NSAL National NewsletterFall 2018

President's Message

As a relative newcomer to the National Society of Arts and Letters, it is a great honor

to have been chosen to be the 38th president of the organization. I first became a

member of the Chautauqua New York Chapter in 2011, chaired the Winston Art

competitions for two years, chaired the national competitions since 2014, have been

chapter president from 2014 until chartering the Greater New York Chapter in 2016,

which brought together members from Chautauqua New York with new members

from New York City. Prior to joining the remarkable members of NSAL, I worked

in film production and development and was with Disney and Paramount studios

for over a decade before founding a producing organization in New York State.

NSAL is at a very exciting juncture in its history. For at least ten years our leaders

have acknowledged the need to adapt to the changing communication tools and

needs of the newest generation of artists. We have carefully considered, passionately

debated and painstakingly planned where we need to go in future decades. All those

plans are well on the way to being set in motion.

Equally exciting is the upcoming celebration of NSAL’s 75 years of support for

outstanding young artists, many of whom have gone on to international recognition.

I hope you will review the list of exciting activities planned by the DC conference

committee and register to attend as many as possible. We are currently working on

the marketing video we will premiere during one of the receptions. Perhaps you

have printed out the September 18 e-mail from DC Conference Chair, Bea Hessick.

If not, please see the document on pages 16-17. Our 2019 conference is certain to be

a glamorous and exciting week. Please consider arriving early or staying a day or

two longer to explore all the remarkable historic sites.

Many thanks to all who accepted positions on the board or as liaisons and

committee members. Your dedication and commitment to the organization

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Table of Contents

President’s Message

Competition & Winners

Winners Bios

Our Winners Stay

in Touch

Master Class

Judges

NSAL Shines

at the Met

Highlights of the

Annual Meeting

Minutes of the

General Session

Budget

Letter from DC Chpt.

The Past Meets the

Present

are invaluable. All the critical ‘heavy lifting’ couldn’t happen without your dedication.

No less important is the commitment and passion of our chapter officers and members. All of you have carried

the message of the founders forward. You have made possible critical support for extraordinary young artists.

We can all be proud to be part of the effort and glad for the opportunity to do our part among the daunting

legacies of our illustrious founders and past leaders, to fulfill the vision of Mollie Davis Nicholson and Francesca

Nielsen.

Most sincerely,

Margaret Johnson

National President

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2018 Woodwind Competition Winners

First Place Award

Hae Jee (Ashley) Cho

Flute

New Jersey

$12,000

First Place Award

Giorgio Consolati

Flute

Greater New York

$12,000

First Place Award

Ryan Roberts

Oboe

Greater Arizona

$12,000

Third Place Award

Li-Jie Yu

Clarinet

Bloomington

$4,000

Second PlaceAward

Alison Fierst

Flute

Pittsburgh

$6,000

In the 2018 Call to Meeting, President Judy Park mentioned a number of “firsts” that would take place at the

annual meeting in Chautauqua. She had several in mind, but the desire of the judges to bestow three first place

awards was not one of them. In 1992, when the Nicholson Nielsen Trust Fund was not as heavily endowed as it

is today, Mstislav Rostropovich insisted that there be two first place cello awards and that they both be for the

amount that had been designated for first place. Not having the extra money available, the committee went to

several members and asked for donations in order to meet Maestro Rostropovich’s demand. This group of judges

combined the amounts of money available for the three awards and gave an equal amount to all three competitors.

Each award recipient went home with a Nicholson-Nielsen Award for $12,000,—the same amount that was given

for first place in the En Point competition last year in Boca Raton. The second place Derek Oppen Award came

in at $6,000 and the third place Fran Goldstein/Jean St. Germain Memorial Award at $4,000. (Biographical

information and updates from our winners are available on pages 3 & 4.)

The competition was a kaleidoscope of woodwind music, each selection more captivating than the one before.

The difficulty of the pieces challenged the abilities of the young musicians, and they all rose beautifully to the

occasion. Members and guests left entranced by what they had heard and witnessed—thankful that they were

not one of the judges who would have to decide who were to be the five competitors who would leave with a

check in hand. As is always the case, the young musicians bonded together quickly, enjoying the opportunity to

share stories with one another about their lives in the world of classical music, as well as getting invaluable input

from the world-class team of judges who had joined us for this very memorable NSAL competition.

Flutist Hae Jee (Ashley) Cho served as principal flute of the New

York String Orchestral Seminar in both 2014 and 2015, performing

at Carnegie Hall’s Stern Auditorium. She is currently pursuing her

Bachelor of Music and Master of Music degree as a five year

accelerated student at The Juilliard School, studying with Carol

Wincenc. She attended The Juilliard School Precollege Division from

2008-14 as a student of Bart Feller.

Ms. Cho has contributed her enthusiasm to the many ensembles at

Juilliard, playing all positions in the Juilliard Orchestra, Lab

Orchestra, and New Juilliard Ensemble. As a member of the New

Juilliard Ensemble, Ms. Cho recently performed in the 2017 MoMA

Summergarden Series and performed works by Herbert Vázquez,

Roberto Sierra, and Donald Crockett. A passionate soloist, she was

the first prize winner at The Flute Society of Washington Collegiate

Competition (2018), second prize winner at The New York Flute

Young Artist Competition (2018), New York Flute Club Young

Musicians Competition (2010), and was a finalist in both the 2010

and 2012 Juilliard Pre-College Open Concerto Competitions. In

2012, she won the J. S. Bach Orchestral Suite No.2 in B minor

competition and performed with the Juilliard Pre-College String

Ensemble.

Born in Seoul, South Korea, Hae Jee began studying the flute at the

age of nine under the tutelage of Soo Kyung Park and has been

pursuing this passion ever since.

Flutist Giorgio Consolati: Praised for his “full tone, exacting

articulation and interpretive intelligence” (New York Classical

Review) and for his “expertise with pacing and technique” (Musical

America), Giorgio Consolati is completing his Bachelor of Music

degree at The Juilliard School under the tutelage of Carol Wincenc,

where he is the first recipient of the prestigious Kovner Fellowship

ever awarded to a flutist.

As winner of the 2018 Juilliard Concerto Competition, Giorgio

performed the Flute Concerto by Christopher Rouse in David Geffen

Hall with Maestro Alan Gilbert. Giorgio was also heard as a soloist

in the Mozart Flute and Harp Concerto with the National Repertory

Orchestra conducted by Carl Topilow. In addition to his solo

appearances, Giorgio is a laureate of many competitions, including

the Emanuele Krakamp, Leonardo De Lorenzo and the New York

Flute Club.

As a member of the Juilliard Orchestra, Giorgio has served as

principal flute in major concert halls in New York City including

Carnegie Hall, Alice Tully Hall and the Peter Jay Sharp Theater

under the batons of Alan Gilbert, David Robertson and David

Zinman. An avid chamber musician, he has performed in Lincoln

Center’s Morse and Paul Hall, and at the Norfolk Chamber Music

Festival. Giorgio has been recently invited to perform at the

prestigious Marlboro Music Festival for summer 2018.

Oboist Ryan Roberts (21) recently premiered Michael Torke’s Oboe

Concertino with the Albany Symphony, and recorded the work for

Albany Records. As a fourth year undergraduate Kovner Fellow at

The Juilliard school, Ryan studies with Elaine Douvas, performs

frequently as principal oboist of the Juilliard Orchestra, and has been-3-

a substitute in the Metropolitan Opera. He was recently recognized

by the New York Times for his “exquisite” performance of Sibelius’s

Swan of Tuonela with Esa-Pekka Salonen. In 2016, Ryan was a

member of the New York String Orchestra Seminar in Carnegie Hall,

and performed Mozart’s Piano Quintet in a recital with Emanuel

Ax. Ryan has spent three summers at the Aspen Music Festival and

was awarded the oboe fellowship. He was also chosen as a recital

soloist for the Crystal Symphony cruise line touring Portugal, Spain,

France and England. Ryan has studied piano since age 5, and won

third prize in the 2014 Bravura International Piano Competition; he

continues to perform regularly as a collaborative pianist.

Flutist Alison Fierst, an exuberant performer of solo and orchestral

repertoire, has been awarded many prestigious honors. Recently,

she won second place in the 2017 National Flute Association Young

Artist Competition in Minneapolis, as well as first place in the 2017

Flute Society of Greater Philadelphia Young Artist Competition.

Her previous achievements include being named an honorable

mention in the 2014 National Young Arts Competition and titled a

rising star by the Algonquin Arts Theater in Manasquan, NJ.

Alison has been awarded the flute fellowship at the Aspen Music

Festival and School, where she performed with the Aspen Festival

Orchestra under the direction of Robert Spano. While attending,

she studied with Nadine Asin, Mark Sparks, and Demarre McGill.

She has attended the Marina Piccinini International Masterclass and

The Consummate Flutist at Carnegie Mellon University. Alison has

performed in masterclasses with Emmanuel Pahud, Christina

Smith, Aralee Dorough, Jeffrey Khaner, Marina Piccinini, and

Brook Ferguson.

Native to Point Pleasant, New Jersey, Alison began her flute studies

with Inna Leoni (née Gilmore). She was previously principal flute

of the New Jersey All State Orchestra, where she had the

opportunity to play Ravel’s Daphnis et Chloe in the New Jersey

Performing Arts Center in Newark as well as Boardwalk Hall in

Atlantic City. Alison earned her Bachelor’s in Flute Performance at

Carnegie Mellon University. At CMU, she performed with the

Carnegie Mellon Philharmonic under the direction of Andrés

Cárdenes. Now, she is earning her Master’s in Orchestral

Performance at the Manhattan School of Music. She is forever

grateful to her teachers Robert Langevin, Alberto Almarza, Jeanne

Baxtresser, and Lorna McGhee.

Clarinetist Li-Jie Yu was born in 1994 in Taipei, Taiwan. She just

received her Master of Music degree in clarinet performance from

the Jacobs School of Music, Indiana University in April 2018, and

will start her new adventure in the program, Artist Diploma (with

Associated Instructorship position) in Jacobs School of Music in fall

2018.

Li-Jie began her musical lessons at the age of 5. She learned piano

with her mother, and then studied both piano and clarinet in a music

school in Taiwan at age of 8. During school years, Li-Jie got very

solid musical training and had good performances, and was then

admitted into Taipei National University of the Arts, which is the

best music school in Taiwan, to study her bachelor degree under

Professor Pei-Yun Lin and Jia-Yun Amy Zhang. Li-Jie won several

WINNERS’ BIOS

awards in Taiwan, including second prize in the Buffet Crampon

Clarinet Competition in Taiwan 2012, first prize in the National

Student Competition of Music in Taiwan 2011, and was a 6-time

recipient of the Academic Presidential Award in TNUA.

After receiving her Bachelor of Music degree in clarinet performance

in TNUA in 2016, Li-Jie gained admission to Indiana University and

studied with Professor Eli Eban in JSoM. In the United States,

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Li-Jie pursued her musical life deeply and received many

outstanding awards as well. She was the candidate of the clarinet

department for the Woodwind Concerto Competition in 2017, got

1st prize in NSAL’s Woodwind competition in 2018, and received

the Performer’s Certificate for her excellent recital playing. In

addition, Li-Jie was the principal clarinet in IU’s Philharmonic and

Symphony Orchestra. In the summer of 2018, Li-Jie will be attend

the Sarasota Music Festival to explore advanced musical adventure.

OUR YOUNG WINNERS STAY IN TOUCHLiaisons for Award Winners and Career Opportunities Doni Lystra and Denna Shiben have been hard at work since being appointed by

President Margaret Johnson and, as promised in the prior e-blast, here are reports from our five 2018 winners. There will be more later.

sent to Ryan from the Career Opportunities Fund. J.P.)

Alison Fierst

I wanted to say thank you again for the opportunities NSAL

provided. It was such a joy to participate in the competition and

meet all the other incredibly talented musicians and the members

of the organization.

Since then, I began graduate school in the fall at the Manhattan

School of Music studying with principal flute of the New York

Philharmonic, Robert Langevin. And just recently, I won the

position of second flute in the Rochester Philharmonic Orchestra.

I cannot express my gratitude enough for NSAL. It is truly an

amazing organization for supporting up and coming creatives like

myself. I’m proud to be associated.

Li-Jie Yu

I had such a wonerful time with all of the people in the NSAL

Woodwind competition in May. Those few days in Chautauqua

were really meaningful and unforgettable for me. I miss all of you—

especially those cute and energetic contestants (I mean, friends!). It

was my pleasure to meet all of you, and I am so happy every time I

see some updates on Facebook from any of you.

After the NSAL competition, I went to the Sarasota Music Festival

for three weeks. It was my first time attending a festival in the US,

and I was so glad I went. I learned a grat deal playing with so many

amazing musicians and listening to many good concerts. The best

part is that I met friends there, and had a great time with them.

Now I am studying for an Artist’s Diploma at IU’s Jacobs School of

Music. This is my first semester in the program, and I have

experienced so many things this semester— performing chamber

music, playing with the orchestra and in solo recitals. However, I

also found out that I have TMJ disorder. Although it was not too

serious, I couldn’t practice much everyday. I was very frustrated by

that, because the pieces I played were very difficult. Sometimes it

was not just TMJ; I also experienced facial muscle weakness, and it

happens even now. I am still glad I completed those performances;

they all went pretty well. Even though I have the condition,, I can’t

stop playing music, because music is the most beautiful thing in the

world. I love music more and more everyday, and I believe this is

going to continue to be the case in the future.

Hae Jee (Ashley) Cho

Thank you for your email and I would love to share what I’ve been

doing! After the Woodwinds Competition in Chautauqua, I went to

Round Top Music Festival in Texas for 6 weeks. After the festival, I

took a break. Once school started, I performed for the Bernstein

Centennial Celebration with the Juilliard Orchestra, under the baton

of Marin Alsop at Carnegie Hall. The program for the concert

included Bernstein’s Birthday Bouquet and Songfest as well as

Shostakovich’s Symphony No. 5 in D Minor, Op. 47.

Giorgio Consolati

Thank you for your email! After NSAL I had a bit of time in Italy

for vacation and then I went to Marina Piccinini’s masterclass at

New World Center in Miami, where I also performed in a concert

for the recipients of her class’ scholarship. Immediately after that, I

spent 7 weeks at the Marlboro Music Festival in Vermont, playing

concerts and working with amazing musicians. It was a really great

experience! Following Marlboro, I came back to Juilliard.

Ryan Roberts

After spending my fourth summer at the Aspen Music Festival as

the Oboe Fellow, I traveled to Granada, Spain to compete in the

International Double Reed Society’s 2018 Young Artist Competition.

It was such a thrilling conference with oboe players from every

corner of the world, and, whether by luck or by lots of hard work

(probably a bit of both!), I was awarded first prize at the competition.

Right after my winner’s recital in Spain, I flew to Miami to start my

fellowship with the New World Symphony under the direction of

Michael Tilson-Thomas! Now that I’m settled into my apartment in

Miami Beach, I am growing to love Florida and all of its glorious

stickiness.

As I’m sure both of you know, taking orchestra auditions is a huge

part of every wind player’s life, and this year there are several that

I am preparing for. The first audition is for the Philadelphia

Orchestra on November 5, and after receiving the email about career

support, I figured this would be a great opportunity to ask for some

financial assistance. Orchestra auditions are usually described as a

“numbers game”, meaning the more you take, the better you get,

and the more likely you are to be successful! As true as this is, it’s

also a huge financial strain on many musicians, and I would be very

grateful for any support NSAL can provide.

(A check to pay for the airfare to Philadelphia has already been

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THE MASTER CLASSJudge Carol Wincenc called the meeting to order and opened the session by reporting the four judges were

“thrilled” with the woodwind competitors’ level of work and professionalism. They did fine work with an

“impossible” set of requirements. (Members had been commenting on how advanced these contestants seemed

to be, how great the competition playing had been, how difficult a time the judges must be having in making

their decisions.) The four judges each took one contestant playing the instrument he or she played for a lesson

aimed at the contestant’s getting more sound and more advantageous breathing or more adept handling of the

music. All the judges aimed to illuminate listeners’ knowledge of work with the instrument. The judges worked

so well and the contestants they worked with were so responsive that Ms. Wincenc let the session go overtime

before lunch and no one protested. Piano accompanists were as much a part of the action in the Master Class as

they were in the competition. All the contestants, of course, were seated up front.

Carol Wincenc directs Little Rock contestant Indigo Fischer

Carol Wincenc invites

contestants and observers

to get up and stretch. Christopher Raymond (Central Illinois)

William Ludvig explains how the shape of the mouth changes air sound.

Judge William Ludwig, the bassoonist, worked with

one of the two bassoonists (he gave a free lesson to

the other bassoonist after the Master Class)

especially on air support to arrive at “a wider

palette of color” in the sound. Mr. Ludwig talked

about “more resonance of the body” and “the whole

process of the body”—not just the mouth and its

embouchure—as pertinent to playing the bassoon.

As usual in these sessions, the contestant had to

play a passage many times, showing for instance

how the shape of the mouth changes air sound. At

the conclusion of this demonstration, the judge and

the contestant thanked one another, in this order.

Judge Wincenc next had the whole assembly, contestants and observers too,

stand up and stretch. She encouraged movement, the waving of arms, etc.,

what she does with a class. Seated again, those assembled heard a flutist play

a long piece. Judge Wincenc asked everyone to think about the “architecture

of the piece,” and to think about whether we understand the composer’s

wishes. She too talked about air, about the face, about the cheeks as room

for more air, about the belly area. She asked how many among the audience

were singers, saying singers and flutists work with some of the same

elements. At the end of her time, she asked if both groups of onlookers—

contestants and audience—were learning. Full assent.

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of expression.” Unabashed, a showman as well as a player and

teacher, Judge Neidich said “I will show you both the way you

played it and the way you should play it.” The way he should

play it was much more sustained, continuous. This judge, too,

talked about air support, about longer breaths, about control, to

produce “a combination of pressure and speed.” “The composer

is telling you what shape you should play; carry from one phrase

into the next.” Judge Neidich too was pleased with the

clarinetist’s, his student’s, responses to his instructions. He

continued the lesson after everyone else had left for lunch. (We’re

not sure if Charles and Cameron ever got any lunch. J.P.)

Indeed, all the on-stage responders to the judges responded very

well to instruction. It was a very fine Master Class,—very

satisfying. (Our thanks to Greater Arizona member Carey Wall

for this enlightening report on the Master Class. J.P.)

All the music we heard during our brief time in Chautauqua—

beginning with the performances at the Presidents’ Luncheon of

our Winston Scholarship recipient Lindsey Reynolds and that of

Anthony Ciaramitaro (by video), first place winner of the

Dorothy Lincoln-Smith Classical Voice Competition, and the

judge’s concert on Thursday evening, continuing through the

competition, the master class and the performances of the top

three winners on Saturday evening certainly confirmed in our

minds the depth of Plato’s understanding of music.

THE MASTER CLASS (cont.)

Mark Ostoich questions Michelle Feng (Hawaii).

Charles Neidich instructs Cameron Hewes

(Boca Raton/South Florida)

Third was the oboe. Judge Mark Ostoich asked the oboist he

worked with to talk about the emotions in the various parts of the

music she played. She talked about contrasts and vibrato

variations. The judge gave her quiet directions and she played

the piece again. He said a rest in the music doesn’t always mean

rest; a player has to see what else is going on in the symphonic

music. He asked the player where the musical story’s

metamorphosis occurs; the oboist pointed at the score and said

“right around here.” The judge agreed. He asked “Did you

change to a different note there on purpose?” Hearing yes, the

judge responded, “If you can feel it, what you’re doing is all

perfectly valid. You can do it—play the note on the score or the

note you feel is right—either way.”

Finally, the clarinet. Judge Charles Neidich said he would do his

best to condense an hour’s lesson into the half hour each judge

had been assigned. “In performance we have to be sensitive to

the composer’s thinking, to his “harmonic language, to this “sense

Music gives a soul to the universe, wings to the mind,

flight to the imagination and life to everything.—Plato

During this season of Thanksgiving, we

are grateful for the dedication of all of our

members to the mission of NSAL, as we strive

to help young artists realize their dreams.

JUDGES’ BIOS

Judges William Ludwig, Mark Ostoich, Charles Neidich and Carol Wincenc

William Ludwig joined the faculty of Jacobs School of Music at

Indiana University as Professor of Bassoon in August of 2007 and

was appointed Chair of the Woodwind Department in 2010.

Previous to this appointment he had been Professor of Bassoon at

Louisiana State University since 1985. Since 2002 he has been in

residence at the Brevard Music Center as principal bassoon of the

Brevard Music Center Orchestra and artist-teacher faculty.

His orchestral experience also includes principal bassoon with the

Baton Rouge Symphony (1986-2007) and the Florida Orchestra

(1980-1985) and recently as extra with the Los Angeles Philharmonic.

A noted chamber musician, he has performed in a wide variety of

settings in the United States ad Europe, including at the Prague

Spring International Music festival, Highlands (NC) Chamber Music

festival and Hot Springs Music festival and with the Orpheus

Chamber Orchestra, Timm Wind Quintet and Ars Nova Wind

Quintet.

He was artist-in-residence at the State University of New York-Stony

Brook Department of Music from 1989 to 1994 concurrently with his

LSU appointment and taught at the University of South Florida

from 1979 to 1985. He holds degrees from Louisiana State

University and Yale School of Music and had the privilege of

studying with John Patterson, Sol Schonenbach, Leonard Sharrow,

Bernard Garfield and Arthur Weisberg.

Charles Neidich hailed by the New Yorker as ”a master of his

instrument and beyond” regularly appears as soloist, conductor, and

as collaborator in chamber music programs with major orchestras

and chamber ensembles throughout the world. He is a member of

the New York Woodwind Quintet and a member emeritus of the

Orpheus Chamber Orchestra.

An ardent exponent of new music and a composer himself, he has

expanded the technical capabilities of the clarinet and has

championed works of many of the world’s most important

composers. A leading performer on period instruments and founder

of the wind ensemble Mozzafiato, he has made award winning

recordings for leading record labels and has most recently released

a recording of the Mozart Concerto on historical instruments with the

ensemble Solamente Naturali for Brennen radio Hall recordings.

Charles Neidich has been a long time participant at the Marlboro,

Sarasota, Cruelly, and Moritz Festivals, as well as the Weimar and

Apeldoorn Master Courses. With his wife, clarinetist Ayako

Oshima, he has founded the WA Concert Series in New York and he

organizes the Kitakaruizawa Music Festival in Japan. Very active in

education, Mr. Neidich is on the faculty of the Mannes College of

Music, The Juilliard School, the Manhattan School, the CUNY

Graduate Center and the Aaron Copeland School of Music at

Queens College where he conducts their Chamber Orchestra. He is

the winner of the 1982 Munich ARD and the 1985 Naumburg

Competitions and in 2004, at Juilliard, he was awarded the William

Schuman Award.

Mark Ostoich has been a Cincinnati College Conservatory of Music

(CCM) faculty member since 1996. In connection with CCM,

Ostoich has served as artist-faculty of the CCM Spoleto Festival in

Spoleto, Italy, as well as the Lucca Festival and Opera Theatre of

Lucca (Italy) and CCM’s Grandin Festival. He performs extensively

in solo and chamber music settings and is in demand as a recitalist

and clinician for master classes. Along with clarinetist Steve Cohen

of Northwestern University, and bassoonist William Ludwig of

Indiana University, Ostoich performs and tours regularly as the Trio

Cayenne and Lyric winds.

Ostoich has an extensive orchestral background and is frequently

called upon to perform with the Cincinnati Symphony Orchestra,-7-

Cincinnati Chamber Orchestra, Cincinnati Ballet, Columbus

Symphony, Columbus ProMusica and Dayton Philharmonic. He

has performed as second oboe of the New York Philharmonic,

associate principal of the Pittsburgh Symphony Orchestra, second

oboe in the Cleveland Orchestra and principal oboe of the Louisiana

(New Orleans) Philharmonic. He has held the principal oboe

position of the Santa Fe Opera, was principal oboist of the

Jacksonville Symphony for 12 seasons and was the principal oboist

for the Baton Rouge Symphony for 13 seasons.

For the last 16 years he has been the featured teacher of the Oboes

at Oxford oboe camp, now held at Reinhardt College in Georgia

each July and Midwest Oboe Camp at Wittenburg University in

Ohio. He has also served as artist-teacher for the Advanced Double

Reed Institute in Texas.

Ostoich was formerly professor of oboe at Louisiana State

University and University of Florida, the University of Texas and

Ohio University. He was artist-teacher of oboe at the Sewanee

Summer Music Center and member of the Sewanee Wind Quintet.

He received the DMA degree from Louisiana State University where

his primary teacher was Ernest Harrison, and major influences in

his career include John Mack, Joseph Robinson and Christopher

Philpotts.

Carol Wincenc: Hailed “Queen of the Flute” (New York Magazine)

at the outset of her, now, brilliant 48 year career, flutist Carol

Wincenc was first prize winner of the (sole) Walter W. Naumberg

Solo Flute Competition, the recipient of the Lifetime Achievement

Award from the National Flute Association, as well as the National

Society of Arts and Letters Gold Medal for Lifetime Achievement in

Music. In addition, she has received Distinguished Alumni Awards

from Manhattan School of Music and the Brevard Music Center.

During the past two seasons she performed, recorded and gave

master classes as an exclusive Burkart Flutes Artist in Beijing,

Shenyang, Seoul, Warsaw, Prague, Venice Nice and Thessaloniki. In

North America she performed as soloist and chamber musician from

coast to coast in Seattle, Phoenix, Dallas, Edmonton, Banff, Iowa

City, Minneapolis, New Orleans, Tucson, Palm Beach, Sarasota,

Philadelphia, Boston and her home city, New York. Recently she

recorded an all Uebayashi album with the award winning Escher

String Quartet, and video/audios in partnership with her

collaborator/pianist Bryan Wagorn of the Metropolitan Opera.

Most recently she and Mr. Wagorn performed to a sold out house at

Weill Carnegie Hall for the “Naumburg Looks Back”series.

Delighting audiences for over four decades with her signature

charismatic, high virtuosity and deeply heartfelt musicality, she has

appeared as soloist with such ensembles as the Chicago, San

Francisco, Pittsburgh, Detroit and London Symphonies, the BBC,

Warsaw and Buffalo Philharmonics, as well as the Los Angeles,

Stuttgart and Saint Paul Chamber Orchestras, the latter for which

she was Principal and Solo Flute from 1972-77. She has performed

in countless festivals such as Mostly Mozart, Aldeburgh, Budapest,

Frankfurt, Santa Fe, Spoletto, Music at Menlo, Aspen, Yale/Norfolk,

Sarasota, Banff and Marlboro. The muse of today’s most prominent

composers, Ms. Wincenc has premiered numerous works written

for her by legends Christopher Rouse, Henryk Gorecki, Lukas Foss,

Jake Heggie, Paul Schoenfeld, Tod Machover, Yuko Uebayashi, Thea

Musgrove, Andrea Clearfield, Shi-Hui Chen and Joan Tower. In

great demand as a chamber musician, Ms. Wincenc has collaborated

with the Emerson, Tokyo, Guarnieri, Cleveland, Juilliard and Escher

String Quartets, and performed with Jessye Norman, Emanuel Ax

and Yo-Yo Ma.

A Grammy nominee, she has recorded for Nonesuch, London/

Decca, Deutsche Grammophon, Telarc (Diapason D’Or Award),

Music Masters (recording of Special Merit with Andras Schiff) and

Naxos (Gramophone Magazine “Pick of the Month” with Buffalo

Philharmonic). Ms. Wincenc created and directed a series of

International Flute Festivals at the Ordway Theater in St. Paul,

Minnesota, featuring such diverse artists as Jean -Pierre Rampal,

Herbie Mann, Steven Kujala, and the American Indian flutist, R.

Carlos Nakai. She had the privilege of working directly with

legendary music luminaries Aaron Copeland, Olivier Messaien,

Rudolf Serkin, Joshua Bell, Chrisotophe Eschenbach, Loren Maazel,

Michael Tilson Thomas, Phillip Glass, Andre Previn, Paul Simon and

Judy Collins, to name a few!

She is a member of the New York Woodwind Quintet and a

founding member of the Les Amies with New York Philharmonic

principals Nancy Allen, harpist, and Cynthia Phelps, violist. Ms.

Wincenc continues more than a quarter of a century on the faculties

of The Juilliard School and Stony Brook University having mentored

and graduated countless rising flute stars, commanding principal

flute positions in major symphony orchestras and university

professorships. She is renowned for her popular series of etudes

and flute classics, the “Carol Wincenc 21st Century Flute” published

by Lauren Keiser/Hal Leonard Music Publishers (available on

‘Amazon’).

A long time resident of New York City, she resides with her

singer/songwriter son Nicola Wincenc (<cavernsband.com>). Carol

Wincenc is a native of Buffalo, NY, and was raised in a deeply active,

musical family, along with her two older sisters, and under the

mentorship of her violinist father and symphony conductor, Dr.

Joseph Wincenc, and pianist mother, Margaret Wincenc. Having

concertized on five continents, Ms. Wincenc loves nothing more than

“giving back” with her music-making to communities world wide.

-8-

NSAL SHINES AT THE METOn January 19th, Carol Wincenc and Judy Park attended the final dress rehearsal of Il Trovatore at the Met. A glance at

the program revealed that 2012 1st Place Voice Award recipient, Sarah Mesko, was singing one of the principal roles in

the opera. A bit of sleuthing on Judy’s part found that 2nd Place Award recipient, Nadine Sierra, would be singing a

principal role that evening in the final performance of The Barber of Seville. Also that evening the Greater New York

Chapter was hosting a cocktail party at which Carol Wincenc and Julia De Rosa, who received the 1st Place Award in

the 2014 Woodwind Competition, were going to play. During the afternoon, Julia called Carol to say that they would

have to play at the very beginning of the event, because she had been called to be the principal oboist that night at the

Met. How high they do rise! We can’t ask for much better than that!

-9-

HIGHLIGHTS OF THE ANNUAL MEETINGWe continued the work of NSAL in a most unusual setting this year—at the Chautauqua Institute, a truly unique

place on the shores of Chautauqua Lake. Although we had envisioned the meeting as being more like a retreat

rather than having the atmosphere of other annual meetings, we found ourselves just as busy as always with the

usual number of meetings and receptions. Judy Park had mentioned that there would be a number of “firsts” at

the meeting, and, indeed, there were— beginning with the beauty of the Chautauqua Institution. Following that,

the next “first” took place at the

President’s Luncheon, where, in

addition to the honoroing of all of our

chapter presidents and the national

past presidents who were present; the

performance of the Winston Voice

recipient, Lindsey Reynolds; the slide

show and talk given by Winston Art

recipient, Pearson Chambers; and the

video of the 1st place winner of the

Dorothy Lincoln-Smith voice compe-

tition winner, Anthony Ciaramitaro;

the new NSAL Metropolitan Chicago

Chapter was chartered.

Winston Voice scholarship recipient Lindsey

Reynolds sings at the Presidents’ Luncheon

Winston Art scholarship recipient Pearson

Chambers speaks at the Presidents’ Luncheon

2nd VP Margaret Johnson and Metro Chicago

Chapter President Judy Park sign the charter,

making the new chapter official.

Another “first” took place that evening when our four judges presented an all Poulenc concert in Lenna Hall.

Contestants and memebrs alike were held spellbound by the extraordinary music. In many ways, the concert

was also a master class for our young competitors, who were inspired by the expertise of the judges to play even

more beautifully themselves on Friday during the woodwind comeptition.

Music expresses that which cannot be said and on which it is impossible to be silent.—Victor Hugo

Once the music began on Thursday evening, it did not stop for the next two days. On Friday, in the morning

and the afternoon, we heard the 16 contestants vie for the $46,000 that would be divided up among five of them

on Saturday evening. Comments from long-time members were that it was one of the finest music comeptitions

they had ever witnessed. The Master Class on Saturday morning, about which you have already read, was both

educational and inspiring.

-10-

Carol Wincenc opened the special Poulenc concert given by our four judges and

two pianists on Thursday night in Lenna Hall. Bill Ludwig played the bassoon,

the instrument that was added to the Woodwind competition this year.

Charles Neidich, 2018 recipient of the NSAL Gold Medal for

Lifetime Achievement with 2014 recipient, Carol Wincenc

At the Awards Dinner on Saturday evening, Charles Neidich

received the Gold Medal for Lifetime Achievement, adding

another “first” to the meeting—having two Gold Medal

recipients present at the same annual meeting. (Judge Carol

Wincenc received her Gold Medal in Charleston in 2014 at

NSAL’s first Woodwind comeptition.)

The announcement made by Master of Ceremonies Charles

Altman of the 2018 Woodwind competition winners held the

final, unexpected “first”— that the judges had chosen three

first place awardees from among the 16 competitiors. At the

end of the evening on Saturday, the changing of the guard

took place when Judy Park gave over the president’s pin and

the gavel to newly elected President Margaret Johnson, who

closed the 2018 annual meeting.

As most partiicpants began to leave on Sunday morning,

memebrs of the 2018-2020 Board of Directors met to plan for

the future of the National Society of Arts and Letters.

We express our heartfelt thanks to Alexander

Aylward, Colette Valentine and Patti Wolf—the gifted

pianists who accompanied our contestants, our

Winston Voice recipient and our featured concert artists.

4. She is happy to have the new Chicago Chapter organized.

5. Ms. Johnson is working with the Strategic Planning

Committee to develop new branding and image. More will

be discussed later in the meeting.

6. Treasurer – Kathy Fulstone reported in the absence of

Treasurer, Kathleen Anderson. The total income for 2017-

2018 was $95,153.00. The total expenses for 2017-2018 were

$92,668.00, both revised 7/8/2018.

Reports of Finances and Funds:

1. The 75 Fund – Kathy Fulstone reported the income to this

fund in the last year was $4,750.00.

2. NSAL Papp/Schwab Funds – Kathy Fulstone reported the

following:

The beginning Balance on May 31, 2017: $97,466,28

Ending Balance on May 14, 2018: $111,013.57

Total Net Gain: +13.9% $13,547.29

Total interest/dividends from 5/31/17-5/14/18: $ 3,153.05

There is $13,000.00 in the checking account earning no

interest.

*The interest and dividends stay in the account.

3. Financial Report of the Board of Trustees/Winston Funds

was given by Doni Lystra. The following 8 Peoples Bank

Annual Reports were given from May 1, 2017-April 30, 2018.

A. Audrey Peery Fund investment income was $2,144.18 and

the ending Market Value was $25,397.73. B. Lee Fund

investment income and growth was $5,819.15 and the ending

Market Value was $65,618.81. C. Nicholson-Nielsen Trust

Fund investment income and growth was $54,238.80 and the

ending Market Value was $614,832.47. D. Mary Peery Fife

Fund had a total investment income and growth of $9,352.46

with the ending Market Value of $106,554.51. E. Shirley

Rabb Winston had a total investment income and growth of

$47,507.31 with the ending Market Value of $513,342.88.

F. Svetlova Fund had investment income and growth of

$6,874.41 and the ending Market Value was $78,325.72.

G. Derek C. Oppen Fund — Instrumental Music had

investment income and growth of $996.96 with the ending

Market Value of $153,027.60. The contributions for the year

were $152,127.84. H. Derek C Oppen Fund — Musical

Theater had investment income and growth of $996.86 with

the ending Market Value of $153,027.48 and the contributions

for the year were $152,127.83.

4. Budget for 2018-2019 compiled by Doni Lystra and Judy

Park was presented by Kathy Fulstone in the absence of

Treasurer, Kathleen Anderson. The copy of the budget was

passed out to each person present by Doni Lystra. The

proposed income is $94,955.00 and the proposed

disbursements are $94,955.00. Kathy asked for questions per

line item. Judy Park answered the questions, in particular

about the new Derek Oppen Fund. The budget will be

2018 ANNUAL NATIONAL MEETING

Chautauqua, NY

Thursday, May 24, 2018

Meeting 9:00-12:00 & 1:30-5:00

Lunch 12:00-1:30

The 2018 General Session was called to order by President,

Judy Park, at 9:10 AM. “Words of Inspiration” were read by

Mary O’Reilly for Chaplain, Vi Steinmeyer, who was not able

to be present. Mary O’Reilly also requested a moment of

silence to remember those NSAL members who are no longer

with us. Their names are listed In Memoriam in the program.

Margaret Johnson, Chair of the Host Chapter, welcomed

everyone to Chautauqua, N.Y. and introduced the

Athenaeum General Manager, Bruce Stanton, who welcomed

all to the historic hotel.

Report of the Nominating Committee:

Carl Altstetter reported the slate of officers for the 2018-2020

Term. They are the following- President, Margaret Johnson;

1st Vice President, Doni Lystra; 2nd Vice President, Anne C.

White; Recording Secretary, Joy Thornton-Walter; and

Treasurer, Judy Park.

Election of Officers:

Deidre Casey handed out the ballots and the 2018-2020

Officers were elected.

Minutes of the 2017 (General Session) Kathy Fulstone,

Recording Secretary announced the minutes were approved

by the following committee members – Charles Altman,

Sylvia Arnstein, and Sandy Charles.

Reports of Elected Officers:

1. President, Judy Park, reported the many successes the

NSAL National winners have had. She also reported the

Chicago Chapter has 15 members and the charter will be

signed today. All the officers voted “yes” to accept this new

chapter.

2. Margaret Johnson, 2nd Vice President, gave the Registrars

Report for the 74th Annual Convention and Competition,

Instrumental Music: Woodwinds, May 21-27, 2018 in

Chautauqua, NY hosted by the Greater New York Chapter.

There were a total of 72 people in attendance including guests

of members. Of those, there were 34 delegates, 16

contestants, 4 judges, and 3 accompanists making a count of

57.

3. Margaret Johnson also announced the approval to change

the Chautauqua Chapter to The Greater New York Chapter

in 2017, in order to expand to a broader region. The chapter

is growing and gained new members in early 2018.

-11-

MINUTES OF THE ANNUAL NATIONAL MEETING

approved by the new board at their meeting on Sunday, May

27, 2018. The revised budget emailed 7/8/2018 by Doni

Lystra shows proposed income $95,995.00 and proposed

expenses $95,995.00.

Bylaws – Judy Park reported for Sandy Charles regarding the

changes to be made in the future regarding the dissolution of

NSAL National and how the funds would be disbursed.

Insignia – Linda McClain reported for Carol Bernstein.

Liaison for Award Winners & Career Opportunities –

reported by Denna Shiben

The qualified recipients for a Career Opportunity award were

all notified of the opportunity for a monetary award last

September of 2017 and again in January of 2018. Five

competition winners were given awards and they are as

follows:

JOHN CLAY: John Clay was a winner in the Musical Theater

competition held in Phoenix, Arizona in 2016. John was

awarded $500 to purchase a keyboard, microphone and

vocoder so that he could record his own music. John wrote,

“Thank you for reaching out with this incredible opportunity.

The NSAL competition has allowed me to believe in myself

and take ownership of who I want to be as an artist. I have

moved to New York City and have performed at performance

venues like 54 Below and a duplex cabaret bar.”

JULIET DOHERTY: Juliet was a winner in the Dance: En

Pointe competition held in Boca Raton, Florida in 2017. Juliet

was awarded $350 to purchase her ballet shoes and take

classes. Juliet wrote, “I’m very appreciative of the NSAL and

the ongoing support it provides aspiring talent and youth.

Since winning in the competition, I have been able to perform

in Sydney, Australia at the Australian Dance Festival and I

will be performing in New York City this March with

BalletNext. I thank you very much for everything the NSAL

has made available to me.”

JONATHAN MAJORS: Jonathan was a winner in the Drama

competition held in St. Louis, Missouri in 2015. Jonathan was

awarded $500 for traveling expenses. Jonathan wrote, “I

cannot express to you all, what a life changing experience the

NSAL competition was for me. I stared in an ABC mini-series

that premiered last year directed by Gus Van Sant and then

will be acting in four feature films hitting the screens

world- wide. Thank you and the rest of the NSAL family for

all you have done for me. You all have been such an

instrumental part in my growth as an actor and artist. Please

let me know how I can be of any help to NSAL in the future.”

CAMERON MULLIN: Cameron was a winner in the Musical

Theater competition held in Phoenix, Arizona in 2016.

Cameron was awarded $300 for voice lessons on Skype with

his teacher in New York City. Cameron is currently on tour

with the RENT 20TH Anniversary Tour. Cameron sent NSAL

a program of the RENT Tour with his photo on the cover with

the cast of the show. Cameron had the cast members

autograph the page with their names displayed on it in the

program.

MASANORI TAKIGUCHI: Masanori was a winner in the

Dance: En Pointe competition held in Boca Raton, Florida in

2017. Masanori was given $305 to pay for his registration fee

in the Youth America Grand Prix competition in Chicago,

Illinois. Masanori won first place in this competition, which

entitled him to enter the Joffrey Academy of Dance

competition in New York City. He was awarded $310 for this

registration fee. Masanori wrote: “Thank you for helping me

with the registration fees of these competitions or I would not

have been able to enter them.”

Each of the competition winners who received an award

documented his or her expenses with an invoice, which was

sent to the National Treasurer. The total amount awarded for

the 2017-2018 year from the Career Opportunities Fund was

$2,265.00.

Report of the Career Awards Chair (Woodwind

Competition Chair) – Stephen Pugh

Stephen thanked all who helped with this year’s National

Woodwind Competition. He mentioned the importance of

having woodwind competitions as they rarely are given. He

also mentioned the 4 judges and accompanists would be

giving a woodwind concert this evening at Lenna Hall.

Judy Park mentioned discussion about future competitions

would be done at a later time.

Report on NSAL Arts:

Reports of Winston Scholarships

1. Shirley Rabb Winston Classical Voice – Ruth Albright re-

ported for Carla Jones-Batka. There were 24 competitors with

9 winners. The total amount given was $12,000.00 with

$2,100.00 the highest and $600.00 the lowest. The winners

were Lindsey Reynolds $2,100.00, Jeannie Miller $2,000.00,

Aaron Crouch $1,900.00, Sophia Hunt $1,800.00, Bradley

Bickhardt $1,000.00, Matthew Soibelman $1,000.00, Clara

Reeves $1,000.00, Veronica Siebert $600.00, and Olympia

Hatzilambrou $600.00. The three judges were Jane Bunnell,

Maestro Joseph Rescigno, and Millicent Scarlett. Lindsey

Reynolds performed for the conference during the

President’s luncheon on Thursday, May 24th.

2. Naomi Rabb Winston in Two-Dimensional Art – Mary

O’Reilly reported for Chris Cosdon. There were 21 applicants

from 11 NSAL chapters. Of the $12,000 in available

scholarships, 10 artists received scholarships ranging from

$2,000 to $1,000. The artists’ ages were 16 to 21. The winners

were Dillon Bolton $1,500.00, Pearson Chambers $2,000.00,

Kylie Demkowicz $1,000.00, Isabella Hernandez $1,150.00,

Natalie Klar $1,000.00, Christopher Pleasant $1,000.00, Julie-12-

Sharpe $1,000.00, Annika Sornson $1,150.00, Marisa Stratton

$1,000.00, and Tessa Tallakson $1,100.00. The judges were

Professor Arthur Skinner and Professor Kirk Ke Wang. The

winner, Pearson Chambers, was present and gave a slide

show of his work at the President’s Luncheon.

Dorothy Lincoln-Smith Classical Voice Competition – Anne

White reported for Dorothy. In 2018 there were 23 excellent

competitors. The Due date this year was Feb.15 at the local

chapters for judging, and 2 chapter winners to Dorothy by

March 10. The winners were #1 Anthony Ciaramitaro, tenor

who is in the Santa Fe Opera this summer. Tieing for #2 were

Alexandra Nowakowski, soprano from New Jersey Chapter

and Alison King, soprano from the Greater New York

Chapter. The judges for 2018 were Josefien Stoppelenburg,

Christopher Cano, and Gerald Dolter.

Iowa Young Writer’s Workshop – Carey Wall reported

A little bit of history: NSAL started supporting high school

students attending a two-week summer session at the Iowa

Young Writers’ Studio in 2015. Last year and this year we

have been financially able to support two students. We paid

the IYWS fee and gave some money for expenses during the

two weeks.

So in the future you can look for publications by these people.

Here again are their names:

Adriane Tharp (2015), Michelle Chen (2016), Lisa Shi and

Sarah Shin (2017). This year the Literature Committee (Joy

Thornton-Walter, Donald Lystra (novelist), Judy Park and

Carey Wall) asked to see materials for four or five applicants,

received five, achieved more agreement than disagreement,

and recommended Anastasia Farley and Ana Maria Cornejo-

Silva.

CalArts – Judy Park reported

Established in 1987 with pledges totaling $42,234, the fair

market value of the National Society of Arts and Letters

Scholarship Fund on December 31, 2017 was $191,317. This

academic year, the National Society of Arts and Letters

scholarship generated $6,100 in scholarship support for

undergraduate student Mayahuel Rosado. This is the second

year that “Maya” has received the NSAL Scholarship.

Strategic Planning – Diedre Casey reported

The committee has not yet met, but the goal is to attract 20-

30 year old people by utilizing the technology they use, i.e.

Facebook and in particular YouTube to show upbeat video.

PR is needed for the 75th Anniversary in 2019. We hope to

create uniformity in video and press releases used by the

chapters. Diedre and Margaret would work with the chapters

to help them post the video when it is completed.

Video and Website – Judy Park noted we would put the new

video on YouTube to spread the word about NSAL. We need

to “move forward” to make changes in order to survive. Judy

answered questions from those present while Margaret

Johnson worked on getting the video presentation ready to

SKYPE with Mehdi Okasi regarding the changes in the

National website. He suggests having one website with

pages for each of the chapters.

Margaret Johnson commented further about the Strategic

Planning saying we need to be involved with the media.

Approval of 2018 General Session Minutes Committee of

volunteers:

The three people who volunteered to examine and approve

the minutes from this meeting, Thursday, May 24, 2018 are:

Charles Altman Judi Asselta

(craltman@comcast.net) (judiasselta@gmail.com)

Mary O’Reilly (maryeor@sbcglobal.net)

Welcome from the Vice President of Visual and Performing

Arts, Chautauqua Institution, Deborah Sunya Moore.

Life-long learning is the goal of this institution to resonate

and inspire. There is change, evolution, and growth to

continue to be relevant to the community. This year there is

new opera, a new orchestra director, and a new piano.

Adjourn for the President’s Luncheon at 12:15 PM.

Reconvened at 3:20 PM

New Business:

Informal Discussion encouraged by Judy Park about

upcoming competitions regarding the following-

1. Shorten Conference in 2020

2. Dance Competition – have multi-talent dance options

3. Strings – Music Competition

4. Piano and Brass Duo – done at East Florida only

5. What is the best for our organization? What disciplines

for the future?

6. Let Margaret know your thoughts. Speak to your chapter

about what they suggest.

Margaret Johnson recommended sending USB drives well in

advance of the annual meeting going forward, so as to be able

to edit them together into one complete presentation

compatible with the system. This will prevent delays during

the meeting and additional tech costs for trouble-shooting.

Call to 2019 Meeting with Drama Competition in

Washington D.C. – Bea Hessick would prefer showing the

video another time since so few people are remaining at this

meeting. However, it was shown then as well as later.

Swearing in of newly elected officers - Judy Park:

Margaret Johnson, President

Doni Lystra, 1st Vice President-13-

Anne White, 2nd Vice President

Joy Thornton-Walter, Recording Secretary

Judy Park, Treasurer

The meeting adjourned at 4:02 PM.

Respectfully submitted,

Kathy Fulstone

Recording Secretary

A Full Report Addendum is available upon request.

2018-2019 BUDGET

-14-

PROPOSED BUDGET FOR 2018-2019

Income Actual Proposed

Membership Dues/Fees $ 28,485* $ 33,805

Nicholson-Nielsen Trust Awards 44,000 44,000

NSAL/SAIC Scholarships (Art Funds) 4,000 4,000

Derek Oppen Fund – Judges’ Honoraria 8,000 4,000

Competition Registration Fees 1,600 1,800

Winston Application Fees-Visual Art 300 350

Winston Application Fees-Classical Voice 360 400

The 75 Fund 4,750 4000

Donation - Career Opportunities - Carey Wall 2,000 0

Designated Giving (incl. memorials) 300 300

Insignia Sales 190** 300

Donations 0 0

Miscellaneous 168 2,000

Total Income $ 94,152 $ 94,955

Disbursements

President 4,000 6,000

1st V.P. & 2nd V.P. 0 1,000

Treasurer Expenses/Accountant

CPA - IRS 1,605 1,800

0 0

Insurance (incl. Annual Meeting)

Insurance – Crime – 2 years 323 400

Insurance – Liability 1,395 1,500

Historian 0 0

Annual Awards/Category Chair 100 100

National Annual Meeting

Annual Meeting Start Up 1,000 2,000

Annual Meeting Chair 0 0

Gold Medallion 525 525

Printing 277 300

Judges Convention

Travel Expenses 1,450 2,500

Accommodations/Meals 3,315 4,650

Accompanists (Piano)

Honoraria 4,000 0

Travel Expenses 450 0

Accommodations/Meals 1658 0

Travel – Oppen Family 418 0

2018-2019 Proposed Budget cont’d

Actual Proposed

Carried Forward: $ 20,516* $ 20,775

Nicholson-Nielsen Trust Awards 44,000 44,000

NSAL/SAIC Scholarships (Art Funds) 4,000 4,000

Oppen Fund – Judges’ Honoraria 8,000 4,000

Career Opportunity 2,265 2,000

Winston Art Administration 884 1,250

Winston Voice Administration 1,184 1,250

Insignia 167 300

Printing/Postage

Mini Directory 87 90

Call to Meeting 1,805 2,000

Annual Report 0 0

Website Maintenance

Webmaster 1,280 1,400

Renovation 0 500

Hosting Renewal (GoDaddy) 225 250

The 75 Fund

Printing/Stationery/Envelopes. 1,025 1,000

Postage 400 450

Iowa Young Writer’s Studio 6,000 6,000

Winston Scholarship Voice Winner (Travel) 730 80

Winston Scholarship Voice Winner (Travel) 1,075 1,000

Dorothy Lincoln-Smith Voice Award (Travel) 0 500

Administration — Banking Fees 25 0

Miscellaneous — Office /Printing 0 640

Bookkeeper/Personnel 0 2,000

Total Expenses $ 93,668 $ 94,995

*Dues Not Paid Chapter Members

Florida East Coast (56)

Greater New York (18)

Hawaii (48)

Little Rock (22)

Pittsburgh (39)

** A pin was removed from inventory to present to the outgoing President.

(All chapters have since paid dues. J.P.)

Kudos to Linda McLain and Stephen Pugh for bringing

us the magnificent 2018 Woodwind Competition!

In today’s world of cell phone photography, nobody needs a

photographer. Selfies work just as well! (Li-Jie Yu & Hae Jee (Ashley) Cho)

September 18, 2018

Dear NSAL Chapter Presidents and Chapter Members,

2019 will be an exciting year for NSAL! Mark your calendars for May 28-June1.

Washington, DC is so proud to be hosting the 75th anniversary and national drama competition.

And we are excited to report that our plans are well underway.

-----We have booked a beautiful hotel to be our home base for the conference. The Georgetown

Marriott is located in an area of restaurants and shops and a mere 10 minute walk to Georgetown. All

our meetings, meals, competitions, and masterclass will be conveniently located on the second floor of

this fabulous hotel.

-----Outside venues for evening events tie into our NSAL history

Hillwood Estate, the former home of heiress and NSAL member Marjorie Merriweather Post, will be

our location for a Thursday evening tour and reception. Friday evening finds us at the National

Museum of Women in the Arts for a tour and reception. Our Saturday night banquet will take place at

the venerable Cosmos Club.

-----Extra bonus: Hottest Ticket in Town! A limited number of tickets to the African-American

Museum will be made available for Sunday morning after the conference.

All of these fun events come at a significant cost. We would gratefully appreciate any donations that

your chapter and/or any individual member would like to make in helping us defray the costs. Please

note the listing of donor benefits.

Angel $10,000

Diamond $7,500

Gold $5,000

Silver $2,500

Benefactor $1,000

Patron $ 500

Supporter $ 250

Friend $ 100

Donors benefits are:

1. Donors of all categories will be listed in the banquet program.

2. Donors of $2,500 or more will be invited to an exclusive luncheon on Tuesday, May 28 at the former

home of NSAL founder Mollie Davis Nicholson.

3. Donors of $5,000 and above may name their gift in honor or memory of a person of their choice.

4. Donors of $7,500 and above will be listed as a sponsor of the conference event of their choice.

-15-

Please know that any contribution would be greatly appreciated. Checks can be made to NSAL-DC

(marked 2019 meeting) and sent to:

Frederick Hessick

2019 Conference Registrar

8800 Fernwood Road

Bethesda, MD 20817

Your donation to NSAL-DC, a 501(c) (3) organization is tax deductible.

We would also like to feature former winners throughout the conference. We're hoping that some

might be able to attend and even perform for us. Please let me know if you have a candidate in mind.

We would need your help in covering their costs. If a winner is not able to come to DC perhaps they

would be willing to write a Testimonial to be included in our program.

Please don't hesitate to contact me with any questions. Above all, please join us next May 28-June1!

Appreciatively,

Bea Hessick Judy Gilbert

2019 Conference Chair 2019 Conference Co-Chair

8800 Fernwood Road 4977 Battery Lane #802N

Bethesda, MD 20817 Bethesda, MD 20814

301-767-8910 301-215-7802

hessickb@yahoo.com Jgilbert711@icloud.com

-16-

THE PAST MEETS THE PRESENTDuring the time that Past President Judy Park was visiting NSAL chapters, she heard about the many interesting

things that each of the chapters was doing to help foster the careers of the deserving young people trying to carve

out a life in the arts. Space does not permit us to pass on all that information, but there is one story in particular,

that came to light as the result of a comment made while visitng the St. Louis Chapter, that we hope you will

find interesting.

In her address to the members present at the luncheon meeting on April 9th, Judy made special note of the fact

that the Chapter had had two 1st Place winners over the years—one very early in NSAL’s history. In its first

Piano competition in Los Angeles in 1958, a young Malcolm Frager, on the brink of becoming a world renowned

pianist, went home with that year’s 1st Place award. One person in the audience affirmed her knowledge of that

inforamtion with a nod of her head. Judy did not meet the woman before she left or even find out who she was,

but two days later, she received an e-mail from the sister of Malcolm Frager, who said that her cousin had called

her to let her know that Malcolm had been mentioned at the meeting. Since that time, Judy and Jayne Hanlin

have exchanged many e-mails and a number of phone conversations. They have since met in downtown Chicago

when Jayne and a friend were passing through on their way to a travel adventure in the Northwest. It is amazing

how a simple, briefly made statement can turn into a sustained relationship.

Jayne, an accomplished cellist in her own right, is also quite a writer. She has penned many articles, some of

which are about her brother Malcolm. She has shared a number of them with Judy, and we have permission to

reprint one of them in this newsletter. Jayne also mentioned to Judy that she might join NSAL. St Louis members,

be sure to follow up on that!

-17-

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