J O H N S T A U B - a woodworker by trade, has played BASS since his early teens in orchestras and chamber groups, in jazz and big bands and around gypsy campfires. John has been principal bassist for many years with the Juneau Symphony and has also performed in local jazz trios and with the Fiery Gypsies among other ensembles. "I like an instrument that can do it all." And, he's both base and vile.

JOYCE PARRY MOORE - Soprano - completed her Master's studies in Opera at the Boston and New England Conservatories under John Moriarty. She also performed with Mr. Moriarty at Central City Opera in Colorado. Ms. Parry Moore has sung roles with Lake George Opera Theatre and Liederkrantz Opera in New York, and Boston Lyric Opera and Longwood Opera in Massachusetts. Her roles include Violetta in La Traviata, Mimi in La Boheme, and Rosalinda in Die Fledermaus. Always a fan of new music, Joyce worked with Friends and Enemies of New Music in New York, and performed contemporary pieces like Face on the Barroom Floor at Central City and the children's opera The Goose Girl by Pasatieri with Boston Lyric. Now a voice teacher in Juneau, Alaska, Ms. Parry has herself studied with such notable teachers as Edward Zambarra in Boston/New York, and Marianne Weltmann in Seattle. Also an actress, Joyce came to Alaska to work with Perseverance Theatre and Molly Smith, with whom she performed Martha in Who's Afraid of Virginia Woolfe both in Juneau and Anchorage.

N A T H A N B A S T U S C H E C K, EUPHONIUM, received the majority of his musical education at the University of Washington where he was a three-time recipient of the Walter Welke Scholarship for Wind Ensemble. While at the University, Nathan performed regularly with the Wind Ensemble and the University Symphony, and studied privately with Richard Byrnes and Stuart Dempster. Other performance credits include the Seattle Brass Ensemble, Seattle Philharmonic, Everett Symphony, Washington Wind Symphony, Seattle Concert Band, Puget Sound Musical Theater, Civic Light Opera, Village Theater, Tacoma Concert Band and the Seattle Symphony Brass Ensemble. Nathan has also been an active freelance musician with many different small ensembles and as a solo performer. He currently plays with the Juneau Symphony, the occasional polka gig with accordionist Dale Wygant, and with his personal favorite, the Nimbus Ensemble, which counts among its members his lovely wife, Julia.

S T E V E T A D A began playing the VIOLIN at the age of five through the Seattle Suzuki School under Mihiko Hirata. He later studied with Denes Zsigmondy at the University of Washington, Seattle. He has participated in many chamber concerts with the Bravura String Quartet and is now concertmaster of the Juneau Symphony in Juneau, Alaska.

J U L I A B A S T U S C H E C K began her study of the VIOLA in the Palo Alto, CA, public schools in 1965. She was fortunate to have many outstanding teachers and musical opportunities as she was growing up, and decided to make music her career. In 1978, she received a B.A. in viola performance from Western Washington University in Bellingham, WA, where she studied viola and chamber music with Barton Frank, Serge Kardalian and Charmian Gadd. After graduation, Julia moved to Seattle, where she performed regularly with local symphonies and musical theater groups on a free-lance basis. Feeling the need for full-time work inmusic as well as the responsibility to continue the tradition of string education, Julia decided to pursueteacher certification at the University of Washington. She enrolled in the music education program in 1985 and studied viola and chamber music with Paul Coletti, conducting with RickByrnes and Timothy Salzman and played in the University Symphony and Chamber Orchestra, where she met her husband, Nathan. After receiving certification in 1988, Julia was contacted by the Juneau School District, where she has been teaching strings, choir and general music classes since October 1988. During the 10 years Julia has been teaching in Juneau, the orchestra program has growntremendously. The Juneau-Douglas High School Orchestra was recently selected to perform inDisneyland as part of Magic Music Days. Besides her teaching duties, Julia has been conductorof the Juneau Youth Symphony, is principal violist with the Juneau Symphony and performs with the Nimbus Ensemble.

NIMBUS - JUNEAU'S STRING QUARTET - Named after the five-ton, sixteen-foot tall steel sculpture called "Nimbus", perhaps the most controversial piece of art in Alaska´s history, Nibus is Juneau's premeire string quartet, from a certain angle: STEVE TADA -violin, SALLY SCHLICHTING - flute (violin), JULIA BASTUSCHECK - viola, NATHAN BASTUSCHECK - euphonium (cello). Nimbus, the commissioned sculpture cost $40,000 and was first installed in front of the Courthouse in Juneau in 1978. Public outrage soon erupted. Such was the public's disatisfaction with the abstract piece and its cost that it was removed in1984 at the direction of then-Governor Bill Sheffield. He was acting on the request of the State Legislature, which had passed a resolution to remove "Nimbus." After rusting for six years in outside storage in a yard at the Department of Transportation, "Nimbus" returned. "Friends of Nimbus", a group of Juneau residents interested in preservation and relocation of the sculpture, funded all costs of repainting and installing the piece on the grounds of the Alaska State Museum. Taking comfort in the return of Nimbus, the Nimbus ensemble dared to branch out into a new repertoire, requesting CrossSound to comission a piece that took into account its ideosyncratic instrumentation (for a string quartet). CrossSound will comission a piece again this year for the Nimbus Ensemble.

S A L L Y S C H L I C H T I N G - began playing flute at the age of ten in her home town, Juneau, Alaska. She played FLUTE through high school, and attended music workshops and summer camps including Interlochen before continuing her music studies at the University of Southern California and the University of Washington, where she earned a degree in music in 1990. She has studied flute with Pamela Ryker, Mary Louise Poor, Felix Skowronek, Gary Woodward and Mel Flood. Ms. Schlichting currently enjoys a full life in music, playing regularly with the Juneau Symphony, the Nimbus Ensemble, the Dal Segno flute and guitar duo and especially with her aunt, pianist Mary Watson. She has been the concert coordinator for the Symphony Showcase chamber music concerts since 1995, and firmly believes there can not ever be too much chamber music in the world.

R I C K T R O S T E L - experienced his first joy with music classes, choirs and piano lessons as a young student at Interlochen, National Music Camp (now National Arts Camp) where he spent five summers studying voice, drama, piano, trumpet, orchestra and band. Rick began playing TRUMPET at the age of ten and has studied with a number of teachers, most notably Ron Hassleman of the Minnesota Orchestra and Richard Pressley of the Seattle Symphony. Rick attended Oberlin College and where he received BA in Biology (in order to get a "real job.") After several years pursuing real jobs, music reared its beautiful head in the form of a music teaching job at a school in southwestern Alaska. More recently he has returned to studying conducting with Dr. William Jones of the University of Iowa and is contemplating a masters degree in conducting. Rick is executive director of a small music school in Juneau where he conducts and arranges music for three small student ensembles. He has also had the opportunity to conduct rehearsals of the Juneau Symphony for which he has been principal trumpet for the last seven seasons. In addition, Rick performs regularly as principal trumpet.

B I L L P A U L I C K was hooked on the FRENCH HORN following the Leonard Bernstein "Concerts for Young People" series of the 1960's. He started playing in the public school system of Whittier, California and continued studying privately for many years under Arthur Franz and later Philip Farkas. Bill played in various ensembles in the Los Angeles area, including regional honor bands, brass and woodwind quintets, and the Rio Hondo Symphony, conducted by Mehli Mehta. Following graduation from the U.S. Coast Guard Academy in 1973, Bill settled in Juneau and has been active in brass and woodwind quintets, the Juneau Symphony and the Southeast Alaska Symphony in Ketchikan. In a 1984 partnership with Professor Farkas, Bill produced a two-hour video entitled "The Horn" for use as a surrogate instructor in rural areas. Distribution eventually included 14 countries around the world. Bill was president of the Juneau Symphony in 1986 and currently teaches horn and manages the Juneau Brass Quintet. He is owner/manager of Juneau Brass & Woodwinds, serving the repair, sales, and rental needs of Southeast Alaska brass and wind musicians.

M A R Y W A T S O N

Jim Rogers - TROMBONE

LEE HACKER - PERCUSSION
Lee Hacker began playing percussion at the age of nine. After high school he attended the U.S. Navy School of Music in Washington D.C., later serving on board the USS Kitty Hawk as a member of the admiral’s band. Following his military service, Hacker earned a bachelor’s degree at Southern Illinois University where he studied composition with Alan Oldfield, himself a student of Nadia Boulanger of the Paris Conservatoire. Since then he’s been a regular freelance musician, playing the club and dance circuit, and performing with more than 20 stage productions. About 15 years ago, Hacker got serious about symphonic music and has since played with the Stockton Symphony, the Camellia Symphony in Sacramento, and the Bremerton Symphony, along with many dance and opera companies. In addition to regular performing, Lee has worked as a piano technician for the past 36 years.

In 1995, Hacker moved to Juneau to tune the pianos throughout Southeast Alaska, a decision that also brought him to the Juneau Symphony, where he is a regular and versatile member of the percussion section. When asked what instrument he likes best, Lee doesn’t play favorites. “I like the triangle as much as the tympani,” he says.

As a composer, Lee has a particular appreciation of new music, both the challenges of writing music to be performed, as well as performing the new works of other composers. “New music is a kick. It’s really difficult, but it’s a status report, an update, it’s the news. We need to get that feedback on what’s happening in music. There’s so much that’s happened in music, just in the last 60 years, that we don’t even know about. We need to grow audiences’ ears. This music needs exposure.”