MARCIA DICKSTEIN, renowned harpist, is enticing new audiences to harp in chamber music and harp solo with orchestra, and inspiring composers to write new works in classical and jazz genres. As Founder/Artistic Director of The Debussy Trio, she has performed worldwide, in the United States, Canada, Europe, Scandinavia, and Japan, over NPR radio, on commercial & PBS television.

Adjunct Professor of Harp at Cal Poly San Luis Obispo, and Westmont College, Santa Barbara, CA, Marcia holds master classes throughout the United States and maintains a private studio in Los Angeles. Her transcriptions and scholarly editions of solo and chamber music for professional and student harpists are published by Fatrock Ink .

Marcia has been featured as solo and chamber music harpist at festivals, in film and television, and as a recording artist. Her most recent recordings are “Look Ahead” (Klavier label), which features 10 new works especially written for The Debussy Trio (Klavier label) and “Chill Dog” (Pupsnap Music).

Recently cited by the New York Times for her “especially lovely” singing, Elissa Johnston enjoys diving into repertoire ranging from Bach, Handel and Mozart to Messiaen, Carter and Reich.

Elissa appears this season with the National Symphony of Costa Rica singing Canteloube’s Chants d’Auvergne, with Albany Symphony in Michael Daugherty’s To the New World, with Long Beach Symphony in Brahms Requiem, with the Riverside Philharmonic in Berlioz Les Nuits d’éte, and in Peter Sellars’ touring production of Music to Accompany a Departure, which opened the 2023 Salzburg Festival. Elissa will also sing in American Ballet Theater’s North American premiere of Woolf Works, music by Max Richter, this Spring at Segerstrom Hall. Recent performances include the world premiere and recording of James MacMillan’s Fiat Lux with Pacific Symphony, Die Staat by Louis Andriessen, conducted by John Adams with the L.A. Philharmonic, Poulenc Gloria at the Palau de la Musica in Barcelona, arias by Handel and Scarlatti with the Los Angeles Chamber Orchestra, and performances with Street Symphony in Bach’s Wedding Cantata No. 202. Elissa has frequently appeared as soloist with the Los Angeles Master Chorale, in Handel’s Dixit Dominus, the west coast premiere of Reena Esmail’s This Love Between Us, and in Stravinsky’s Les Noces. As a member of the ensemble, she also appeared in Peter Sellars production of Di Lasso’s Lagrime di San Pietro under Grant Gershon, in performances worldwide, including at the Salzburg Festival, the Ravinia Festival, Melbourne International Arts Festival and the Auckland Arts Festival. She made her Carnegie Hall debut with the Pacific Symphony under Carl St. Clair, singing the role of Sarada Devi in Philip Glass’ The Passion of Ramakrishna, as part of Carnegie’s yearlong celebration of Philip Glass’ 80th birthday.

Elissa is especially fond of singing chamber music and in recital, and has appeared numerous times with Le Salon de Musique, Pittance Chamber Music, Salastina, Jacaranda Music, Sunset Chamber Music, Piano Spheres and Southwest Chamber Music. She sang in the quartet version of David Lang’s Little Match Girl Passion, sharing a program with Eighth Blackbird at the Ravinia Festival, and has performed Messiaen’s epic song cycle HARAWI numerous times with pianist Vicki Ray.

Elissa can be seen in the Los Angeles Philharmonic Soundstage live capture recording of John Adams’ Grand Pianola Music, under Gustavo Dudamel at the Hollywood Bowl, and can be heard in recordings of Chinary Ung’s

AURA on Presto Classical, and SPIRAL XII on Bridge Records, James Newton’s Mass and In a Moment, in the Twinkling of an Eye in James Newton: Sacred Works on New World Records, Danny Elfman’s Serenada Schizophrana on Sony BMG Masterworks, Jorge Liderman’s Song of Songs on Bridge Records, and on numerous film soundtracks.

Renowned for her insightful interpretations and thrilling performances, New Zealand-born conductor Gemma New currently serves as Music Director for the Hamilton Philharmonic Orchestra in Ontario, Canada, Associate Conductor for the New Jersey Symphony Orchestra, and Founder and Director of the Lunar Ensemble, a contemporary music collective in Baltimore, Maryland. For the 2015-16 season, Ms. New has additional engagements with several ensembles, most notably the Long Beach and Toledo Symphonies, and the Chamber Orchestra of San Antonio.

As one of two Dudamel Conducting Fellows with the Los Angeles Philharmonic for the 2014-15 Season, Ms. New led nine LA Phil ‘Symphonies for Youth’, ‘Symphonies for Schools’, and ‘Community’ concerts and covered frequently for their Music Director, Gustavo Dudamel, Conductor Laureate Esa-Pekka Salonen and other guest conductors. For the month of September 2014, at the invitation of Maestro Kurt Masur, Ms. New resided in Leipzig, Germany as a Felix Mendelssohn-Bartholdy Fellow, where she studied Mendelssohn’s music under Maestro Masur and led the Leipziger Symphonieorchester in the historic Lindensaal of Markkleeberg.

In recent seasons Ms. New has guest conducted several orchestras, including the Atlanta and Miami Symphonies in the USA, as well as the Christchurch Symphony and Opus Orchestras in New Zealand. In 2013 Ms. New made her Carnegie Hall conducting debut, leading works by Adams, Norman and Ives on the American Soundscapes series. That same year she was selected as the David A. Karetsky Conducting Fellow at the American Academy of Conducting at the Aspen Music Festival. One year prior Ms. New was awarded the Ansbacher Fellowship, in which she was selected by members of the Vienna Philharmonic to take up residence at the Salzburg Music Festival.

Under her leadership, the Lunar Ensemble has premiered almost 40 works since 2011 and held composition residencies at several US universities, including the Peabody Conservatory in Baltimore MD, Frost School of Music in Miami FL and Tulane University in New Orleans LA. Another Lunar Ensemble highlight was the Pierrot Centenary Project, which united all fifty poems of Albert Giraud’s Pierrot lunaire through commissioned works by selected composers, culminating in the release of Lunar’s first album, featuring those works alongside Schoenberg’s seminal Pierrot lunaire.

Ms. New’s operatic conducting focuses on contemporary repertoire by composers such as Jake Runestad, Emily Koh and Joanna Lee. She has also worked on several operas by Wolfgang Amadeus Mozart, as well as Giuseppe Verdi’s Il Trovatore and L’enfant et les sortilèges by Maurice Ravel.

Passionate about music education, Ms. New has enjoyed working with the NJSO Academy Orchestra and New Jersey All State Orchestra during her time as Associate Conductor for the NJSO. Between 2007 and 2009, Ms. New conducted the Christchurch Youth Orchestra, which grew from 40 to 70 players under her leadership and performed upwards of nine concerts a year.

Ms. New holds a Master of Music degree in orchestral conducting from the Peabody Institute in Baltimore, where she studied with Gustav Meier and Markand Thakar. She graduated from the University of Canterbury, New Zealand with a Bachelor of Music (Honors) in violin performance.

For three decades, the GRAMMY®-nominated pianist/composer/ arranger David Benoit has reigned supreme as one the founding fathers of contemporary jazz. But, like an actor who has been known primarily for one role, he wanted to show other dimensions of his artistry, influenced by Stephen Sondheim, Burt Bacharach, Dave Grusin and Leonard Bernstein.

“I’ve done records where I had a token vocal tune, all the way back to my first album,” Benoit says. “But I never did an entire record [with vocals]. So the thought here was to do something really different.”

The result is Benoit’s thirty-fifth recording as a leader and his first with a vocalist. 2 In Love, set for release on June 16, 2015 via Concord Records, features Jane Monheit, the GRAMMY®- nominated, cool-toned chanteuse from New York, who burst on the scene in 1998 as the first runner-up in the Thelonious Monk International Vocalist Competition.

“Concord suggested Jane Monheit,” Benoit says. “She was the perfect vocalist. I like to make records a certain way: I prefer to go in live and record it all at once. And a lot of vocalists can’t do that: they need to edit, fix and use auto-tune. But Jane doesn’t need to do any of those things. Many of the keys were difficult, but she sang everything live. Jane also has a background in Broadway, which is another part of my lexicon that I’ve not explored. She was up to the task and easy to work with. She made it a complete, perfect package.”

Along with Monheit, Benoit also enlisted the help of three lyricists: Mark Winkler, Lorraine Feather and Spencer Day. “Mark is my long-time collaborator,” says Benoit. “And I’ve known Lorraine (daughter of jazz critic Leonard Feather) for thirty-five years. Then, there’s Spencer Day: I was really impressed with him. What a nice, young man and fantastic singer. He brought some new blood to the table.” This terrific triad breathed lyrical life into Benoit’s songs and helped showcase Monheit’s considerable skills as an interpreter. “I met them all,” she says. “They did great work and made it very, very easy for me to do my job.”

Supported by an alternating rhythm section featuring drummers Jamey Tate and Clayton Cameron, percussionist Lauren Kosty, guitarist Pat Kelley and bassists David Hughes and John Clayton (of the Clayton Brothers), Benoit and Monheit swing and sing on ten tracks imbued with, to use Duke Ellington’s elegant phrase, “the feeling of jazz” in ballad, mid-tempo, neo- classical-, Latin-, pop- and Broadway-styled genres that range from the bossa nova-buoyed title track to the optimistic, piano-driven “Love Will Light the Way.” Violinist Michelle Suh and cellist Cathy Biagini add their impressionistic airs to the waltz “Dragonfly,” the evocative, 5/4 time-signatured “Something’s Gotta Give” – originally from a play co-written by Benoit and Winkler about Marilyn Monroe – and “The Songs We Sang,” a beautiful melancholy ballad, originally titled “Out of Tune,” about a couple that wrote hit songs and are trying to reignite their magic.

On the ebullient “Fly Away,” Monheit flexes her considerable vocal muscles. “I had a really great time wailing on that one,” she says, “because it’s a style of music that I don’t often get to sing.”

“Barcelona Nights,” is pulsed by an infectious Latin groove, which was inspired by a visit to Spain by Benoit and his wife. “I talked to Lorraine about it,” Benoit says, “and she came up with a beautiful lyric.” On the Pat Metheny-esque “Love in Hyde,” which was previously published under the title “A Moment in Hyde Park,” Benoit showcases his spirited piano prowess. “I recorded it on my second album, Life Is Like a Samba, with a big orchestra. And I always wanted to redo it,” he says. The album concludes a heartfelt solo piano performance of “Love Theme from Candide”/”Send in the Clowns,” by Leonard Bernstein and Stephen Sondheim, dedicated to the memory of Benoit’s mother, Betty June Benoit (1929–1997).

“Those were my mom’s two favorite songs,” Benoit says. “My friend David Pack (who started the group Ambrosia) introduced me to Lenny, and we worked on a benefit concert at Carnegie Hall. I got to know him a bit. So it was always my destiny to do something with “Candide.” And I felt it would make a nice segue into “Send in the Clowns.”

In addition to his obvious skills as a soloist, 2 In Love also highlights Benoit’s overlooked gifts as an accompanist. “He’s a wonderful piano player,” says Monheit. “He has a great understanding of singers, and that makes him a very good accompanist.” When he was coming up, Benoit worked with singers Patti Austin, Connie Stevens, and Ann-Margaret. But he credits Lainie Kazan as his biggest influence in the fine art of vocal accompaniment. “I was twenty-one when I started with her,” he says. “She literally taught me how to accompany singers.”

Benoit’s work with singers is but one more intriguing aspect of his multi-talented musicianship. He was born in Bakersfield, California, and grew up in Los Angeles. Benoit was bitten by the jazz bug after watching a Charlie Brown special on television and listening to the music of Vince Guaraldi in 1965. “I was already a fan of the comic strip,” he says, “but when I heard that jazz piano trio, that was the defining moment when I decided that I wanted to play like Vince Guaraldi.”

At the age of thirteen, Benoit studied privately with pianist Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for famed conductor Arturo Toscanini. He also studied music theory and composition, and later studied orchestration with Donald Nelligan at El Camino Junior College and film scoring from Donald Ray at UCLA. He studied conducting from Heiichiro Ohyama, assistant conductor of the L.A. Philharmonic, and furthered his musical education with Jan Robertson, head of the conducting department at UCLA, and UC Santa Barbara symphony orchestra music director Jeffrey Schindler.

After working with Lainie Kazan as her musical director/conductor in 1976, Benoit released albums on the AVI label from 1977 to 1984. He later released several chart-topping recordings for GRP, including Freedom at Midnight (1987), Waiting for Spring (1989) and Shadows (1991), which both topped Billboard’s Contemporary Jazz Charts at #5, #1, and #2, respectively. His other noteworthy recordings include Letter to Evan (1992), his tribute to another piano influence, Bill Evans, and Here’s to You, Charlie Brown: Fifty Great Years (2000). Benoit also recorded with Russ Freeman on their album The Benoit/Freeman Project (1994), and on their follow-up collaboration, 2 (2004), which was released on Peak Records. His other recordings for the label include American Landscape (1997) and Orchestral Stories (2005), which featured his first piano concerto, “The Centaur and the Sphinx,” and a symphonic work, “Kobe.”. In 2012, he released Conversation on Concord’s Heads Up International imprint.

Benoit received three GRAMMY® nominations in the categories of Best Contemporary Jazz Performance for “Every Step of the Way” (1989), Best Large Ensemble Performance for GRP All-Star Big Band (1996), and Best Instrumental Composition for “Dad’s Room,” the latter from the album Professional Dreamer (2000). In 2010, Benoit received a Lifetime Achievement Award from the American Smooth Jazz Awards, and he’s worked with an impressive potpourri of musicians including the Rippingtons, Emily Remler, Alphonse Mouzon, Dave Koz, Faith Hill, David Sanborn, CeCe Winans and Brian McKnight.

Benoit’s film scores include The Stars Fell on Henrietta (1995), produced by Clint Eastwood, and The Christmas Tree, produced by Sally Field, which was voted Best Score of 1996 by Film Score Monthly. He has served as conductor with a wide range of symphonies including the Los Angeles Philharmonic, Asia America Symphony Orchestra and the London Symphony Orchestra. A long-time guest educator with the Mr. Holland’s Opus Foundation, he received that organization’s Excellence in Music Award in 2001. His musical selections have been featured on The Weather Channel and his version of Vince Guaraldi’s “Cast Your Fate to the Wind” is included on compilation The Weather Channel Presents: Smooth Jazz 11 (2008). Benoit also currently hosts a morning radio show on KKJZ 88.1 FM in Long Beach, CA.

Since the runaway success of her 1990 debut album Circle of One (which went Platinum), and the impassioned hit single “Get Here” (the Brenda Russell composition that became an unofficial anthem of the 1991 Gulf War) Oleta Adams has inspired a growing legion of fans in the U.S. and Europe with journeys of the heart via songs that draw deeply from her roots in gospel, while crossing effortlessly into the realms of soul, R&B, urban, and popular music. Her success, nurtured by worldwide tours with Tears for Fears, Phil Collins, Michael Bolton, and Luther Vandross, has been solidified by four Grammy nominations and a seemingly bottomless well of creative energy.

A long-time resident of Kansas City, Kansas, where she has found sanctuary from the turmoil of the entertainment industry, Oleta Adams also remains anchored by her upbringing in the Pacific Northwest. The youngest of three girls and two boys, Oleta spent her formative years in Seattle before traveling over the mountains at age six to Yakima, Washington, an idyllic town of 60,000. She first demonstrated her budding vocal gifts in the Pilgrim Rest Baptist Church where her father served as minister.

By the time Oleta was eleven, she was directing and accompanying four choirs, having already established herself as a piano prodigy. She credits her further musical development in junior high school to Lee Farrell, “the brilliant Julliard-trained teacher and voice coach who changed my life.” School provided another outlet for Oleta Adams: the theatrical stage. In her senior year she broke barriers and traditions as the star of Hello Dolly! admitting that “early on I realized the pleasures of being a big fish in a small pond.”

Turning down the chance to pursue an operatic career as a lyric soprano, along with a scholarship to Pacific Lutheran University, Oleta instead spent a summer in Europe before heading to Los Angeles in the early 1970s. One demo tape and $5,000 later, she discovered that the disco movement had deafened music executives. Oleta’s gospel-flavored voice was not “in.” With the help of Coach Lee Farrell she wound up in Kansas City, where she launched her career playing piano bars, hotel lounges and showrooms.

Oleta quickly became a local institution, with her own billboard and a regular gig at the Hyatt Regency Hotel. Celebrities from every musical genre caught her act, including Eartha Kitt, Cab Calloway, Air Supply, Gino Vanelli, Yes and Billy Joel. Finally serendipity came in the form of the British band Tears for Fears, whose frontmen Roland Orzabal and Curt Smith asked her to appear on their 1989 “The Seeds of Love’ album, video and European tour. Proving that good things come to those who wait, upon her return to the U.S. Oleta signed a record deal for her first solo album in 1991.

With eight CD releases including secular, gospel, and a Christmas album, worldwide acclaim and over two-and-a-half million albums sold. Oleta’s musical odyssey continues – spiritually and creatively. For this consummate artist – composer – producer – musician, many goals remain on the horizon. The first of which is two new songs being released on iTunes from an in the works prayer album Safe and Sound & Long and Lonely Hours.

With a contagious smile and captivating charm, trumpet virtuoso, BYRON STRIPLING, has ignited audiences internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, “Evening at Pops,” with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra.

Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, STRIPLING has become a pops orchestra favorite throughout the country, soloing with Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world.

An accomplished actor and singer, STRIPLING was chosen, following a world wide search, to star in the lead role of the Broadway bound musical, “Satchmo.” Many will remember his featured cameo performance in the television movie, “The Young Indiana Jones Chronicles,” and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of “From Second Avenue to Broadway.”

Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including “20/20,” CNN, and soundtracks of favorite movies.

STRIPLING earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band.

STRIPLING enjoys conducting Seminars and Master Classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages.

STRIPLING was educated at the Eastman School of Music in Rochester, New York and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return, periodically, to Eastman and Interlochen as a special guest lecturer.

A resident of Ohio, STRIPLING lives in the country with his wife, former dancer, writer and poet, Alexis and their beautiful daughters.

A native of Detroit, Michigan, Damon Gupton held the post of Assistant Conductor of the Kansas City Symphony from 2006-2008. Gupton received his Bachelor of Music Education degree from the University of Michigan. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. He served as American Conducting Fellow of the Houston Symphony for the 2004-2005 season, and has made conducting appearances with the Cleveland Orchestra (as part of a Blossom program with David Zinman), the Orchestra of St. Luke’s, the National Symphony Orchestra, the Detroit Symphony, the Baltimore Symphony, The San Diego Symphony, The San Antonio Symphony, the Princeton Symphony, the Toledo Symphony, the Monte Carlo Philharmonic, the NHK Orchestra of Tokyo, the Orquesta Filarmonica de UNAM, the New York University Orchestras, the Kinhaven Music School Orchestra, The Vermont Music Festival Orchestra, the Brass Band of Battle Creek, The Michigan Youth Arts Festival Honors Orchestra and the SPHINX Symphony as part of the 12th Annual Sphinx Competition. He led the Sphinx Chamber Orchestra on a national tour, culminating in performances at Carnegie Hall and a well-reviewed recording available at White Pine Music. He is a winner of the Third International Eduardo Mata Conducting Competition, held in Mexico City. Musical collaborations include work with Marcus Miller, Kenn Hicks, Kathleen Battle, and Jamie Cullum.

An accomplished actor, Gupton graduated from The Drama Division of the Juilliard School in New York. He has had roles in television, film, and on stage, including the Broadway production of Bruce Norris’ Pulitzer Prize and Tony Award winning Clybourne Park, Superior Donuts (The Geffen), Christina Anderson’s Inked Baby (Playwrights Horizons), Meg’s New Friend (The Production Company), Wendy Wasserstein’s An American Daughter(Arena Stage), True History and Real Adventures (The Vineyard Theatre), and Treason (Perry Street Theatre). He starred opposite Tony award-winner Phylicia Rashad in the world premiere of Tracey Scott Wilson’s The Story at New York’s Public Theater. He also performed the title role of Academy Award-winner Eric Simonson’s Carter’s Way at Kansas City Repertory Theater. Mr. Gupton was featured in title role in the critically acclaimed Heart of America Shakespeare Festival production of Othello. He received an AUDELCO nomination for Best Supporting Actor for his work in Clybourne Park.

Awards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize. Mr.Gupton is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society. He was named a Presidential Professor by the University of Michigan in January 2009.

I began performing as a regular member of the Long Beach Symphony in 1971 while attending Long Beach State University. At CSULB I was awarded The Long Beach Dramatic Allied Arts Guild Fellowship and attended both the Yale University Summer Arts Program and the Aspen Institute on scholarship. I graduated cum laude in 1974 having earned a Bachelor of Music degree in performance.

Separate from my tenure with the Long Beach Symphony I have had a business career largely in the music products industry. This career includes having been President of the Rico Reed Company and Boosey & Hawkes Musical Instruments. Additionally, I was a management partner of The Music Group Ltd, a London based international manufacturer and distributor of musical instruments and accessories. During my tenure with The Music Group I lived in Europe for a little over a year. In 1992 I earned a MBA degree from Pepperdine University.

In January 2006 I acquired Hamilton Stands Incorporated, located near Dayton, Ohio. Hamilton is one of the best known brands of sheet music and instrument stands having started business in 1883 in Hamilton, Ohio.

I will continue to perform with the Long Beach Symphony while residing in Ohio. Additionally, since moving to Ohio I have begun to perform as an ‘extra’ with the Dayton Philharmonic.

Lynda Sue began to play on occasion in the percussion section of the Long Beach Symphony during the season of 1957 on “mallets” whilst a junior at Wilson High School. Nick Furjanick was then concurrently Concertmaster of the Long Beach Symphony and the Wilson High School Band and Orchestra director.

Rocco Leggett, Personnel Manager, first engaged her as percussionist in the Long Beach Symphony. She continued in the percussion section through 1962 whilst at the same time obtained both Music Performance and also Sociology Bachelor degrees. Lynda Sue continued to perform as percussionist 1963 through 1967 while she obtained her M.M. from U.S.C. in opera. During this time she performed as a regular member of the Long Beach Municipal Band as both xylophone and soprano soloist. She subsequently studied and performed opera as a soprano at the Zurich Opernstudio and Opernhaus. She returned to the states to play “mallets” for the Ice Capades and the Ice Follies in Long Beach, Los Angeles, and New York City.

In the East Coast she performed with the New Jersey Symphony under Conductor Henry Lewis and both played in the orchestra pit as well as sang on stage at Radio City Music Hall (two different shows). She also performed as well as conducted a season of summer stock in upstate New York and performed as “drummer”, actress, and singer in the Michael Cacoyannis version of Lysistrata with Melina Mercouri at the Brooks Atkinson Theatre. It was in New York that she met her husband-to-be and together they sang the High Holidays with Jan Peerce as Cantor at the Chicago Lyric Opera House.

Returning to California in 1975 with husband John Guarnieri and three daughters, Maestro Bolet selected her as Principal Percussion of the Long Beach Symphony. The first contract in 1973 contained the language which stated that after performing for three full years, a performer with the Long Beach Symphony Orchestra would attain “Full Member Status”.

Lynda Sue has served as Principal Percussion since 1975 to the present day. She served on the orchestra committee for three terms, on the LB Union Board – Local 353 two terms, participated on the Music committee, and served on the Long Beach Symphony (as an elected member from the Orchestra). She served on the Donor Advocacy Committee. In her career she has maintained the professional dual role of both soprano and percussionist. She was commissioned to create “Percussion Paints Pictures” a program which is performed for all of the Elementary Schools in Long Beach. She has been a featured speaker at the Pre-concert lectures during the Falletta years. She has created and facilitated three different programs for donors given preceding the regular pre-concert lectures.

Tenured in 1993

Gary Long is Principal Timpanist of the Long Beach Symphony, Principal Timpanist of the Mainly Mozart Festival (San Diego), and Principal Percussionist of the San Bernardino Symphony. He is also on the teaching staff of California State University, San Bernardino as Lecturer in Percussion.

Gary has performed the Philip Glass Fantasy for Two Timpanist with The Los Angeles Philharmonic, The San Francisco Ballet, and The Long Beach Symphony. He has freelanced in Southern California orchestras such as The Los Angeles Philharmonic, San Diego Symphony, Pasadena Pops, Pacific Symphony, Santa Barbara Chamber Orchestra, Symphony in the Glen, and Redlands Bowl Orchestra presentations. Gary teaches private percussion lessons and is frequently heard in chamber music concerts throughout San Bernardino, Los Angeles, and Orange counties. In 1987 and 1988 Mr. Long was Principal Timpanist of the Nova Filarmonia Portuguesa, a chamber orchestra based in Lisbon, Portugal.

He received his musical training at the Juilliard School in New York City where he studied with Roland Kohloff and Buster Bailey, of the New York Philharmonic, receiving his Master of Music degree. He earned a Bachelor of Music from the University of Oregon in 1985 and was a student of Charles Dowd.

Gary resides in Redlands with his cellist wife Becky, who teaches elementary music in the Redland’s School District, and his two aspiring musician daughters: Madeline and Hannah. He looks forward to future days when he’ll be able to continue to perform, but also spend more time pursuing his other interests: Percussion Instrument Refurbishing, golfing, gardening, woodworking, and collecting as many percussion instruments as he can fit into his garage!