned,but I have also gained artistic popularity with regional orchestras,
universities, and arts organizations—entities who will also help promote my
current project.
Additionally, I hold a Doctor of Musical Arts degree from the U niversity of
Cincinnati, a Post-Graduate Performance Diploma from the Royal Academy of Music
(London, UK), a Diplome from the Academie Internationale d'Ete de Nice (Nice,
France),and Master and Bachelors degrees from the Peabody Institute of the Johns
Hopkins University. Besides my education, I have extensive performance experience
internationally as a soloist, chamber musician,and orchestral musician. I have
performed in solo and chamber recitals and competitions throughout North
America, Europe,and Asia, and with the Amadeus Orchestra (U nited Kingdom),
Moscow Ballet Orchestra, Charlotte Symphony, Columbus Symphony(Ohio),
Kalamazoo Symphony, Long Bay Symphony(Myrtle Beach,SC), and Aspen Festival
Orchestras (Colorado).
As I mentioned earlier, I am planning on presenting lecture recitals focusing
on Kauder in the coming year. Recently, I have had experience in presenting similar
lectures for the University of Cincinnati Lecture-Recital Series, Rutgers University
Conferences, North Carolina Virtual Public School Professional Development
Meetings, the North Carolina Arts Coordinator's Annual Meeting, and the National
Association for Music Education Program Leaders' Conference. My knowledge
gained through researching Kauder coupled with my presentation experience
should allow me to confidently speak about Kauder and his musical contributions.
In conclusion, my project promoting the chamber music of Hugo Kauder is
three-fold: a CD recording,local concert performances, and regional lecture recitals.
This undertaking will surely have a substantial impact on the community of Orange
County through free regional performances,the use of local recording venues and
artist collaborators, and distribution of the recording throughout the community.
Alongwith helping to accomplish mylong-term goal of publishing a biography on
Hugo Kauder,this project will undoubtedlybe an appreciated addition to an already
vibrant arts scene in Orange County.
G2014-15 Artist Project Application — Page Two.
ORANGE COUNTY ARTS
COMMISSION
Financial Information
Please provide a projected budget for your proposed project utilizing the format below.
Project Expenses Cash = Grant Amount + Applicant
Expenses Requested Cash Match
A Personnel
Administrative staff
Artistic staff -*°"N
ri�jbxu'to
Technical/Production staff_ fcrCHC)e S 00 — S '-L-
B Outside Fees and Services��°�brnJE�
Artistic contracts--LiCeWbiNG Is —
Other contracts: _
C Space Rental-- tokp- oN HAti-, Zoo — 20 Q_
D Travel
E Marketing --Cb PRONx;TTON // 32
—1 --
F Remaining Project Expenses —
G Total Cash Expenses Co q g a = / Q 0 O + S q 8 a__
Project Income Cash Income
A Admissions
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
Foundation support
Other private support
E Government Support
Federal
State/regional (not including this request)
Local(not including this request)
F Applicant Cash ` g L'ev�lle�� c�2 i�ec
G Grant Amount Requested 1 C Sozuzck-S ' ► t l `{!-� OL,04 f
in this application "L� 13 r •P-
GvLJ-d
H Total Cash Income
(must equal Total Cash Expenses,
Item G above)
Lindsay A. Leach-Sparks
5331 Foxlair Rd.
Chapel Hill, NC 27516
412-849-2102
lalflute.leach Oc gm ail.corn
www.LALflute.com
Education
University of Cincinnati,College-Conservatory of Music
-Doctor of Music Arts degree in Flute Performance(Graduation, June 2012)
-Cognates:Music Theory and Musicology(Baroque/Classical emphasis)
-Graduate Teaching Assistant in Early Music Performance(2011-2012)
-CCM Gradate Student Association-Treasurer(2011-2012)and Secretary(2010-2011)
-Dissertation-Performing Hugo Kauder:An Expansion of Floe L.#erature
This document explores the accomplishments, influences, and flute chamber music of Hugo Kauder(1888-1972).
Comm tee.-Dr. Bradly Garner(advisor), Dr. Vivian Montgomery("reader), Mr. Randy Bown-an(reader)
The Royal Academy of Music,London,UK:
-Post-Graduate Performance Diploma, Flute Performance(Graduation, June 2005)
-secondary study:baroque and classical flutestearly music
-LRAM Teaching Licentiate
The Peabody Conservatory of the Johns Hopkins University,Baltimore,MD:
-MM. Piccolo and Flute Performance first degree in the US on the university level focusing in piccolo(Graduation, May 2004)
-BM. Flute Performance(Graduation, May 2003)
-Mu Phi Epsilon, Phi Gamma Chapter-Vice President(2002-03), Treasurer(2003-04)
-Pi Kappa Lambda, honorary member(2003 induction)
-Omicron Delta Kappa, Beta Circle(2003 induction)
-Earned Minors-Cello, studies with Mihaly Virizlay and Thomas Kranes(Sept. 2000-2004)
- Early Music(2001-2004)
Major Flute Teachers:
Brad Garner, Randy Bowman, Brooks de Wetter-Smith, Laurie Sokoloff, Clare Southworth, Patricia Morris, Robert Langevin
Summer Events:
-Accent10 Chamber Music Festival, Cincinnati, OH-Teaching Assistant(June 2010)
-Marina Piccinini International Flute Seminar, Baltimore, MD-Concert Performer(June 2008)
-Aspen Music Festival and School,Aspen, CO(June-Aug.2007)
-Orford Arts Centre, Orford Canada(July-Aug.2006)
-Academie International d'Ete de Nice(July-Aug.2005)
Certifications
NC K-12 Music Teaching License(expires 2018)
OH K-12 Music Teaching License(expires 2015)
College Board AP Music Theory Certification (summer 2011)
NCLearn, Carolina Online Teacher Certificate(summer 2008)
International Baccalaureate Teacher Certification- Level II(December 2006)
LRAM Teaching Licentiate(June 2005)
Dalcroze Eurhythmics Teaching Certificate- Level II(June 2002)
Professional Memberships
NCDPI Arts Coordinator's Think Tank Committee(2014- present)
NCDPI Arts Program Leaders(2013-present)
Raleigh Area Flute Association (2012-present)
National Association for Music Education (2012-present)
Music Educator's National Conference(2006-present)
NC Music Educator's Association (2006-present)
OH Music Educator's Association (2009-2012)
National Flute Association (1997- present)
Performance Experience
Professional Recordings:
-One of a Kitxl Durham,NC- Prernier Solo CD(spring 2008)
-Meiberg Requiem,Washington National Cathedral Chamber Orchestra on SuperAudio CD(June 2004)
Orchestral:
-Charlotte Symphony, Charlotte, NC- Piccolo substitute(2013 summer season)
-Columbus Symphony Columbus, OH- 2nd Flute/Piccolo substitute(2012-present)
-Long Bay Symphony Orchestra, Myrtle Beach, SC-2"d Flute and Piccolo/Aux.flute(2008-present)
-Kalamazoo Symphony Orchestra, Kalamazoo, MI- 3'd Flute/Piccolo(2011-2012)
-Opera Carolina, Charlotte, NC- Principal flute(2008 and 2009 season tours)
-Fayetteville Symphony Orchestra, Fayetteville, NC-Solo Piccolo(2006-2008),Acting Principal Flute(2008.2009)
-Moscow Ballet Orchestra, US Nutcracker Tour- 2 d Flute and Piccolo(December 2007)
-New World Symphony Orchestra, Miami, FL- Flute/Piccolo Semi-finalist(2005-06 and 2007-11 seasons)
-Chicago Civic Orchestra, Chicago, IL-Associate Flute(2006.2007)
-Haddonfield Symphony Orchestra, Philadelphia, PX Associate Flute(2005-2007)
-Amadeus Orchestra and Chorus, UK Concert Tour- Principal Flute(July 2005)
Chamber:
-Poulenc Woodwind Quintet, Cincinnati, OH(2010-2011)
-Debussy Trio(Flute, Viola Harp),Aspen Music Festival, CO(summer 2007)
-Eleven Flute/Harp Duo, London, UK(2004-2005)
-Schubert Quartet(Flute, Guitar, Viola, Cello), London, UK(2004-2005)
-Lake Flute Quartet Baltimore, MD(2000-01)
-Waterloo Flute/Guitar Duo, Baltimore, MD(2001-2003)
-Lake Placid Flute Quartet, Lake Placid Institute, NY(summer 2001)
-Flauto Do/ce Flute Quartet Brevard Music Center, NC(summer 2000)
Solo:
-Friends of Methodist Uniioersrty Solo Recital and Lecture Series, Fayetteville, NC(March 2010)
-Flute Soloist with the Fayetteville Symphony Orchestra(December 2008)
-Flute Soloist with the Moore County Concert Band(May 2008)
-North Carolina Solo Recital Tour with pianist, Phil Richardson- NC Regional Performances(spring 2008)
-Aspen Music Festival,Aspen, CO-Solo recitalist for the Spotlight Rec#alSeries(summer 2007)
-Orford Arts Centre, Orford, Canada-Sur la Route Concert Series(summer 2006)
-Academie International d'Ete de Nice-Museum of Modern and Contemporary Art, Nice, France(August:?005)
-UK Solo Recital Tour-with pianist, Phil Richardson- Performances in Durham, London, and Cambridge(June 2005)
-Soloist with the Modern Instrument Baroque Orchestra, Royal Academy of Music(January 2005)
-Flute Academy of Pittsburgh- Guest Recitalist(January 3, 2004)
-Lake Placid Solo Recital Series- summer recital series(July 2001)
Early Music:
-Greensboro Early Music Ensemble, Greensboro, NC- core member(2012-present)
-Historical Keyboard Society National Conference, Convention Performer, Cincinnati, OH (March 2012)
-Bach Colloquium of Cincinnati, Fall Brandenburg Series, Cincinnati, OH (September 2011)
-Adastra Ensemble and Friends, Spring Bach Showcase, Cincinnati, OH (May 2011)
-EncJish Heritage Concert Series with Stephen Preston, United Kingdom(2004-2005)
-Peabody Renaissance Ensemble, Baltimore, M D(2003-2004)
-Handel Trio(Baroque Flute,Voice, Harpsichord), Baltimore, MD(2003-2004)
Modern Ensembles:
-Peter Maxwell Davies Festival, London, UK- Pierrot Lunaire and Evening Gala Concert- Flute soloist(Ap•.2005)
-RAM Composers'New Music Ensemble, London, UK-Solo Flutes(2004-2005)
-Peabody Camerata, Baltimore, MD- Principal/Solo Flutes(2002-2004)
National and Regional Musical Awards and Distinctions
-National Flute Association:-Young Artist Competition-Semi-finalist(2012)
-Baroque Flute Master Class Competition-winner(2011)
-Master Class Competition-winner(2011)
-Piccolo Soloist Competition- Semi-finalist(2002, 2004, 2010)
-Baroque Soloist Competition-Semi-finalist(2007)
-Central Ohio Flute Association Young Artist Competition, Columbus Ohio- 2r" prize(April 2010 and 2012)
-Kentucky Flute Society Young Artist and Orchestral Excerpts Competitions- 1 prize in both competitions ;January 2C 1 1;
-South Carolina Flute Association Young Artist Competition SC- 1' place canner(March 2010), guest artist(March 20'
-Regional Artist Grant,Arts Councils of North Carolina:Regional Concert Tours and Professional Recording(Spring 2008;
-Albuquerque Flute Association, Frank Bowen Young Artist Competition,Albuquerque, NM-3'd place winner(March 2008)
-Flute Society Mid-South, 13"'Annual Young Artist Competition-2 ace winner(March 2007)
-Texas Flute Society, 21 Annual Myrna Brown Flute Competition-Semi-finalist(May 2006)
-Houston Flute Society, Byron Hester Solo Flute Competition- Finalist(March 2006)
-Peabody Conservatory Yale Goren Competition Winner-2°d place(Jan. 2004)
-Mu Phi Epsilon Scholarship Competition, Washington D.C.- 2nd place winner(May 2004)
-Flute Society of Washington: -Piccolo Young Artist Competition- 1"I place winner(2003)
-Collegiate Soloist Competition- 2nd place winner(2003)
-Tuesday Musical Club of Pittsburgh Competition-Scholarship recipient(May 200012001 and 200212003)
-Keynotes Music Club of Mount Lebanon Competition-3'd place winner and scholarship recipient(May 2001)
-WQED 89.3 fm Pittsburgh Musical Teen Competition-winner and solo debut via radio broadcast(June 2000)
International Musical Awards and Distinctions
-2"d Beijing Nicolet International Flute Competition, Beijing, China-Qualifier(April-May 2010)
-Cimarosa International Flute Competition,Aversa, ltaly- Qualifier(Dec. 2009)
-_Maxence Larrieu 2007 International Flute Competition- Preliminary round competitor(Nov.2-11, 2007)
-Jean Pierre Rampai International Flute Competitions- 2005 and 2008 Quarter-finalist
-Royal Academy of Music Jonathan Myall Piccolo Prize- V1 place winner(June 2005)
-Royal Academy of Music Hilda Anderson Dean Prize in Early Music-Highly Commended(March 2005)
Online Teaching Experience
-North Carolina Virtual Public Schools: Instructional Leader and Online Instructor(2008-present)
-Teach and manage online music courses for grades 9-12
-Teach Music Appreciation, Music Business, and AP Music Theory online
-Lead and implement professional development training for the music team
-Rutgers University, Camden, NJ:Adjunct Online Professor, graduate level(2013-present)
-Develop and teach online graduate Jazz History course
-Attend and present at professional development activities for online learning and the Liberal Arts department
-The University of North Carolina, Pembroke campus: Hybrid and Online Adjunct Professor-(2013-present)
-Teach and manage classroom music courses for undergraduate majors and non-majors
-Perform on campus in music department events as needed
Face-to-Face Teaching Experience
-College of Mount St. Joseph Cincinnati, OH:Adjunct Professor of Flute(2011-2013)
-Teach undergraduate flute majors and minors and coach chamber ensembles
-Perform in faculty recitals and music department events as needed
-The University of Cincinnati, Cincinnati, OH: Graduate Teaching Assistant in Early Music(2011-2012)
-Assist in teaching graduate courses in Baroque Interpretation and Basso Continuo
-The University of North Carolina, Pembroke campus:Adjunct Professor of Flute(2007-2009)
-Teach undergraduate and graduate flute and cello majors and minors; coach chamber ensembles
-Methodist University Fayetteville, NC:Adjunct Professor of Flute(fall 2007-2009)
-Teach undergraduate flute majors and minors; coach chamber ensembles;perform in faculty recitals
-Moore County Schools Pinecrest High School- Orchestra Director and AP/IB Music Theory Instructor(2006-2009)
-Lead orchestral and chamber music activities including competitions, community concerts, and trips
-Develop and implement both IB Music and AP Music Theory curricula
-Serve as faculty advisor for the Junior Lions and Chamber Music Club
-Mercyhurst College, Erie, PA: Flute Studio Assistant Professor(2005- 2006)
-Teach undergraduate flute majors and minors
Additional Leadership Experience
-Educational Testing Service:-AP Music Theory Test Reader(2012-present)
-PRAXIS Music Content Reader(2013-present)
-North Carolina Virtual Public Schools- Course Development/Revision Leader
-Middle School Music(Spring 2014)
-AP Music Theory(Summer 2012 and 2013)
-Historical Keyboard Society National Conference-Assistant to the Director(March 2012)
-Assisted in the organization, promotion, and direction of the annual conference event
Presentations
-Rutgers University Online and Hybrid Learning Conference, Camden, NJ- "Best Practices for Building Student-Teacher
Relationships in Online Learning'(January 2014)
-National Association for Music Education,Music Program Leaders Conference, Baltimore,MD- "ELCs.•Professional
Learning Conarnunrties for the Online Environment'(June 2012)
-Historical Keyboard Society National Conference Cincinnati OH- "CPE Bach Flute and Clavichord Works"(March 2012)
-Evansville Univer%V Guest Artist Lecture, Evansville, IN-"Ornamentation and Performance Practice in German Flute Music
of the 1 Century"(February, 2012)
-University of Cincinnati Lecture Recital Series, Cincinnati, OH- "The Flute Works of Hugo Kauder.-An Introduction and
Analysis'(June 2011)
-Bach Coliggpium of Cincinnati.Cincinnati, OH- "Brandenburg Concerto No. 5"(September 2011)
-Adastra Ensemh/e, Spring Bach Showcase, Cincinnati, OH (May 2011)
-Friends of Methodist University Lecture Series, Fayetteville, NC-"What is Baroque Ornamentation"(March 2010)
-North Carolina Solo Recital and Lecture Tour-NC Regional Performances focusing on the flute works of the late Rorrantic
(April-May 2008)
-Flute For Thought, Flute Day Camp, Pittsburgh, PA-Guest Performing Artist(June 2006)
-English Heritage Concert and Lecture Series with Stephen Preston, United Kingdom(2004-2005)
-Flute Academy of Pittsburgh- Guest Recitalist and Lecturer(January 3, 2004)
Publications
-Author of article: Flute Talk, "The DA44 Document:Friend or Foe"(to post in summer 2014)
-Interview subject: Online Classroom Magazine, "Best Practices for Building Student-Teacher Relationshios in Online
Learning"(Spring 2014)
-Author of article:Pttsburgh Flute Club Magazine, "Healthy Competition"(March 2003, April edition)
-Author of article:Dalcroze Society ofRmerica Journal, "Do You Need to be a Pianist to be a Dalcroze Teacher?"
(Aug. 2002, Fall Quarter edition)
Grants and Awards
-P.E.O.Scholar Award and Grant(2011-2012)
-Educational Testing Service Recognition of Excellence: Praxis II: Principals of Learning and Teaching Grades 7-12 �-:�am
(Au gust 2010)
-NC Regional Artist Grant- Premier professional solo CD"One of a Kind"and NC Lecture-Recital Series(spring 200E
-Deutsche Bank Career Grant:2005 European Finalist(June 2005)
-British Council 2005 International Awards:Silver Award 1Ninner-Author of finalist essay(April 2005)
-Peabody Career Grant- recipient(summer 2003)
References available upon request.
Joseph Robinson, Oboe
}
• QQmnlete Bio
• ShQIrt VemiQn
• Career Higbligbta
• �iecordi n gs,
• S lolChamb .r
• NY Philharmonin
i Fundraising,
• cul=
Blo
For 27 years from June 1978 until September 2005, Joseph Robinson served as Principal Oboe of the New
York Philharmonic. Following his famous predecessor Harold Gomberg, he was the last oboist in America to
study directly with the legendary Marcel Tabuteau. Like both of them, Joseph Robinson became one of the
most distinguished orchestra musicians of his era. (See Lareer Highl:Q is for a chronology of his New York
Philharmonic activities).
Since his retirement from the New York Philharmonic in September 2005,
Joseph Robinson has continued to appear extensively as an oboe soloist,
chamber musician, teacher and clinician from Atlanta to Alaska.
Performances have included concerti by J. S. Bach; G. F. Handel, J. C. Bach,
W. A. Mozart, R. Vaughan-Williams, J. Francaix, and R. Strauss, which he
played eight times during the summer of 2007. He also appears often in duo
concerti and recital programs with Mary Kay Robinson, his violinist wife.
Currently Artist in Residence at Lynn University i's Conservatory of Music in
Boca Raton, Florida, Joseph Robinson also participates each summer in the
Bellingham (WA) Festival of Music.
He was Artist in Residence at D lke Tni yersi tv from 2006-2008, where he
produced important double reed events and collaborated with faculty
members and the_',iompl Qu21jet. Together with award-winning filmmaker
Jason Starr, in 2006 he produced in New York City's Riverside church an
historic concert/documentary of Mahler's Second Symphony.
Named a Scholar of thg Aspen Institute in 1994, he served for four years on the "Magic of Music" panel
forKW gjjj Fol,ndation—a group that directed major funding in support of American symphony orchestras. In
1983 he received an honorary Doctor of Music degree from his undergraduate alma mater, Davidson College,
where with Zubin Mehta's help he created a major scholarship fund for young musicians at the school. In
1989 he proposed, planned, and arranged funding for the New York Philharmonic's two-week stay at the
Grand Teton Music Festival in Jackson Hole, Wyoming—the first residency in the Philharmonic's 147-year
history. As a member of its board of directors in 1992, Joseph Robinson produced "Heroes of Conscience"
forUnion Theological Seminary—both as a benefit concert, which helped raise $2 million for an endowment
at the Seminary in memory of theologian Dietrich Bonhoeffer, and as an Emmy-award-winning tel evision
concert/documentary. He created and directed chamber music residencies for his Philharmonic c: I ie,.igues at
The Homestead, a five-star resort in Hot Springs, Virginia, and at Hotel Hershey in Hers:~ley, Perin s%I vania.
In the spring of 2003 he produced "Prelude to Piano," an event that involved pianist Emmanuel . a; :cud
fifteen other professionals in joint performances with students at Northern Valley High School iri f)emarest,
New Jersey, and that raised nearly $100,000 for purchase of the school's new Steinway 13. (See 1- utdraising
for more information about fundraising projects.)
Named a charter member of the Board of Overseers of The Curtis Institute of M rsic in Philadelpfii a <rs well
as of the Thomas S. Kenan Institute of the Arts, Joseph Robinson helped organize the Children's \lerty-Go-
Round, Inc., a not-for-profit organization aspiring to build a carousel for peace in Israel. In 1976 1 e created
in honor of his teacher the John Mack Oboe Camp at Little Switzerland, North Carolina--one of 'I most
successful specialty seminars of its kind in the world, and for three years he headed a nal:ional ad s pry
committee for Oberlin College Conservato l�:. As president of the Grand Teton Orchestral Semirr r lie helped
develop unique orchestral training that inspired imitation in the first Master of Orchestral Perfornu;nce degree
in American higher education—atManha tan School of M rsic, where Mr. Robinson was departrneiii chair for
the program and head of Oboe Studies. In Riverside Church in New York City on May 15, 200_5 1"_ received
the Presidential Medal—Manhattan's highest award—for twenty-seven years of meritorious factilty service to
the School.
Joseph Robinson's career as an oboist began effectively with his appointment by Music :Director i"".ol)ert
Shaw to the principal chair of the Atlantg Symphony in 1967. From 1974 until 1978 he was Inst rtictor of
Oboe at the North Carolina School of the Arts, during which time he served as a member of the 11 in on
Woodwind Quintet and the Piedmont Chamber Orchestra. He also served as volunteer principal : hot: and
member of the board of directors of the Winston-Salem Symphony. He won the New York Philh�irni(inic
Principal Oboe audition in December, 1977, following a tour the previous summer in which he v-is Acting
Assistant Principal with the Cleveland Orchestra. Despite an invitation from Music Director Sei.ji j, )iawa
following a week of concerts as guest oboist with his orchestra, Joseph Robinson declined to joi.ri t}ie Boston
Syhorry in the spring of 1989.
A native of Lenoir, North Carolina, Joseph Robinson majored in English and economics at Davi-ls;�u College,
where he was elected to Phi Beta Kappa and earned a Fulbright Award for study of federal goveri iinental
support to the arts in Germany. It was during this post-graduate year in Europe that he met Marct kibuteau
and became that great teacher's first student in the ten years following Mr. Tabuteau's retirement l rain the
Philadelphia Orchestra. A frequent public speaker, he has keynoted the Wyoming Governor's Corm Q hence on
the Arts in Cheyenne and the Association of North Carolina Symphony Orchestras in Raleigh, r i,l liis
lectured widely on orchestra governance as well as the interpretative art of music. He is author M -„ veral
published articles, including one in the Wilson Ouar�terly concerning the need to reintroduce insrriiiiicntal
training in the nation's public schools; another in Instrumentalist dealing with fundamentals of o ,:,.e relaying;
and still another in Harmony that recommends a competitive format as a way of increasing publi c; i merest in
orchestra concerts. As a demonstration of this competitive potential for orchestras, Mr. Robins(--i _ffid his
counterpart Richard Woodhams, produced a concert performed jointly by players from the Phi add; )liia
Orchestra and the New York Philharmonic in Camden, New Jersey in November 1996—an unprc(Qdented
event hailed by The New York Times as "a classic battle of the bands.”
His invitation to Johanna Johnson, a 16-year-old oboe-playing cancer patient from California, tl-i,-t permitted
her to fulfill a Make-A-Wish Foundation dream by performing in the New York Philharmoni0, sp i 1-11-�:d
international interest in December 2000. In April 2005 he joined Johanna Johnson for her senior rt cital at
Gustavus-Adolphus College in Minnesota.
Joseph Robinson is married to violinist Mary Kay Robinson, a former member of the New Jersey S mpho-ay
Qrchestra, and they are parents of three remarkable daughters—executive Katie, doctor Jody and diva Becky.
Copyright 2011 Joseph L. Robinson. All rights reserved.
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c1 s e
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Joseph Robinson, (oboe
• HoMe
• CaM l . Bio
• Short Version
• Career is tights
• Re .ordin S
• Solo/Chamber
• EY PhilhnrmoniC
• FLn_ r ising
• Pr2ise
• Articles
• dirt a t
Career Highlights
Career Highlights
1956: Won a scholarship to attend summer high school music program
at Cincinnati College-Conservatory of Music
1958: Received a full scholarship to participate at the Brevard Music
Center and played first oboe in the Transylvania Symphony; entered
Davidson College as an English major
1959: Joined the Charlotte Symphony as j,d oboe; met John Mack and
participated in the fellowship program at Tanglewood with Conductor
Charles Dutoit
1962-63: Won a post-graduate Fulbright Grant for study in Germany;
met Marcel Tabuteau and studied with him for five weeks in France
1964-66: Entered Princeton University's Woodmw Wilson School on
full scholarship; performed in the Princeton Chamber Orchestra with '
Conductor Nicholas Harsanyi
1966: Proposed and funded a scholarship program enabling Central ;
American musicians to attend the Brevard Music Center, meet -
President Lynderl Johnson in the White House Dose Garden and perform a concert for broadcast I ?Iiu Pan
.American Union in Washington, D.C.
1967: Selected by Music Director Robert Shaw to become Principal Oboe of the Atlanta Sy=h;
Orchestra
1969: Participated in the Mar born Music, Festival, performing and recording with Pablo Casals i> �i-,ed first
oboe in the Peniris ila Music Festival, Fish Creek, WI with Conductor Thor Johnson (three years;
1970: Married violinist Mary Kay McQuilkin in First Presbyterian Church in Atlanta, wedding music
supplied by Robert Shaw, John Mack, Seth McCoy, etc.
1972: Wrote and helped pass County/City legislation establishing free concerts for families in Atlanta;
performed the Handel G Minor Concerto with the Atlanta Symphony Orchestra conducted by Robert Shaw
1973: Named Assistant Professor of Oboe at the University of Maryland; assigned special fundraising duties
by Dean Eugene Troth
1974: Joined the Clarion Wind Quintet and the faculty of the North Carolina School of the Arts in Winston-
Salem, NC; began playing first oboe in the Piedmont Chamber Orchestra
1975: Joined the board of directors of the Mils ton Salem 5ym!j2hoj,y, overseeing educational concerts;
produced "Oboe Day in North Carolina" with John Mack of the Cleveland Orchestra
1976: Established the John Mack Oboe Camp at WILDACRES in Little Switzerland, NC; negotiated
involvement of North Carolina School of the Arts faculty in the Winston Salem Symphony; toured Spain
with the Clarion Wind Quintet
1977: Headed the Moravian Music Festival in its selection of John Nelson as director; recorded Haydn
Divertimenti and Nocturnes with Nicholas Harsanyi and the Piedmont Chamber Orchestra; won the New
York Philharmonic Principal Oboe audition in December
1978: Performed Vivaldi D Minor Concerto with Zubin Mehta and the New York Philharmonic (NYP);
joined Manhattan School of Music as Head of Oboe Studies (26 years)
1979: Performed Bach Double Concerto with Pinchas Zukerman and NYP; participated in the Grand Teton
Music Festival (20 years)
1980: Joined the Board of Directors, Brevard Music Center (8 years)
1981: Began coordination of Area Committee Musicales for NYP Development Department (7 years)
1982: Performed Strauss Concerto with Zubin Mehta and NY P; published an article in Symphony entitled
"Fake Your Oboe Player to Lunch" urging musician advocacy in support of orchestras
1983: Received Honorary Doctor of Music Degree from Davidson College and produced a concert on
campus conducted by Zubin Melrtawhich raised $400,000 for student scholarships; began Joseph Robinson
Seminars at UNC-(sreensboro and at Hidden Valley, California (3 years)
1984: Helped commission, then performed and recorded the Rochberg Concerto with Zubin Mehta and NYP;
became President of the Grand Teton Orchestra Seminar (3 years) and joined the Board of Directors of the
Grand Teton Music Festival (12 years); presented new Loree oboe to a musician in Bombay
1985: Performed Mozart Sinfonia Concertante on European tour with Zubin Mehta and NYP; arranged
funding and academic opportunties in the US for oboists from Calcutta and Bangkok; created the "World
Invitational Orchestra"for Zubin Mehta's performance of Mahler's Third Symphony at the Grand Teton
Music Festival
1986: Performed Bach Double Concerto with Itzhak Perlman, Zubin Mehta and NYP; became chair of
National Artistic Advisory Committee for Oberlin College (3 years); elected Trustee of Davidson College (3
years)
1987: Performed Haydn Concerto eight times with Zubin Mehta and NYP; performed Mozart Coi<<_c;rto five
times on South American tour with Zubin Mehta and NYP; published pedagogical guide "Oboists l:xhale
Before Playing" in Instrumentalist
1988: Undertook fund-raising campaign and planning for NYP's first-ever two-week residency it t 1-is Grand
Teton Music Festival in summer 1989; participated in formation of the American-Russian Youtli i
2040: Performed Strauss Concerto with Kurt Masur and NYP; played a joint recital with student from Beijing
to benefit the George Abernethy Scholarship Fund at Davidson College; published "IZasirng the Demand
C-'urve for S mphony Orchestras" in Harmony, arguing that concerts performed in a competitive format will
increase public interest in orchestras
2001: Commissioned Peter Schickele to write a double concerto for oboe and violin and performed the world
premiere with Glenn Dicterow and the Brevard Music Center Orchestra; played first oboe in the Rellin am
OLA) Festival of Music (ongoing)
2002: Joined the Bellingham (WA) Festival of Music Board of Directors (3 years)
2003: Produced a fund-raising concert called "Prelude to Piano,"involving Manny Ax and fifteen other
professionals in joint performances with students in New Jersey, raising almost $100,000 for purchase of the
high school's new Steinway grand piano
2004: Inducted into the Caldwell County (NC) Hall of Honor; participated in an all-star chamber music series
at Bay Chamber Concerts in Rockport, ME
2005: Performed the Strauss Oboe Concerto and both Brahms Serenades in concerts that were broadcast from
the Bellingham Festival of Music on NPR's "Performance Today"; played final concert as Principal Oboe of
the New York Philharmonic (Mahler's Fifth Symphony--reading from the same part used also as his last
concert by Harold Gomberg and signed "March 8, 1977") in Berlin on September 13; and played concertos
by Bach and Handel with the Duke University Symphony in October and the Mozart Oboe Quartet with the
Guarneri Quartet at New York City's Metropolitan Museum of Art in November.
2006: Joined the faculty of the Music Department of Duke University as Artist in Residence; produced
Mahler's "Resurrection" Symphony No. 2 as part of Easter week in celebration of the 75th anniversary of
Riverside Church in New York City--also in tribute to conductor Neeme Jarvi; presided at "A Day in the
Studio of Joseph Robinson" at Duke University that attracted 100 observers and participants
2008: Named Distinguished Visiting Professor of Oboe at I Lynn i nivemity.in Boca Raton, FL; presented the
Woodwind Quintet of New York (WQNY) in a fundraiser for the music program of First Presbyterian Church
in Durham, NC
2009: Produced "Two `Boer and a Band" with oboist Eric Barr and the Ciomp Quartet for a tour of Texas;
began a series of master classes with Howarth Oboe sponsorship
2010: Performed in the Boulder Bach Festival; conducted master classes and soloed at Pepperdine
University; appeared as soloist with the Bellingham Festival of Music ("The Flower Clock"by Jean
Francaix---see Praise for review)
Copyright 2011 Joseph L. Robinson. All rights reserved.
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Depamiieiit of
Music
Andrew M. McAfee
III
i
P
k.
t -
Lecture (Horn)
• Office: Studio i, Hill Hall
• Eni ail: amcafee @email.une.edu
• Phone: 919-636-1-286 (0); 919-787-3022 (H)
"Me^-fee demonstrates an excellent control of dynamics and execution of the nuances. t i !a, ying is
smooth as butter...this is a fine recording that stands up well to frequent listening... It is vet t ;, easant an
erkjoyable, well conceived, and superbly played. This is a program that is far superior t:! i �1 positivel
different from the rua---of-the-mill wallpaper music. It doesn't attract attention to itself by it, ?- ;htness bi
rather shines by the brilliance of its playing and its serenity." Andre�vv McAfee's Debui Solo f 1 s ` :D; Marvi
J. Ward,C v'N C- March.20,2012' CD Review
After playing Principal Horn with the North Carolina Symphony for x_ years (1992-2007),An i, McAfee n(
focuses on mentoring through teaching horn at the University of North Carolina at Chapel (UNC) a]
conducting as the Music Director/Conductor of the Triangle Youth. Ballet a
the Masterworks Reading Orchestra(; ,v.mastenvorl-sr-o.corzr).
Brought up in a musical family,.Andrew became Principal Horn of the Merced (CA) Symphor 5 and ma
his solo debut with them playing eber's Concertino in E at 17. He received a music scholar t, to play wi
the "President's" Wind Quintet and to study with Dr. James H. Winter at California State Uti'F E t-sity, Fresi
The quintet performed in Europe and Taiwan, and won awards at the Coleman Competition the Carry
Music. Festival. During that time, he also studied. with David I;rehbiel (San Francisco Syr, y Princil
Horn) and performed and toured with the San Francisco Symphony Youth Orchestra in. I=; Upon I
Winter's retirement, Andrew completed his Bachelor of Music in Performance at Northwc ,,: Universi
where he studied conducting with John P. Paynter and horn with Dale Clevenger, Normaj; -o,hweikert a:
other members of the Chicago Symphony Orchestra. He has performed with the Chicago S- : ;phony, Ci,
Orchestra of Chicago, Sante Fe Opera, St. Louis Symphony, Eastern Music Festival and Chautauqua Sy m* pho
Orchestras. He has won national auditions and held positions with the Fresno Philharmonic, HonolU.
Coltimb,,Ls, New Mexico and North Carolina Symphony Orchestras.
Andrew has also been a guest soloist, clinician and exhibitor at the Northeast and Southeast Horn Workshol
has been featured with numerous chamber ensembles including the Degas Quartet, Ciompi Quartet, Malari
Chamber Players, Symphony Winds (school educational programs), and performs regularly with the Caroli
Wind Quintet (UNC Faculty). Other solo appearances have included the Richard Strauss Concerto No. ! a
the Hubler Coneertstuck for Four Horns with the North Carolina Symphony, Schumann's Concertstuck 1
Four Horns with the Longview (TX) Symphony, the Saint-Satins Concertpiece with the Enloe Wind Ensemb
Mozart's Horn Concerto No. 1 with the Raleigh Mozart Festival Orchestra, the Britten Serenade for Tent
Horn and Strings with the Salisbury (NC) Symphony, and again in April 2011 with the UNC Sympho
Orchestra and MET tenor Anthony Dean Griffey.
"McAfee's pla-,dng of the natural horn in the prologue and epilogue was simply breath-taking, and his roaster
of the valved horn during the poetic settings was no less, spectacular. His palette of tonal color for bot
instruments and his refined control of dynamics were superb. Britten intended the natural 'out-of-focu
quality of the high notes played on the valveless horn. McAfee's intonation on the modern horn was spot on
"UNC Symphony Orchestra. Wowed ivritli Clarion Calls and Rhythrilic Drive" By William Thomas Walke.
CVNC Aj)ffl 20,2011 Orchestral Music Review
Andrew studied conducting for 9 summers with Maestro Harold Farberman at the Conductor's institute at t
HartIt School in. Conriecticut, twice in Bulgaria (with the Varna Plulharmonic), and at Bard College in N(
York. He completed his Master of Music in Orchestral Conducting in May 2009 With Maestro Ransom Wils�
at the University of North Carolina School of the Arts. As Music Director'/Conductor/Conductor of the Triangle You
Ballet in Chapel Hill,Andrew has conducted full orchestral productions of Tchai-kovsky's The Nutcracker sin
December 2008. Sleeping Beauty in May 2oo8 and March 2oo9,and Peter and the Wolf inIAIDTil 2012. He v,
a finalist for the Charlotte Symphony Resident Conductor position and the Durharii Symphony Music Direct
position, and conducted the 2008 Durham Symphony Pops summer series. He has been T-\4u:
Director'/Conductor of the Triangle Youth Orchestra (four years), twice the interim Music Director of t
Chapel Hill Philharmonia (20(-)1 and 2007; and conducted the world premiere performance of Symphony Nc
by Ari Picker in 2008.
The 14a�, 2011 edition of Y'heHorn Call,the Journal of the International Horn Society, featured his article "M
Basics for a Horn Embouchure." His method book titled "The McAfee Method, Advanced Ernboucht
Technique for Horn Players" is now in its nth edition. His web site, www.hornles s ons.org features his CD
Passionate Horn," videos, and other helpful information on horn playing technique and on NOHAC, t
National Orchestral Horn Audition Competition that he hosts at UNC.
Visit lite Brass Area Webpage
Videos
Departinent of
Music
Brent Wissick
Professor, Area Head of String
K Office: 102 Person Hall
® Eniail: bswissic@ email.unc.edu
w Phone: gig-962-3-/63
Brent Wissick is the Zachary Taylor Smith Distinguished Term Professor in the Depart- ")f Music
UNC-CH, where he has taught cello, viola da gamba and chamber music since 1982. A mere i : f Ensernl
Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guE cl 1-1 imeric
Bach Soloists, Folger Consort, Boston Early Music, Festival, Concert Royal, Dallas Bach Sr;. Vancom
Early Music Festival and Collegio di Musica Sacra in Poland. With these ensembles has �;ded for t
Centaux, -Mbany, Koch, Radio Bremen, Bard and Duly labels as well as in the so-undti-ack foi Touchsto
film Casanova- His online video article, "The Cello Music of Bononcini" can be viewed in fl aer-review
JouriialQfSez)eiiteeiztlz-(7epittiry k1usio and several of his teaching videos are posted on the wc.-[i�ih of the Vi(
da Gamba Society of America. He served as president of that society from 2000 through 2o(-, 11 chaired
international Pan-Pacific Gamba Gathering in Hawaii clh-u-ing the Summer Of 200-7.
In addition to teaching cello at UNC, he directs its Cello Choir, Viol Consort and Baroque F ale lie a]
teaches classes in Historical Performance Practices and String Methods for Music Education_ 1r 5nts as w
as a First-Year Seminar in- the Phvsics of Music with Laurie McNeil, chair of the Phy,-ics Dei !: ent. He b
served as mentor of flie Kenan Music Scholars and is chair of the String Area.
His current research and performance interests include the cello music of Benjamin Britt,-Z-,, :, opin's Ce
Music on period instruments and French Gamba Music. Agraduate of the Crane School of],11: -, atPotsdt
College,in n'and of Penn State (MNLl cello-. ig�78'1,he also studied with John Hsu at Cornell U, -i".r and i%
an NEH Fellow at Harvard in the ic)a,- Beethoven Quartet Seminar. He has tauijit at liege of
Scholastica in Minnesota (1-078-82), Chautauqua Institution and the igg- Aston Magna Acacl, : ,t Yale; a]
has presented lectures, master classes and recitals at schools, colleges and workshops -it Nor
Ameri.ca,Europe,Asia and Australia.
Visit the Strings Area page
UNC Consort of Viols
Nancy Whelan
2022 Snow Valley Road Objective
Durham, NC 27712 To obtain a position as a collaborative pianist in a university setting, working in
919.210.8120 instrumental,vocal,dance and musical theatre departments.
nwhelan06l9@gmaii.com
Employment History
Self-employed collaborative pianist
Raleigh/Durham/Chapel Hill, NC, 1983-present
• Concert pianist for professional classical vocalists and instrumentalists (Jim
Miller, Bonnie Thron,Mike Kris,Andrew McAfee, Jim Ketch,Matt McClure)
• Collaborative pianist on CD with Andrew McAfee,former principal hom with NC
Symphony, 2012
• Pianist/keyboardistlorganist!harpsichordist with the NC Symphony (Petrushka,
The Planets, Wicked Divas, Music of Jerry Garcia, Music Man, Leann Rimes,
Messiah,Video Games, Kenny G)
• Master Class pianist for Zuill Bailey, James Galway, Warren Jones, Jeanne
Baxtresser, Nico Castel
• The Governor's School of NC East,Choral Music Assistant, 1998-2002
• Collegeluniversity pianist at UNC-CH,Meredith College and NC State
• Pianist/vocal coach,The National Opera Company, 1999—2000
Associate Musical Director/Orchestra Contractor
North Carolina Theatre, Raleigh,NC,2004-present
• Pianist/keyboardist for rehearsals and shows(Drowsy Chaperone[Beth Leavel,
Clay Aiken], Legally Blonde, Evita, The Producers, The Full Monty, West Side
Stay, Miss Saigon [Kevin Gray], Dreamgids [Sally Struthers, Quiana Parler],
The Sound of Music,Jekyll and Hyde,Camelot[Debby Boone])
• lead sectionals
• contract orchestras
Musical Director/Orchestra Contractor
North Carolina Theatre,Theatre in the Park,Hot Summer Nights at the Kennedy,
Raleigh Little Theatre, Burning Coal Theatre, Meredith College, 1991 -present
• Conductor/pianist for rehearsals and shows(Next to Normal, Hairspray[Adana
DeBose], Personals, Into the Woods, Cabaret, Sunday in the Park with George,
Pirates of Penzance, 1776, Pippin, How to Succeed in Business...,Cinderella)
Ballet Repetiteur
The Carolina Ballet, Raleigh, NC,2001 —2005
• Ballet class, rehearsal and performance pianist
• Ballet class pianist for the Carolina Ballet Summer Intensive, 2011 —2013
Keyboardist with Broadway touring companies
Broadway Series South, Durham Performing Arts Center, 2000-present
• Keyboardist for national tours of Wcked, Billy Elliot, Mamma Mia!, The Color
Purple, Spamalot, Shrek, A Christmas Story, Sweet Charity, Annie Get Your
Gun, Beauty and the Beast, Legally Blonde, 42"d Street, Phantom of the Opera
Education
Meredith College, Raleigh, NC
• Masters of Music in Performance with a Concentration in Accompanying, 1997
• Bachelor of Music in Music Education (piano and organ), 1983