HomeMy WebLinkAbout2014-603-E Arts - Lindsay Ann Leach Sparks for 2014 Arts Grant Agreement $1,000 DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
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ORANGE COUNTY ARTS COMMISSION
I [a,�,,� � PALL,2014 GRANT AGREEMENT
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THIS AGREEMENT, entered into this 19th day of December, 2014, by and between Orange
County ("County"), by and through the Orange County Arts Commission ("Arts Commission")
and Lindsay Ann Leach Sparks ("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizations
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 and
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 and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed five hundred dollars ($500) have
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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DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
A. Implementation. The Project implementation shall take place between January 1,
2015 and December 31, 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 Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereof.
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 project
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 (3)
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 outstanding
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 January 15, 2016 . 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. Patent. The Arts Commission shall release the grant funds in the amount of
$500 to the Grant Recipient.
6. Publicity
A. Acknowledgement. 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 information 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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DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
i. x County Funds Only. "This program is supported by the Orange County
Arts Commission. "
ii. North Carolina Arts Council Funding. "This program is supported by
the Orange County Arts Commission with funds from the Grassroots Program
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 ExploreChape1HillARTS.com
website and display ExploreChapelHillARTS.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
ExploreChape1HillARTS.com (ExploreChape1HillARTS.com logo preferred)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChape1HillARTS.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 funds.
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 any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
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DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
(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 require
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. Governing Law. This Agreement shall be interpreted in accordance with the laws
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.
Fob ar dgI behalf of the Grant Recipient
L� 12/19/2014
Lindsay Ann Leach Sparks Date
Fopoar�.�l on behalf of Orange County Government
jOV�.lit tf. �AaMw�t VS�t 1? 12/22/2014
Bonnie Ramrriersley, County Manager Date
For gdgq behalf of Orange County Arts Commission/approved as to technical content
rDocu
it $� 12/19/2014
Steve Brantley,Economic Development Director Date
A o ode�Id ors to form and legal sufficiency
1 12/22/2014
Annette U.Moore, Staff Attorney Date
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DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
This instrument has been pre-audited in the manner required by the Local Government Budget
an F� qqc Control Act
ocu U AnU,tt, -)-�uP� 12/22/2014
Clarence G. Grier,Administrative and Financial Services Date
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DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Artist Project Grant ® Fall
v 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 pp � �
Applicant Name G i N SAY -- CNN LEAcif Q<_ fy -KS
Mailing Address 9361 F�LA-1 P— ,i O.Hrrl rL u , Nf, 0-7S-1(,0
Daytime Phone q-1,9--2411 -Q/0 Q Fax Number P LG(-
Email Address LAL-PIU--te- � C Lt �qm��i Q� Web Site Lvw u, C'om
('V-kn
DUNS Number 0 79 1l-0/ 0 7�2,
2 Grant Request Summary
Arts Program Grant Request 9/660 Total Cash Match 8
Summary Statement for Proposed Use of Arts Program Grant'L'O9bINC7 akVC Pe oleMl q-NaZ7,` TIZ i u
4 Narrative CwqMPCX fnztslc:
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.
5 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 with work dimensions, media. Indicate top of image.
Artist ig ture Date Typed or Printed Artist Name
INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
Questions? Call 9191968-2011. Delivery address:501 West Franklin Street, Chapel Hill, NC 27516
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Narrative- Dr.Lindsay A.Leach-Sparks
Proposed Project—
In the spring of 2012, 1 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 study and performance.
With the Fall 2014-2015 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
professionally published 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. I received a Spring 2014-2015 Orange County Artist Grant in the
amount of$500,and I have designated that money for use as part of the
musician/artistic staff budget. I plan to use the Fall 2014-2015 Artist Grant for
technical production staff(Vochor Recording services) and marketing (CD
production, replication and distribution).
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. Concerts have already been
performed at Carolina Meadows, Croasdaile Village,and Meredith College (programs
included in this application). Upcoming concerts include Carol Woods and other
possible concert venues in 2015 will include (but are not limited to) UNC Chapel Hill
campus recitals,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 was for the Raleigh Area Flute Association (RAFA) Festival this past November,
and I have two more scheduled for the Kentucky Flute Festival (Louisville, KY January
17, 2015) and the Florida Flute Fair (Orlando, FL January 31, 2015). Other lecture-
recitals venues still in application include the Mid-Atlantic Flute Fair (Alexandria,VA),
the Central Ohio Flute Association (Columbus,OH), Pittsburgh Flute Club (Pittsburgh,
PA), Flute Society Mid-South (Tennessee),the Atlanta Flute Club (Georgia),and the
National Flute Association (Washington DC- 2015 and San Diego, CA- 2016).
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
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 Flute Talk,
the Journal of the American Musicological Society,and the Journal of the Society of
American 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,creating 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
popular topic in the music community,and my project fills this need by providing 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 County that
would serve the residents of this region.These include larger venues such as UNC
Chapel Hill and Duke University 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 UNC campus), I am collaborating with local artists
including Andrew McAfee (Horn Professor at UNC Chapel Hill), Brent Wissick (Cello
Professor at UNC 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 serving 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
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
with the North Carolina Virtual Public School,the North Carolina Music Educator's
Association, and the North Carolina Arts Coordinators.
Artist Experience–
In 2008, 1 was awarded a grant from the Moore County Arts Council in which I
successfully completed a press kit,containing 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 University 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 (United 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,the North Carolina
Music Educator's Association In-Service Conference,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.
Along with helping to accomplish my long-term goal of publishing a biography on
Hugo Kauder,this project will undoubtedly be an appreciated addition to an already
vibrant arts scene in Orange County.
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Xv GO;
2014-15 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 - Lhgm 'oeoc' 34252 ?,�
P)P/J 0,cCu 0
Technical/Production staff wcn-ne-
-Rocca I"
B Outside Fees and Services
Artistic contracts-t u1FIJV)IJO 940
Other contracts:
C Space Rental - P'E2soN N ')00
D Travel
E Marketing - Cb P,�db�c�7oN // �2 4�- � (p v`�
F Remaining Project Expenses
G Total Cash Expenses CP = /000 +
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 C CU co, ncl5 ('0;-nPn.
State/regional(not including this request) S�
Local (not including this request)
F Applicant Cash 5-zL �
G Grant Amount Requested /000
in this application
H Total Cash Income
(must equal Total Cash Expenses,
Item G above)
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
THE UNIVERSITY
of NORTH CAROLINA
f7"¢fj at CHAPEL HILL UNC
l I
COLLEGE OF DEPARTMENT OF MUSIC
�* ARTS & SCIENCES CAMPUS BOX 3320 T 919.962.1039
104 HILL HALL F 919.962.3376
CHAPEL HILL,NC
27599-3320
November 1, 2014
Artist Grant Committee
Orange County Arts Commission Artist Grant(Fall 2014)
501 West Franklin Street
Chapel Hill,NC 27514
Project: Recording and Producing a chamber music CD of works by Hugo Kauder
I would like to offer you my highest support for flutist Lindsay Leach in her application for an
Artist Project Grant in the coming year. Lindsay is an exceptionally fine flutist and a wonderful
communicator. We are exceedingly fortunate that she is residing in Orange County. I have
known her playing for several years and feel she is on the cusp of establishing herself as a major
artist. She has much to give to communities within the county,both to seasoned classical music
lovers and to those for whom classical music is rather unfamiliar. Her proposal to present
concerts featuring chamber music of Hugo Kauder is of great interest, especially as Kauder is not
well-known. Dr. Leach also proposes a CD that highlights this literature in a lasting medium that
bears repeated listening and study. At a time when many artists are presenting reworking of
familiar music,her project stands out as a refreshing and important window to a wider
knowledge of composers contributing to our cultural heritage.
As a self-directed and highly-organized musician,Dr. Leach has both the vision and the
necessary follow-through to contribute substantially to the objectives of the Orange County Arts
Commission. I strongly recommend her to you for your most serious consideration.
Please accept my hearty support of Lindsay Leach.
With best wishes,
Brooks de Wetter-Smith
James Gordon Hanes Distinguished Professor
Department of Music
CB#3320 Hill Hall
University of North Carolina at Chapel Hill
Chapel Hill,North Carolina 27599-3320
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
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For 27 years from June 1978 until September 2005, Joseph Robinson served as Principal Oboe of the NZL
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 Car=Highlights 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'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 Duke 11niy from 2006-2008, where he
produced important double reed events and collaborated with faculty
members and the C Quartet. Together with award-winning film maker
Jason Starr, in 2006 he produced in New York City's Riverside Church an
historic concert/documentary of Mahlees Second Symphony.
Named a Scholar of the Ashen Institute in 1994, he served for four years on the "Magic of Music" panel
forKnight Foundation--a group that directed major funding in support of American symphony orchestras. In
1953 he received an honorary Doctor of Music degree from his undergraduate alma mater, Davidson Co11=,
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 M sic 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"
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
1V1 kJ 1ll V11 111GV1V Lu Lr i Oviluuar.x—Uum d5 d uelwnt concert, which helped raise $2 million for an endowment
at the Seminary in memory of theologian Dietrich Bonhoeffer, and as an Emmy-award-winning television
concert/documentary. He created and directed chamber music residencies for his Philharmonic colleagues at
The Homestead, a five-star resort in Hot Springs, Virginia, and at Hotel Hershey in Hershey, Pennsylvania.
In the spring of 2003 he produced "Prelude to Piano," an event that involved pianist Emmanuel Ax and
fifteen other professionals in joint performances with students at Northern Valley High School in Demarest,
New Jersey, and that raised nearly $100,000 for purchase of the school's new Steinway B. (See Fundraising
for more information about fundr~aising projects.)
Named a charter member of the Board of Overseers of The Laijis Tiastwir, Qf M isi .in Philadelphia-as well
as of the Thomas S. Kenan Institute of the Arts, Joseph Robinson helped organize the Children's Meixy-Go-
Round, Inc., a not-for-profit organization aspiring to build a carousel for peace in Israel. In 1976 he created
'in honor of his teacher the John Mack Oboe Camp at Little Switzerland, North Carolina—one of the most
successful specialty seminars of its kind in the world, and for three years he headed a national advisory
committee for Oberlin ,oll_ege Cmsoxawa. As president of the Grand Teton Orchestral Seminar, he helped
develop unique orchestral training that inspired imitation in the first Master of Orchestral Performance degree
in American higher education—atManha tan SCllool of Music, where Mr. Robinson was department chair for
the program and head of Oboe Studies. In Riverside Church in New York City on May 15, 2005 he received
the Presidential Medal—Manhattan's highest award--for twenty-seven years of meritorious faculty service to
the School.
Joseph Robinson's career as an oboist began effectively with his appointment by Music Director Robert
Shaw to the principal chair of the Atlanta Symphony in 1967. From 1974 until 1975 he was Instructor of
Oboe at the North Carolina School of the Arts, during which time he served as a member of the Clarion
Woodwind Qrdntet and the Piedmont Chamber Orchestra. He also served as volunteer principal oboe and
member of the board of directors of the Winston-Salem Symphony. He won the New York Philharmonic
Principal Oboe audition in December, 1977, following a tour the previous summer in which he was Acting
Assistant Principal with the Cleveland Orchestra. Despite an invitation from Music Director Seiji Ozawa
following a week of concerts as guest oboist with his orchestra, Joseph Robinson declined to join the Boston
aXW12honv in the spring of 1989.
A native of Lenoir, North Carolina, Joseph Robinson majored in English and economics at Davidson College,
where he was elected to Phi Beta Kappa and earned a Fulbright Award for study of federal governmental
support to the arts in Germany. It was during this post-graduate year in Europe that he met Marcel Tabuteau
and became that great teacher's first student in the ten years following Mr. Tabuteau's retirement from the
Philadelphia Orchestra. A frequent public speaker, he has keynoted the Wyoming Governor's Conference on
the Arts in Cheyenne and the Association of North Carolina Symphony Orchestras in Raleigh, and has
lectured widely on orchestra governance as well as the interpretative art of music. He is author of several
published articles, including one in the Wilson Quarterly concerning the need to reintroduce instrumental
training in the nation's public schools; another in Instrumentalist dealing with fundamentals of oboe playing;
and still another in HannQny that recommends a competitive format as a way of increasing public interest in
orchestra concerts. As a demonstration of this competitive potential for orchestras, Mr. Robinson and his
counterpart Richard Woodhams, produced a concert performed jointly by players from the Philadclj2 a_
Orchestra and the New York Philharmonic in Camden, New Jersey in November 1996—an unprecedented
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, that permitted
her to fulfill a Make-A-Mah Foundation dream by performing in the New York Philharmonic, sparked
international interest in December 2000, In April 2005 he joined Johanna Johnson for her senior recital at
Gustavus-Adolphus College in Minnesota.
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
D c:pw-dia en t of
Music
An derew M McAfee
,7
Lecture (Horn)
* Office: Studio n., Hill Hall
Email: amcafee@email.une.edu
* Photie: 919-636-328 6 (0); 919-78 7.30'22 (H)
"McAfee demonstrates an excellent control of dynamics and execution of the nuances, His playing is E
smooth as butter...this is a fine recording that stands up well to frequent listening,., It is very pleasant an
enjoyable, well conceived, Emd superbly played. This is a program that is far superior to and positivel
different from the rm-of-the-mill wallpaper music, It doesn't attract attention to itself Eby its brightness In
rather shines by the brilliaxnco of its playing and its serenity," Andrew McAfee',-, D6but Solo Horn CD; Marvi
J, TV%7ard,CVNC; March 29,203.20; CD Review
After plaiting Principal Horn zArith the Norte. Carolina Symphony for 15 years (1992-2007),Andrew McAfee nc
focuses on mentoring through teaching horn at the UrAverskN of Norlh Carolina at Chapel Hill (UNC) a
conducting as the Music Director/Conductor of the Triangle Youth Ballet a:
the Masterworks Reading Orchestra(ivv�,wv.zii�istcnvorksro.com).
Brought up in a musical family,Andrew became Principal Horn of the Merced (CA) Symphony by 1,5 and ma
his solo debut with thew playing Weber's Concertino in. E at 17. He received a music scholarship to play wJ
the "President's" Wind Quintet and to study with Dr. ,Barnes H. Winter at California State University, Fresi
The quintet performed.in Europe and Tai3ra i, aid won awards at the Colem.m:a Competition and at t1ie Carr,
Music. Festival. During that time, he also studied with David Krehbiel (San Francisco Symphony Princil
Horn) and performed and toured with the San Fr&icy sco Symphony Youth Orchestra in Europe, Upon l
Winter's retirement, Andrew completed his Bachelor of Music in Performance at Northwestern Universi
where he studied conducting �Arith .John. P. Paynter and horn with Dale Clevenger, Norman Schweikert a:
other members of the Chicago Symphony Orchestra. He has performed with the Chicago Symphony,, Ci,
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
- M -1 ....e�vm..b.,, A...,. - a v v��d} �, I'll �,�.,a.,., Symphony, Eastern Music Festival and Chautauqua Syxnphc
Orchestras, He has won national auditions and held positions with the Fresno Philharmonic, 1-lonolz
Columbus, I\Tow Mexico-and North Carolina Symphony Qrellestras.
Y\nch-ew has also been a guest soloist; clinician and exhibitor at the Northeast and Southeast Horn Worksho
has been featured with numerous chamber ensembles including the .Degas Qz.x-tet, Ciampi Quartet, Malar:
Chamber players, Symphony Winds (school, educational progxam.$), and performs regularly with the Carol.i
Wind Quintet (UNC Faculty). Other solo appearances have included the Richard Strauss Concerto No. i a
the Hubler Coneertstuck for Four Hoxns -with the Noah Carolina Symphony, Schumann`s Concertstuck
Four horns with the Longview (TX) Symphony, the Saint-Sans Concertpiece with the Enloe Wind Ensezt L
Mozart's Horn Concerto No. i with the Raleigh Mozart Festival Orchestra., the Britten Serenade for Ten
.Morn and Strings v ith the .Sa.lisbury (NC) Symphony, and again in April. 201 with the UNC Sym.phc
Orchestra and MET tenor Anthony Dean Griffey.
"McAfee`s playing of the natural horn in the prologue and epilogue was simply breath-taking, and his master
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 with Clarion. Calls and Rhythmic Drive" By William Thomas Wall<e
CVNC April Pao,Prom.Orchestral Music Review
Andrew studied conducting for g summers with Maestro Harold Farberman at the Conductor's Institute at t
Hartt School in Connecticut, twice in Bulgaria (with the Varna Philharmonic), and at lard College in Nf
York. He completed his Master of Music in Orchestral Conducting in May 2009 with Maestro Ransom �r�rils
at the University of North Carolina. School of the Arts, As Music Director/Conductor of the Triangle Yo-:
Balj.et in Chapel Hill,Andrew has conducted full orchestral productions of Tchaikoysl�y`s The Nutcracker sin
December 2008,Sleeping Beauty in May 2oo8 and March 2oo9, anti.Deter and the Wolf in April 20102, He'A
a finalist for the Charlotte Symphony Resident Conductor position and the Durham Symphony Music Direct
position, and conducted the 2008 .Durham Symphony Pops sunmer series. He has been Mug
Director/Conductor of the Triangle Youth Orchestra (four years), twice the interim Music Director of t
Chapel Hill Philharmonia (n ool and 2007) and conducted the world premiere performance of Symphony Nc
byAri Pickerin.2oo8.
The May 2oii edition of The,orn Call,the.journal of the International Horn Society, featuured his article "Fi
Basics for a Hord. Embouchure," His method book titled "The McAfee Method, Advanced Embouch-u
Technique for Horn Players" is now in its 7th edition, His website, wvoov.hornlessons.org features his CD
Passionate Horn'11 videos, and other helpful information on horn playing technique and on N014AC, t
National Orchestral l aona Audition Competition that he hosts at UNC,
Visit the Brass ,Vea Webpage
Videos
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Ucp3r nent of
MUS1,
Brent Wissick
Professor, Area Head of tring
to Offices lot Person Hall
Email= bswissic @i rmalLunc.edu
es'Phones 919-962-3763
Brent Wissick is the Zachary Taylor Smith Distinguished Term Professor in the Department of Music
UNC-CH, where he has taught cello, viola da ganiba and chamber music since 1982. A member of Enseml
Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with Americ.
Bach Soloists, Folger Consort, Boston Early Music Festival, Concert royal, Dallas Bach Society, Vancou,�
Early Music Festival and Collegio di Mus%ca Sacra in Poland. With these ensembles has recorded for t
Centaur, Albany, Koch, Radio Bremen, Bard and Dux labels as well as in the soundtrack for the Touchsto
film Casanova. His online video article, "The Cello Music of Bononcini" can be viewed in the peer-review
Journal cif Seventeenth epturry Music and several of his teaching videos are posted on the website of the Vi(
da Gamba. Society of America. He served as president of that society from 2000 through 2004 and chaired
international Pan-Pacific Gamba Gathering in Hawaii during the summer of 20071
In addition to teaching cello at UNC, he directs its Cello Choir, Viol Consort and Baroque Ensemble; he al
teaches classes in Historical Performance Practices and String Methods for Music Education Students as w
as a First-Year Seminar in the Physics of Music with Laurie McNeil, chair of the Physics Department. He 11
served as mentor of the Kenan Music Scholars and is chair of the String Area.
His current research and performance interests include the cello music of Benjamin Britten, Chopin's Ce:
Music on period instruments and French Gamba Music. A graduate of the Crane Sflhool of Music at Pots&
College in NY and of Penn State (MM cello,1978),he also studied with John Hsu at Cornell university and A
an NEH Fellow at Harvard in the 1993 Beethoven Quartet Seminar. He has taught at the College of
Scholastica in Mirvaesota (1978-82), Chautauqua Institution and the 1997 Aston Magna Academy at Yale; a
has presented lectures, master classes and recitals at schools, colleges and workshops throughout Nor
America,Europe,Asia and Australia.
Visit the Strings Area gage
UNC Consort of Viols
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Nancy Whelan
Objective
2022 Snow Valley Road
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,
nwhelan0619@gm ail.com
Employment History
Self-employed collaborative pianist
Raleigh/Durham/Chapel Hill, NC, 1983-present
a 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 horn with NC
Symphony, 2012
r Pianist/keyboardisUorganist/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
�. Collegetuniversity pianist at UNC-CH,Meredith College and NC State
Pianistivocal 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
Story, 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
R 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 Wicked, Billy Elliot, Mamma Mal, The Color
Purple, Spamalot, Shrek, A Christmas Story, Sweet Charity, Annie Get Your
Gun,Beauty and the Beast, Legally Blonde, 42`0 Street, Phantom of the Opera
Education
Meredith College, Raleigh, NC
e Masters of Music in Performance with a Concentration in Accompanying, 1997
Bachelor of Music in Music Education (piano and organ), 1983
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E rPtNU
Re: Flute rep
Nancy Whelan <nwhelan0619@gmail.com> Wed, May 21, 2014 at 3,15 PM
To: Lindsay Leach <Ialflut e.leach @gmail.com>
Greetings!
I've done the Taktak and Feld Sonatas as well —just don't own them yet. Haven't done the Martinu Trio, but am
always up for chamber music. I'd vote for that, as well as learning the Zyman. If we need/want another, I do love
Hindemith... :) Taktak would be great, too. So much fun rep to choose from!
Next up, fee for recitals(recording. This is totally a ballpark for the grant-we can renegotiate if the grant falls through.
My thoughts are:
q150 rehears 3 Kauder pieces plus 2-3 solo flute pieces and Martinu Trio')
[assume ��
re covering all the rep in 2 rehearsals,which would be a bit of a marathon... If you want to have more
rehearsals and cover select rep in each session, the per service fee can be reduced. i.e., 3 rehs @_ $100 per reh]
0 er recital lus mileage if they're out of town)
500 for recording session
I've attached the resume I used when I applied to Duke for their staff accompanist position, as well as my musical
theatre resume(which is less appropriate for a collaborative piano project, but thought it might be useful...
I think that's all you need...... it I've left anything out, let me know. Fingers crossed that they give you lots of
moolah..,!!
Nancy
On Wed, May 21, 2014 at 9:48 AM, Lindsay Leach <Ialflute.leach@gmail.com>wrote:
I like Poulenc(it's a classic), Sancan is also good, Hindemith fits in (haven't done this one since college so that'll be
a nice revival), and Martin Ballade is a nice piece too. I love the Zyman! I played it a few years ago at the Flute
Society Mid-South Festival...let's put it on the list too!
I think we might went to consider adding the Taktakishvili Sonata, Feld Sonata, or Martinu Sonate....they're fun
pieces and fit with the eastern european theme. Mike also has a faculty recital scheduled at Methodist University
this fall (I need to check on the date), but the Martinu flute-violin-piano trio might be a good one to learn for that as
well. It's a recital we're splitting, so there would be more opportunities to play our pieces as well.
Would you like copies of some of these pieces to check them out?
So here's our list—maybe we should narrow this down a bit? I put my fays in bold. But we can pick and choose from
any of them (plus the Kauder pieces)for recitals:
Zyman Sonata
Poulenc Sonata
Hindemith Sonata
Martin Ballade
Sancan Sonatine
Taktakishvill Sonata
Martinu Sonata
Martinu Trio
Feld Sonata
Speaking of Kauder...have you had a chance to take a look at the Flute Sonata and Flute/Horn/Plano Trio?Any idea
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Re: Music of Hugo Kauder Recording Project
Joseph Robinson <joboerob @gmail.com> Mon, May 12, 2014 at 11:00 AM
To: Lindsay Leach <laiflute.leach @gmail.com>
Dear Lindsay,
I am happy to collaborate on this project with you f $500..
Sent from my iPhone by Joe Robinson
On May 12, 2014, at 10:53 AM, Lindsay Leach <lalflute.leach @,gmail.com>wrote:
Dear Joe,
My name is Lindsay Leach-Sparks and I'm a flutist new to the Chapel Hill area of NC. You came highly
recommended by Andrew McAfee who will be playing horn for a CD project that I will be working on this
year.
I'm in the process of applying for NC arts council grants that would fund the production of a CD featuring
chamber music of Hugo Kauder(1888-1972). He's an Austrian-American Jewish composer who's music
is influenced by a combination of Eastern European folk tunes, 17th century counterpoint, Ocheghem,
and his own brand of tonality(loosely comparable to Hindemith's)...you can check
out www.hugokauder.org for more info. Kauder was the focus of my dissertation at CCM and I'm hoping
that the CD in conjunction with some concerts in the area and some lecture-recital presentations this
year will be the next step before writing a biography on Kauder(a kind of extension from my doctoral
document). The first grant application is due at the end of May, so I'm planning to start performing this
fall and recording this fall or winter.
The plan is to have 5 pieces on the CD, one of which involves oboe: Trio No. 2 thr Flute, Oboe, and
Horn(1960). I've attached the score here for you to check out. Please let me know if you might be
Interested in such a project and what you might charge for 2 rehearsals, one concert, and a couple
hours of recording.
Thanks so much for your consideration! Feel free to check out my website at www.LLSparks.com for
more info on me and my playing. 1 hope we will have the opportunity to work together soon!
Lindsay
Lit: Lindsay A. Leach-Sparks
www.LLSparks.com
492-849-2102
<Flute,Oboe, Horn Rehearsal Edition.pdf>
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E rt U K N
Re: flutist looking for horn player
Andrew McAfee <andrewmcafeel @me.com> Sun, May 11, 2014 at 7.57 AM
To: Lindsay Leach <1 alflut e.leach @gma il.com>
Hi Lindsay,
The best oboists in the area are
Melanie Wilsden <r1ckmeInc@earthIink.net>
and
Joe Robinson <joboerob@gmail.com>
I can give you more names if these don't pan out.
One thing to consider before contracting me is that I have a health condition that requires I not be around wireless
radiation like from cell phones, wi-fi routers, cordless phones, etc.
All rehearsals and recording sessions must be free of these influences. If you are willing to ensure that every has their
phones powered off, and there is no wi-fi in the area, etc. we are good to continue.
With that said, it looks like an interesting project. Depending on how detailed you want the recording, the cheap side
can be accomplished with two rehearsals and then recording a concert and is the simplest way. A recording session
with lots of microphones in a studio would be very expensive.
Reserving Hill Hall at UNC or some other acoustic venue for a couple of days (not during the summer as it is very hot,
no AC) of recording is another option.
My rates:
For me to show up anywhere is $100 and $50 an hour after that.We could negotiate a lump sum for the entire gig
once we work out all oft d I am open to offers.
I imagine a minimum olL 500 to$750'to do it right.
I have used Dwight Robinett <dwightrobinett@gmail.com>
as my recording engineer a number of times. There are others as well and you can compare rates and schedules.
Let me know what you think.
Thank you!
Andrew
On May 10, 2014, at 10:49 PM, Lindsay Leach <1 alflute.I each @gmai l.com>wrote:
Hi Andrew,
Thanks so much for your response! I am relatively new to Chapel Hill, so I'm getting back into knowing
who's in the performance circles in this area
I'm in the process of applying for a couple of grants that would fund the production of a CD featuring
chamber music of Hugo Kauder(1888-1972). He's an Austrian-American Jewish composer who's music
is influenced by a combination of Eastern European folk tunes, 17th century counterpoint, Ocheghem,
and his own brand of tonality(loosely comparable to Hindemith's)...you can check out
www,hugokauder.org for more info. Kauder was the focus of my dissertation at CCM and I'm hoping that
the CD in conjunction with some concerts in the area and some lecture-recital presentations this year
will be the next step before writing a biography on Kauder(a kind of extension from my doctoral
document). The first grant application is due at the end of May, so I'm planning to start perform some
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
tw
Re: Music of Hugo Kauder Recording Project
Lindsay Leach <1 alfl ute.leach @gmai 1.com> Sat, May 17, 2014 at 9:50 PM
To: Vissick, Brent Stewart" <bswissic@email.unc.edu>
Thanks Brent!
Nothing at all is planned yet so I'd be happy to work around your schedule. We could also plan to record the flute,
cello, piano trio early in the fall and the other pieces later if needed. Sounds like you have a busy performance
schedule (I'm jealous!).
Speaking of, I am still in the process of finding venues for concerts and the recording. Do you have any suggestions?
And, could you give me an idea of what you might charge for this project? I'm going to put an approximate total in my
budget for these grant applications,
Thanks!!
Lindsay
On Sat, May 17, 2014 at 615 PM, Wissick, Brent Stewart <bswissic@email.unc.edu>wrote:
hi Uindsay.
Thanks for asking. I'm interested in the project, but can you give me some idea of the dates have in mind and
where the concert might be? I have a feeling that Fall is better than winter or spring for me. I do have an
important concerts at UNC-CH on Oct 14, Nov 16 and Dec 5 with one TBA arranged around Nov 1. But 1 will bein
Europe for concerts for much of Jan 2015 and quite busy once I get back. Nancy is wonderful of course and I
would enjoy expl on ng thi s musi c.
Brent
From: Lindsay Leach [lalflute.leach @g mail.com]
Sent: Friday, May 16,, 2014 11:27 PM
To: Wissickf Brent Stewart
Subject: Music of Hugo Kauder Recording Project
Hi Brent,
I hope the spring is going well for you. I am in need of a cello player for a CD project that I will be working on this
year and I was wondering if you might be interested in being in the project.
I'm in the process of applying for NC arts council grants that would fund the production of a CD featuring chamber
music of Hugo Kauder(1888-1972). He's an Austrian-American Jewish composer who's music is influenced by a
combination of Eastern European folk tunes, 17th century counterpoint, Ocheghem, and his own brand of tonality
(loosely comparable to Hinclemith's)...you can check out www.hugokauder.org for more info. Kauder was the focus
of my dissertation at CCM and I'm hoping that the CD in conjunction with some concerts in the area and some
lecture-recital presentations this year will be the next step before writing a biography on Kauder(a kind of extension
from my doctoral document). The first grant application is due at the end of May, so I'm planning to start performing
this fall and recording this fall or winter.
The plan is to have 5 pieces on the CD, one of which involves cello: Trio for Flute, Cello, and Piano(1960). I've
attached the score here for you to check out. Please let me know if you might be interested in such a project and
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Re: Recording in Person Hall
Cole, Paul R <pcofe@,email.unc.edu> Wed, May 21, 2014 at 5:09 PM
To: Lindsay Leach <Ialflute.leach@gmail.com>
Greetings Lindsay,
Your best bet would be.-tozhave-13mint Wissick arrange the sessions for next spring. That would give you the
"affiliate"rate which 100.00 per day r Person Recital Hall (as opposed to 200.00.)
e�p
C_4
Indeed, our spring schedu e ere near set at this time, and won't.be for some months yet. Please do not plan
on doing your sessions during April as that is our busiest month of the year. March before Spring Break will probably
work, or possibly over spring break. 3/6-16. In general, the earlier in the semester, the easier it should be to book.
Cheers!
Paul
On 5/21/2014 4.40 PM, Lindsay Leach wrote:
Hi Paul,
My name is Lindsay Leach-Sparks and I'm a flutist new to Chapel Hill. Brooks deWetter-Smitth
suggested that I contact you about scheduling some recording time in Person Hall sometime in the
coming year. I will be recording a CID of Hugo Kauder(1888-1972) pieces as part of a grant from the
Orange County Arts Council, and I will be collaborating with Andrew McAfee and Brent Wissick among
others. We're planning on using VoChor for the recording so they will bring all their own equipment.
I'm thinking that two 4 hour sessions should do it since we're recording,3 trios and 2 smaller sonatas. I
realize your schedule for next spring might not be 100%set yet, but I wanted to get an idea of budget as
well.Would there be a fee for reserving the hall? If so, what would it be? Should I see If one of the
current faculty members playing could do the reservation?
And,would scheduling a recital on campus be possible?Again, let me know if I should go through the
faculty to have this done.
Thanks for your help! Hope to hear form you soon!
Lindsay Leach-Sparks
Dr. Lindsay A. Leach-Sparks
www.LLSparks,com
412-849-2102
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Recording estimate
Rob Musser <rob@,vochor.com> Wed, May 14, 2014 at 10:26 AM
To: Lindsay Leach <Ialflut e.leach @gma il.com>
Hi, Lindsay:
My turn to apologize for the delay.
I talked over your recording situation and instrument combinations with my business partner, Collin, and we came to
the conclusion that it would be best if to do a multitrack setup. The challenge is to get the balance right for each
combination of instruments. With a two-microphone recording we would have to set the position of instruments and
two mics, do a test take to confirm a good balance, then possibly reset and repeat the process until the desired sound
was achieved.
This test-take/reset process would cut into the recording time for all the pieces, and it doesn't allow for any second
guessing later on, if we decide a mix needs a tweak. We would, of course, do a test take at the start of a multitrack
combination, but any tweaking of the sound could be done at a mix definition session following the recording sessions.
In a multitrack session, we would use two mics for the overall room sound, then a mic for each instrument(two for
the piano). We think this arrangement will avoid a "coulda, woulda, shoulda"scenario.
So, our estimate for two 4-hour recording sessions and post-recording follow-up is as follows:
2 4-hour sessieiof multitrack recording @_ $113/hr =$904
3 hours of mix definition at our studio @ $75/hr=$225
1 hour for mixdown of takes previously defined $75/hr=$75
2 hours for editing/mastering of mixdowns into final recording @_$75/hr= $150
C7TAL: $1,354.00
This estimate does not include any post-recording work other than for the production of a final audio master
recording. Issues that may change the above estimate include more (or less)time required for mix definition, and
more editing time if partial takes need to be edited together for a complete take.
I hope this will help your planning. Please let me know if your need any additional information.
Best Regards,
Rob
P.S.: Have you chosen the works you plan to include on the recording? It would be helpful for us if you could provide
that list when it is available. Thanks.
Robert L. Musser
VoChor Digital Recording
A Division of VoChor, Inc.
PO Box 61742
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
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Re: Kauder recording project
Norman Doe <normanjdee@gmaii.com> Set, May 17, 2014 at 7:05 AM
To: Lindsay Leach <Ialflute.leach @gma il.com>
Cc-, "rona@,hugokauder,org"<rona@,hugokauder.org>
I am so envious! It sounds like a great project.
I wanted to send you, and will, a note about your wonderful thesis. Once again, you have performed a great service.
I don't know about recording rights and can't help you here. Rona might remember how the quartet recording was
handled.
Best to you!
On Friday, May 16, 2014, Lindsay Leach <1 alflute.leach @gmai 1.com>wrote:
Hi Norman and Rona,
I hope all is going well for you this year!
I'm planning a CD project featuring Hugo Kauder flute music, and I had a question for the Hugo Kauder Society
about copyright and audio recordings.
The CD will feature:
Suite for Flute Alone
Sonata for Flute and Piano
Trio No. 2 for Flute, Oboe, Horn
Trio for Flute, Cello, Piano
Trio for Flute, Horn, Piano
My question is: what do I need to do as far as purchasing the rights to the pieces for audio recording distribution?
Should I purchase the licensing from the Harry Fox Agency or is there another avenue I need to pursue?
I'm hoping that the CD in conjunction with some concerts in the area and some lecture-recital presentations this
year will be the next step before writing a biography on Kauder(a kind of extension from my doctoral document).
The first grant application is due at the end of May(the 23rd), so I'm planning to start performing this fall and
recording this fall or winter. So far, the other performers are Joe Robinson (oboe), rew McAfee (horn), and
Nancy Whelan (piano).
Thanks and talk to you soon!
Lin dsay
Dr, Lindsay A. Leach-Sparks
www.LL Sparks,com
412-649-2102
Best regards,
Norman
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
lj
G
Hi
Beth \Asser<visser@upcch.org> Sun, May 11, 2014 at 9:57 AM
To: Lindsay Leach-Sparks <LALfl ute.Leach @gmail,corn>
Lindsay,
So good to here from you' I would love to meet for lunch one day when you are in Chapel Hill, So happy to have your
contact information, Sorry to be so slow responding! Just life!
Hoping you are enjoying the southern part of heaven and looking forwardto meeting you.
Cordially,
Beth
Beth Auman Visser
University Presbyterian Church
Director of outh and Children's Choirs
209 East Franklin Street
Chapel Hill, NC 27514
919 929 2102 eXt. US
visser@upech.org
https://wwvv.facebook.com/upech
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
RE: Flute Recital
Michael Howe <MusiC@brownsonchurch.org> Thu, May 8, 2014 at 9:41 AM
To: Lindsay Leach <Ialflute.leach @gma il.com>
Send me more information as you get it and well see what we can do?
From: Lindsay Leach [mail tolalflute.leach@gmail.com]
Sent: Sunday,April 27,2014 5:47 PIVI
To: Michael Howe
Subject: Flute Recital
Hi Michael,
I hope all is well for you these days. My husband, mike sparks, was just playing violin at Brownson for your Good
Friday service, and so I thought I'd write to say hello as well. We recently moved to Chapel Hill and are growing our
private studios here. So far, we really like it!
I also wanted to email to see if it might be possible for me to give another flute recital at Brownson sometime in the
next year. I'm working on another CID that features music of Eastern European composers and I'm in the part of the
planning stage where I'm trying to find venues for performances.
Please let me know what you think, and feel free to call or email if you ever need a flutist!
Talk to you soon!
Lin dray
Dr. Lindsay A. Leach-Sparks
www.LLSparks.com
412-649-2102
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E �1�G t'►
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Re: Recital next year at Methodist
Linda Volman <Ivolman @methodist.edu> Thu, May 1, 2014 at 4:41 PM
To: Lindsay Leach <1alflute.leach @gmail,com>
Cc: Keith Dippre <kdippre@methodist.edu>
Hi Lindsay,
I have two thoughts for you on doing a recital here.
1. We could do a Methodist Flutists and Friends Concert and give you a large portion of the program... but I'd play, my college
students, maybe one of my high schoolers, etc, The program would say something like"Methodist Flutists and Friends featuring
Lindsay Leach, Linda Volman, and the studio of Ms, Volman."
2. You and Michael could do a recital together with his name first on the program (because he's current Methodist faculty.)
Let me know what you think.
Linda /
Linda Volman
Fine Arts Secretary
Adjunct Flute
Methodist University
lvolman(Omethodist.edu
lindaflute 19820gmail.com
910-630-7100(W)
225-772-0146(C)
»>Lindsay Leach<lalflute.leach0gmail.com>5/1/2014 3:53 PM»>
Thanks Keith,
I'm applying to several grants between now and this fall that should cover most expenses for this project(including recitals), so
we have some flexibility there.
Let me know if you have any other thoughts, Thanks!!
Lindsay
On Thu, May 1, 2014 at 3:14 PM, Keith Dippre<kdippregmethodist.edu>wrote:
Lindsay:
Good to hear from you. We have already mapped out the guest artist series for next year; however, that doesn't
preclude you from doing some kind of performance duri ng the school year. I'm going to share your informaflon
with the department and Linda, our current flute teacher. Give this a little time, as we're in the midst of juries and
finals. Bear in trend that we have budgeted for the artists and events that are on the schedule.
Thanks,
Kei th
Dr. Keith Dippre
Chair, Music Dept.
Methodist University
f
>>> Lindsay Leach <lalflute.leach @gmail.com> 5/1/2014 2:34 PM >>>
Hi Keith,
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Re: Flute Recital
Mary Rush <Iatidorush@gmail.com> Sun, Apr 27, 2014 at 7:20 PM
To: Lindsay Leach <1 alflut e.leach P_gma il.com>
Hi, Lindsay-
I've just come in from our concert series presentation this afternoon, which was the UNCP Jazz Quartet. We've
completed our series for this season, but will be looking toward the opening of the fall season. Let's talk more in the
next few weeks about what we might do for a fall opener, or perhaps a mid-winter concert. Thanks so much
for sharing your desire to play here.
We've done two seasons which have included six concerts featuring brass quartet,jazz/gospel instrumental trio,
Broadway actor/vocalist, Union Pines High School Advanced Choral Ensemble, split concert with Men's Vocal
Ensemble from SPUMC and local bluegrass band, and now UNCP Jazz.
I took forward to hearing from you!
Mary Rush
On Sun, Apr 27, 2014 at 5:52 PM, Lindsay Leach <Ialflute.leach@gmall.com>wrote:
Hi Mary,
My name is Lindsay Leach-Sparks and I'm a flutist in Chapel Hill, Several years ago, my husband and I lived in
Southern Pines and we still play in town from time to time. Chris Dunn from the arts council suggested I contact you
about possibly giving a flute recital at Cameron Presbyterian sometime in the next year. I'd like this recital to focus
on music of Eastern European composers as I'm hoping to actually record a CD of some of this music as part of a
grant proposal.
Please let me know what you think, and feel free to call or email if you ever need a flutist!
Hope to hear form you soon!
Lindsay Leach-Sparks
Dr. LindsayA. Leach-Sparks
www.LLSparks.com
412-849-2102
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E -f R.f-CI
Flute Recital at Duke Chapel
Lindsay Leach <IaIf1ute.Ieach@gmaiI.com> Tue,Apr 29, 2014 at 11:41 AM
To: brien.schmidt@duke,edu
HI Brian,
My name is Lindsay Leach-Sparks and I'm a flutist new to Chapel Hill. Deb Johnson forwarded me to you in regards to
possibly performing a recital at Duke Chapel in the coming year.
I hold a doctorate from the University of Cincinnati, and my area of research was a composer named Hugo Kauder
(1888-1972). 1 am in the process of recording a CD of Kauder pieces and other Eastern European flute music as part
of a grant from the Orange County Arts Council, and I'm looking for performance venues as part of the project. I would
like to know if Duke Chapel would be willing to host one of my recitals In the course of my performances,which would
include solo flute, flute and piano, and chamber works with strings and winds.
Could you please send me more information on possibly performing on your concert series at the chapel? If you think
my project won't fit into your series, could you offer some other suggestions on performance venues in the area?
Please feel free to learn more about me on my website www.LLSparks.com.
Thanks! Hope to hear form you soon!
Lindsay Leach-Sparks
Dr. LindsayA. Leach-Sparks
www.LLSparks.com
412-849-2102
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
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Lindsay Leach-Sparks, Flute
Nancy Whelan,Piano
Carolina Meadows
Tuesday,October 28,2014
7:30pm
Sonate fur F16te and Klavier(1936) P.Hindemith
Heiter bewegt (1895-1963)
Sehr langsam
Sehr lebhaft-Marsch
Sonata for Flute and Piano (1933) H.Kauder
Con moto,tranquillo (1888-1972)
Andante
Moderato
Suite for Flute Alone(1925) H.Kauder
I. Improvisation (1888-1972)
II.Dance
III.Theme and Variations
Sonata for Flute and Piano (1966) 0.Taktakishvili
Allegro cantabile (1924-1989)
Moderato con moto
Allegro Scherzando
Early twentieth-century composer Hugo Kauder set out to revolutionize the course of classical music
composition through the fusion of modern and fifteenth-and sixteenth-century compositional devices.
His natural approach to melodic writing,based on the harmonic overtone series,includes omitting bar
lines in his scores,writing segmental non-modulating passages,employing frequent recitation tones,
and exploiting long unobstructed phrases.The use of his double scale,pentatonicism,eastern
elements,and folk melodies and rhythms add a spice to the otherwise holistic sonorities.Described as
"Neo-Medieval"and"Hindemith-like,"Kauder compositions not only offer a unique addition to a
recital program,but often provide a musical style of which flutists rarely have the opportunity to study
or perform.
Originally from Pittsburgh,PA,flutist and Muramatsu artist,Lindsay Leach-Sparks,enjoys a varied
performance and teaching career in the U.S and abroad. She has performed as a quarter-finalist in the
Jean-Pierre Rampal International Flute Competition in Paris,and as a semi-finalist in the National Flute
Association's Young Artist,Piccolo Artist,and Baroque Artist competitions.In November 2007,Lindsay
was one of only three American flutists to be invited to compete at the first Maxence Larrieu
International Flute Competition in Nice,France and in early 2010 she was one of two American
representatives in the Beijing Nicolet International Flute Competition in China.She has given recitals
in Europe,North America,and Asia,and represented the 2005 Acad6mie International d'Et6 de Nice
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
flute class with Philippe Bernold in recital at Le Musee d'Art Moderne et d'Art Contemporain in Nice,
France.
Dr.Leach-Sparks,is a recipient of the Spring 2014 Orange County Arts Commission Artist Grant with
which she is producing a CD of chamber works of twentieth-century Austrian-American composer
Hugo Kauder(available Summer 2015). She is also a recipient of the 2011 PEO Scholar Award
(supporting women earning doctoral degrees in their field) as well as the 2008 North Carolina Arts
Council's Regional Artist Grant(funding from the state of North Carolina and local arts councils in
Cumberland,Lee,Moore,New Hanover,Harnett and Richmond counties),through which she produced
her first solo flute CD One of a Kind with London-based pianist Philip Richardson.
A specialist in online teaching, Lindsay leads the online and hybrid music programs at Rutgers
University,the University of North Carolina at Pembroke, and the North Carolina Virtual School.She
has presented on virtual classroom topics at the Rutger's University Online and Hybrid Learning
Conference,the National Association for Music Education Program Leaders' Conference, and the North
Carolina Music Educator's Association In-Service Conference.
Dr. Leach-Sparks plays flute and piccolo with the Long Bay Symphony in Myrtle Beach,SC and has
been featured as a soloist(on modern and Baroque instruments)with the Fayetteville Symphony,
Moore County Wind Symphony,the CCM Atrium Concert Series ensembles,the Greensboro Early
Music Ensemble,and the Adastra Ensemble. She frequently writes articles for Flute Talk magazine and
maintains a private teaching studio in Chapel Hill.Lindsay holds degrees from the University of
Cincinnati College-Conservatory of Music,the Royal Academy of Music in London,and the Peabody
Conservatory,and her major teachers are Brad Garner, Randy Bowman,Clare Southworth,and Laurie
Sokoloff.www.LLSparks.com
Nancy Whelan is a collaborative pianist in the Triangle area and beyond,working with vocalists,
instrumentalists and dancers in both classical and theatrical genres.She is the Associate Musical
Director and Orchestra Contractor for North Carolina Theatre,and has over 25 years of experience as a
Musical Director,including Hairspray(NCT) and Next to Normal (Theatre in the Park).She has been a
keyboardist for numerous Broadway touring companies,including the National Tours of Wicked, Evita,
Mamma Mia! and Billy Elliot,to name a few, and was a member of NCT's Steel Pier national tour.She
has performed with the NC Symphony and recorded a CD with Andrew McAfee. She is a frequent
recital collaborator,has been a master class pianist for numerous clinicians, and is a class pianist for
the world-renowned Carolina Ballet. Ms.Whelan received her Masters of Music in Performance with a
Concentration in Accompanying from Meredith College,where she studied with James Clyburn and
Donna Jolly.
This concert is sponsored in part by the Orange County Arts Commission Artist Grant and Muramatsu America.
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Lindsay Leach-Sparks, Flute
Nancy Whelan, Piano
Andrew McAfee,Horn
Carswell Concert Hall
Meredith College
Sunday,November 2,2014
7pm
Sonate fur Flote and Klavier(1936) P.Hindemith
Heiter bewegt (1895-1963)
Sehr langsam
Sehr lebhaft-Marsch
Sonata for Flute and Piano (1933) H.Kauder
Con moto,tranquillo (1888-1972)
Andante
Moderato
Tr10 for Flute,Horn, and Piano (1951) H.Kauder
Lento (1888-1972)
Vivace
Sosentuto-Andante-Viva ce
Sonata for Flute and Piano (1966) 0.Taktakishvili
Allegro cantabile (1924-1989)
Moderato con moto
Allegro Scherzando
Early twentieth-century composer Hugo Kauder set out to revolutionize the course of classical music
composition through the fusion of modern and fifteenth-and sixteenth-century compositional devices.
His natural approach to melodic writing,based on the harmonic overtone series,includes omitting bar
lines in his scores,writing segmental non-modulating passages,employing frequent recitation tones,
and exploiting long unobstructed phrases.The use of his double scale,pentatonicism,eastern
elements,and folk melodies and rhythms add a spice to the otherwise holistic sonorities.Described as
"Neo-Medieval"and"Hindemith-like,"Kauder compositions not only offer a unique addition to a
recital program,but often provide a musical style of which flutists rarely have the opportunity to study
or perform.
Originally from Pittsburgh,PA,flutist and Muramatsu artist,Lindsay Leach-Sparks, enjoys avaried
performance and teaching career in the U.S and abroad.She has performed as a quarter-finalist in the
Jean-Pierre Rampal International Flute Competition in Paris, and as a semi-finalist in the National Flute
Association's Young Artist,Piccolo Artist, and Baroque Artist competitions. In November 2007,Lindsay
was one of only three American flutists to be invited to compete at the first Maxence Larrieu
International Flute Competition in Nice,France and in early 2010 she was one of two American
representatives in the Beijing Nicolet International Flute Competition in China.She has given recitals
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
in Europe,North America,and Asia, and represented the 2005 Academie International d'Ete de Nice
flute class with Philippe Bernold in recital at Le Musee d'Art Moderne et d'Art Contemporain in Nice,
France.
Dr.Leach-Sparks,is a recipient of the Spring 2014 Orange County Arts Commission Artist Grant with
which she is producing a CD of chamber works of twentieth-century Austrian-American composer
Hugo Kauder (available Summer 2015). She is also a recipient of the 2011 PEO Scholar Award
(supporting women earning doctoral degrees in their field) as well as the 2008 North Carolina Arts
Council's Regional Artist Grant(funding from the state of North Carolina and local arts councils in
Cumberland,Lee,Moore,New Hanover,Harnett and Richmond counties),through which she produced
her first solo flute CD One of a Kind with London-based pianist Philip Richardson.
A specialist in online teaching,Lindsay leads the online and hybrid music programs at Rutgers
University,the University of North Carolina at Pembroke,and the North Carolina Virtual School. She
has presented on virtual classroom topics at the Rutger's University Online and Hybrid Learning
Conference,the National Association for Music Education Program Leaders'Conference,and the North
Carolina Music Educator's Association In-Service Conference,
Dr.Leach-Sparks plays flute and piccolo with the Long Bay Symphony in Myrtle Beach,SC and has
been featured as a soloist(on modern and Baroque instruments) with the Fayetteville Symphony,
Moore County Wind Symphony,the CCM Atrium Concert Series ensembles,the Greensboro Early
Music Ensemble,and the Adastra Ensemble. She frequently writes articles for Flute Talk magazine and
maintains a private teaching studio in Chapel Hill.Lindsay holds degrees from the University of
Cincinnati College-Conservatory of Music,the Royal Academy of Music in London,and the Peabody
Conservatory,and her major teachers are Brad Garner,Randy Bowman,Clare Southworth,and Laurie
Sokoloff.www.LLSparks.com
Nancy Whelan is a collaborative pianist in the Triangle area and beyond,working with vocalists,
instrumentalists and dancers in both classical and theatrical genres.She is the Associate Musical
Director and Orchestra Contractor for North Carolina Theatre,and has over 25 years of experience as a
Musical Director,including Hairspray (NCT) and Next to Normal (Theatre in the Park).She has been a
keyboardist for numerous Broadway touring companies,including the National Tours of Wicked,Evita,
Mamma Mia! and Billy Elliot,to name a few,and was a member of NCT's Steel Pier national tour.She
has performed with the NC Symphony and recorded a CD with Andrew McAfee. She is a frequent
recital collaborator,has been a master class pianist for numerous clinicians,and is a class pianist for
the world-renowned Carolina Ballet,Ms.Whelan received her Masters of Music in Performance with a
Concentration in Accompanying from Meredith College,where she studied with James Clyburn and
Donna Jolly.
After playing Principal Horn with the North Carolina Symphony for 15 years (1992-2007),Andrew
McAfee now teaches horn at UNC Chapel Hill and is the Music Director/Conductor of the Triangle
Youth Ballet and the Masterworks Reading Orchestra He is also principal horn of the Chamber
Orchestra of the Triangle,NC Opera and is a regular sub in the Eastern Music Festival Orchestra.
Andrew completed his Bachelor of Music in Performance at Northwestern University and his Master of
Music in Orchestral Conducting at the University of North Carolina School of the Arts. His website,
www.hornlessons.org features his CD"A Passionate Horn,"horn technique videos,and his horn book
titled"The McAfee Method."
Thanks to the Raleigh Area Flute Association for their support in planning this event
This concert is sponsored in part by the Orange County Arts Commission Artist Grant and Muramatsu America.
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
Lindsay Leach-Sparks, Flute
Nancy Whelan, Piano
Croasdaile Village
Tuesday,November 4,2014
7:00pm
Sonate fur Flote and Klavier(1936) P. Hindemith
Heiter bewegt (1895-1963)
Sehr langsam
Sehr lebhaft-Marsch
Sonata for Flute and Piano (1933) H. Kauder
Con moto, tranquillo (1888-1972)
Andante
Moderato
Suite for Flute Alone (1925) H. Kauder
I. Improvisation (1888-1972)
II. Dance
III. Theme and Variations
Sonata for Flute and Piano (1966) 0. Taktakishvili
Allegro cantabile (1924-1989)
Moderato con moto
Allegro Scherzando
Early twentieth-century composer Hugo Kauder set out to revolutionize the course of classical music
composition through the fusion of modern and fifteenth-and sixteenth-century compositional devices.
His natural approach to melodic writing,based on the harmonic overtone series,includes omitting bar
lines in his scores,writing segmental non-modulating passages, employing frequent recitation tones,
and exploiting long unobstructed phrases.The use of his double scale,pentatonicism,eastern
elements, and folk melodies and rhythms add a spice to the otherwise holistic sonorities. Described as
"Neo-Medieval"and"Hindemith-like," Kauder compositions not only offer a unique addition to a
recital program,but often provide a musical style of which flutists rarely have the opportunity to study
or perform.
Originally from Pittsburgh, PA,flutist and Muramatsu artist,Lindsay Leach-Sparks,enjoys a varied
performance and teaching career in the U.S and abroad.She has performed as a quarter-finalist in the
Jean-Pierre Rampal International Flute Competition in Paris,and as a semi-finalist in the National Flute
Association's Young Artist, Piccolo Artist,and Baroque Artist competitions.In November 2007, Lindsay
was one of only three American flutists to be invited to compete at the first Maxence Larrieu
International Flute Competition in Nice, France and in early 2010 she was one of two American
representatives in the Beijing Nicolet International Flute Competition in China. She has given recitals
in Europe, North America,and Asia,and represented the 2005 Academie International d'Ete de Nice
DocuSign Envelope ID:6368FECC-3C91-49C7-983E-AA65A76D339E
flute class with Philippe Bernold in recital at Le Mus6e d'Art Moderne et d'Art Contemporain in Nice,
France.
Dr.Leach-Sparks, is a recipient of the Spring 2014 Orange County Arts Commission Artist Grant with
which she is producing a CD of chamber works of twentieth-century Austrian-American composer
Hugo Kauder(available Summer 2015). She is also a recipient of the 2011 PEO Scholar Award
(supporting women earning doctoral degrees in their field) as well as the 2008 North Carolina Arts
Council's Regional Artist Grant(funding from the state of North Carolina and local arts councils in
Cumberland,Lee, Moore,New Hanover, Harnett and Richmond counties),through which she produced
her first solo flute CD One of a Kind with London-based pianist Philip Richardson.
A specialist in online teaching, Lindsay leads the online and hybrid music programs at Rutgers
University,the University of North Carolina at Pembroke,and the North Carolina Virtual School.She
has presented on virtual classroom topics at the Rutger's University Online and Hybrid Learning
Conference,the National Association for Music Education Program Leaders' Conference,and the North
Carolina Music Educator's Association In-Service Conference.
Dr.Leach-Sparks plays flute and piccolo with the Long Bay Symphony in Myrtle Beach,SC and has
been featured as a soloist(on modern and Baroque instruments)with the Fayetteville Symphony,
Moore County Wind Symphony,the CCM Atrium Concert Series ensembles,the Greensboro Early
Music Ensemble,and the Adastra Ensemble. She frequently writes articles for Flute Talk magazine and
maintains a private teaching studio in Chapel Hill.Lindsay holds degrees from the University of
Cincinnati College-Conservatory of Music,the Royal Academy of Music in London,and the Peabody
Conservatory, and her major teachers are Brad Garner, Randy Bowman,Clare Southworth,and Laurie
Sokoloff.www.LLSparks.com
Nancy Whelan is a collaborative pianist in the Triangle area and beyond,working with vocalists,
instrumentalists and dancers in both classical and theatrical genres.She is the Associate Musical
Director and Orchestra Contractor for North Carolina Theatre,and has over 25 years of experience as a
Musical Director,including Hairspray(NCT) and Next to Normal(Theatre in the Park).She has been a
keyboardist for numerous Broadway touring companies,including the National Tours of Wicked,Evita,
Mamma Mia! and Billy Elliot,to name a few,and was a member of NCT's Steel Pier national tour.She
has performed with the NC Symphony and recorded a CD with Andrew McAfee. She is a frequent
recital collaborator,has been a master class pianist for numerous clinicians,and is a class pianist for
the world-renowned Carolina Ballet,Ms.Whelan received her Masters of Music in Performance with a
Concentration in Accompanying from Meredith College,where she studied with James Clyburn and
Donna jolly.
This concert is sponsored in part by the Orange County Arts Commission Artist Grant and Muramatsu America.