Second Annual Memorial Concert for Missing and Departed Children
Another Mexican Baby by Archibald Motley 1953
Program: The Parent’s Lament
Kindertotenlieder…………..………….Gustav Mahler
Tenor: Austin Bare
Poem Reader: Rev. Ronald Ballew
Movement I. Now the sun wants to rise so brightly!
Movement II. Now I can see why such dark flames
Movement III. If your little mother
Movement IV. I often think they just went out
Movement V. In this weather!
*Mother’s Sacrifice…………………L. Viola Kinney
*Mother & Child…………….…..William Grant Still
Pavane pour une infante défunte….Maurice Ravel
Vals Dios Nunca Muere………….Macedonio Alcalá
Adoration…………………....……….Florence B. Price
Guest Artist: Mr. Austin Bare
Austin Bare is a classically trained tenor with a specialization in music from the Romantic era, especially song cycles by his favorite composer, Franz Schubert. He has been seen in various performances including “Utterance”, a contemporary opera bridging old and new forms of composition through the lens of contemporary composer Amanda Schoofs and Renaissance composer Orlando de Lassus, curated by Milwaukee Opera Theater and early vocal music ensemble APERI ANIMAM. Austin recently performed in a collaborative work titled “Hope & Healing'', which featured short opera scenes and the chamber opera titled “Ready (Or Not)” by Ruben Piirainen. This is Mr. Bare’s first time singing with The Black Diaspora Symphony Orchestra.
The Black Diaspora Symphony Orchestra Musicians
Flutes
Francisco Solis
Antonio Turner
Oboes
Amea Williams
Add Bock
English Horn
Add Bock
Clarinets
Veronica Thompson
Ann Hill
Bernadette Gonzalez
Bass Clarinet
Bernadette Gonzalez
Bassoons
Leah K. Duckert
Andrea Clark
Contrabassoon
Andrea Clark
French Horns
Cheryl Miracle
Wendy Milbauer
Judy Keene
Trumpets
Lucas Connelly
Wendy Milbauer
Trombone
Corey Murphy
Bass Trombone
Steph Lippert
Timpani & Percussion
Duwayne Davis
Justin Falcher
Owen Damkot
Riley Bohn
Harp
Kristin Westmore
Piano
Christian “Doc” Martin
1st Violins
Jasmine Storck
Richard Schwinn
Arisa Okamoto
Alex Quinn - LoS
Valerie Yang
Kayami Jackson
Saul Garcia
2nd Violins
Jane Han - LoS
Dave Rasmussen - LoS
Suraksha Kodgi
Maddie Bingenheimer
Violas
Korinthia Klein - LoS
Elliot Richer
Sonia Wilhelm
Cellos
Trace Johnson
Joseph ‘Shep’ Crumrine
Basses
Dave Gelting
Autumn M. Reed - BSTE
Isabella McGinley
BSTE - Black String Triage Ensemble Member
LoS - Legion of the Soul Member
Founder & Music Director:
Dayvin Martin Anthony Hallmon
From the Music Director:
Thank you for coming to tonight’s concert. You could have chosen to be anywhere at this moment but you chose to spend time with The Black Diaspora Symphony Orchestra. We realize that what brings you here is likely due to tragic circumstances. For those present bearing the weight of that grief, we are in agony with you. This concert is a safe space for you to grieve and find comfort. Death does not know boundaries. The collection of composers on tonight’s program have been placed in conversation with each other about the topic of loss and hope.
Tonight's program has been carefully balanced to give equal perspective to both mothers and fathers. For this reason, tonight’s concert program has been titled “The Parents Lament”. There are six pieces of music on tonight's program. The first four pieces of music speak in various ways to the pain of children and parents being separated from one another. The Kindertotenlieder (songs on the death of children) closes by telling us the children “rest as if in their mother's house, frightened by no storm, sheltered by the Hand of God.” God, used by the poet, is not a God of or from; a particular religion or faith tradition. The last two pieces of music, “Dios Nunca Muere (God Never Dies)” and “Adoration” move us in that same direction. Together, all three illustrate a striving to release our internal pain out into the universe. Pushing pain out of one's spirit is necessary to allow the waters of consolation and peace to wash in. The result is a healthy place where the seeds of hope can take root. Music is vital to our human condition so this spiritual, emotional, and mental transition can take place.
Beyond being just a memorial concert, it is our hope that the music on this program allows all those who hear it, to grieve, find healing, and be unburdened so that you can enjoy your Christmas to the fullest extent possible. The collection of music assembled on this program is designed to aid you wherever you are on that journey. Additionally, it is our hope and prayer that the music also empowers each of us to be a force for change; to preserve and protect the lives of the remaining innocents of Milwaukee and the world beyond.
Program Notes
Second Annual Memorial Concert for Missing and Departed Children
The Parent’s Lament
“Kindertotenlieder”
“Songs on the Death of Children”
Poet: Friederich Rueckert (1788 - 1866)
Composer: Gustav Mahler (1860 - 1911)
Instrumentation: solo voice; piccolo; 2 flutes; 2 oboes; 2 clarinets; bass clarinet; english horn; 2 bassoons; contrabassoon; 4 horns; harp; timpani; gong; glockenspiel; celeste (the celeste part will be played on piano); and strings.
Performance Time: Approximately 27 Minutes
Gustav Mahler
The German Jewish composer Gustav Mahler. Mahler discovered the writings of German poet Friedrich Rueckert {pronounced Rue-kart}. Rueckert lost two children to the scarlet fever epidemic of his day. He was so grief stricken that he wrote 428 poems about the death of his children. Mahler selected 5 of those poems and put them to music. He started composing Kindertotenlieder {pronounced Kinder-tote-n-leader} before he met the woman that would be his wife. By the time Kindertotenlieder was finished, he and Alma were married and she had given birth to two daughters. Upon learning of her husband's composition project, Gustav Mahler’s wife Alma made her feelings known to her husband.
“ I can understand setting such frightful words to music if one had no children, or lost those that one had. Moreover, Friedrich Rueckert did not write these harrowing elegies out of his imagination; they were dedicated to the cruelest loss of his whole life. What I cannot understand is bewailing the deaths of children, who were in the best of health and spirits, hardly an hour after having kissed and hugged them I exclaimed at the time, “For heaven’s sake, don’t tempt Providence!” -Alma Mahler
Gustav and Alma Mahler’s first child died four years after Kindertotenlieder was finished. Mahler said, “I placed myself in the situation that a child of mine had died. When I really lost my daughter, I could not have written these songs anymore.”
Kindertotenleider is written for voice and orchestra. The poems were written in German. Each one of the poems will be read out loud in English before the singer and orchestra perform each movement. Mahler meant the five movements to be taken as one single whole work. He instructed people do not applaud between movements. Reading the English translation of Ruekart’s poetic text is the Lead Chaplain for The Black String Triage Ensemble, the Reverend Ronald Ballew.
“Kindertotenlieder”
“Songs on the Death of Children”
Movement I. Nun will die Sonn’ so hell aufgeh’n!
Now the sun wants to rise as brightly
as if nothing terrible had happened during the night.
The misfortune had happened only to me,
but the sun shines equally on everyone.
You must not enfold the night in you.
You must sink it in eternal light.
A little lamp went out in my tent!
Greetings to the joyful light of the world.
Movement II. Nuch seh’ich wohl, warum so dunkle Flammen
Now I see well, why with such dark flames
in many glances you flash upon me
O Eyes: as if in one look
to draw all your strength together.
I didn't realize, because a mist surrounded me
woven of tangled destinies
that your beam was already returning homewards to the place
from which all rays emanate.
You would tell me with your brightness:
We would gladly stay with you!
Now that is denied to us by Fate.
Look at us, soon we will be far away!
What are only eyes to you in these days,
in the coming night shall be your stars.
Movement III. Wenn Dein Mutterlein
When your mother
steps in through the door
and I turn my head
to see at her,
on her face
my gaze does not first fall,
but at the place
nearer the doorstep,
there, where your
dear little face would be,
when you with bright joy
step inside,
as you used to, my little daughter.
When your mother
steps in through the door
with the glowing candle,
it seems to me, as if you always
came in with her too,
hurrying behind her,
as you used to come into the room.
Oh you, of a father's cell,
ah, too soon
extinguished joyful light!
Movement IV. Oft denk’ ich, sie sind nur ausgegangen
I often think: they have only just gone out,
and now they will be coming back home.
The day is fine, don't be dismayed,
They have just gone for a long walk.
Yes indeed, they have just gone out,
and now they are making their way home.
Don't be dismayed, the day is fine,
they have simply made a journey to yonder heights.
They have just gone out ahead of us,
and will not be thinking of coming home.
We go to meet them on yonder heights
In the sunlight, the day is fine
On yonder heights.
Movement V. In diesem Wetter!
In this weather, in this windy storm,
I would never have sent the children out.
They have been carried off,
I wasn't able to warn them!
In this weather, in this gale,
I would never have let the children out.
I feared they sickened:
those thoughts are now in vain.
In this weather, in this storm,
I would never have let the children out,
I was anxious they might die the next day:
now anxiety is pointless.
In this weather, in this windy storm,
I would never have sent the children out.
They have been carried off,
I wasn't able to warn them!
In this weather, in this gale, in this windy storm,
they rest as if in their mother's house:
frightened by no storm,
sheltered by the Hand of God.
* ”Mother’s Sacrifice”
Composer: L. Viola Kinney (1890 - 1945)
Instrumentation: Strings only
Performance Time: Approximately 5 Minutes and 30 Seconds
L. Viola Kinney
L.Viola Kinney was a Black American woman who lived in Kansas. She taught English and music at a school. Aside from that, we don’t know a whole lot about her. Mother’s Sacrifice is her only surviving work. L. Viola Kinney was awarded a prize for this composition that was written when she was 19. Had she not won the Inter-State Literary Society Original Music Contest held in Omaha, Nebraska, it is quite possible the world at large would never have known of her.
Originally, this piece of music was written for piano but it has been transcribed for String Orchestra. It has three sections. The first and third sections mirror one another. Both are reflective and contemplative in their nature. The middle section contains a very pulsating and stormy waltz. So stormy, that harmonically, Ms. Kinney dares to place minor second intervals against one another that result in some very dissonant passing tones. Frederick Douglass reminds us that “there is no progress without struggle.” Struggle is not without sacrifice. The dissonant harmonies in the middle section speak to that truth.
Rev's Comments: Associate Chaplain Rev. Molly Doreza
The words flew by me like a hawk circling for the kill. My daughter was shrieking, and yet I could not grasp the meaning of her words: “He’s dead, mom!!” From deep within me I knew that this truth would forever change my life - and I grasped feebly for some anchor to hold, a way to un-truth what I was hearing.
Thirty six years earlier I’d held his squirming, wet little body to my breast in astonished wonder. His cry was life, and my tears were of joy. Now, in the first few moments of this awful truth, I struggled to understand how I would never hear his voice again. In agony hot tears seared my face.
The groans of childbirth and of a mother’s grief are curiously similar. They begin in a low growl - unbidden and unfamiliar - and push up through the soul with a violent intensity, giving wordless voice to the assault on the body, raging against death. While the groaning of childbirth finally gives way to inexpressible joy, the groaning of grief gives way to the staggering silence of inexpressible loss.
“O Lord, out of the Depths cry! Hear my voice!” (Psalm 130:1)
I would like to imagine that this psalmist was a woman, a lonely, heart-broken mother, groaning in private agony at the violence done to her child as he was ripped from her arms.
A mother should never have to endure the death of a child, they say. I would also add that a mother community should never have to endure the violent deaths of any of her children. It is a devastating sacrifice, a scarring wound on our history and consciousness - birthing in us a collective groaning too deep for words.
* ”Mother & Child”
Composer: William Grant Still (1895 - 1978)
Instrumentation: Strings only
Performance Time: Approximately 8 Minutes
William Grant Still
William Grant Still is known as the dean of Black composers. Out of all the composers of African Descent for Western Classical music, Still has the largest catalog of music. His work encompasses film scores, operas, ballets, symphonies, choral works, chamber music, theater works, pieces for solo voice and pieces for solo instrument. He was not one to shy away from writing about life as a Black American.
Mother and Child was orchestrated by Still in three different ways. His first version is for violin and piano. The third is for solo violin and orchestra His second version, for strings only, is the one on this concert program. The title of this piece is taken from a a piece of art by Harlem Renaissance artist Sargent Johnson. Perhaps due to being an orphan at an early age, Johnson made several sculptures and drawings with the title or theme of Mother and Child. It was Johnson’s 1923 chalk drawing below that moved Still to write this piece of music.
Mother and Child by Sargent Johnson 1923
The musical score, written and arranged by Still, reflects Johnson's artwork. We don’t know what the mother’s expression is or why the child has buried his head in her lap. Without those details, Still creatively gives us the emotional context with his music. Still uses sonata form and puts the first violin section in conversation with the rest of the orchestra using two themes. The first theme is lush and somewhat light. Still uses the complex harmonies of this to move us into the second theme which is darker in tone and more somber. The second theme closes with a violin solo bringing us back into the first theme. In summation, this is a lush lullaby that is meant to assuage a child trying to find his or her place in the world. Hearing mom’s voice of wisdom provides solid emotional grounding for the child.
Rev's Comments: Associate Chaplain Rev. Molly Doreza
She was all but three years old and filled with fury. After pulling everything from the shelves and ripping off the sheets and blankets, she lay on the floor of her bedroom, amid the tsunami, wailing. Her father tried to quiet her, but his soothing words and gentle advice infuriated her. Giving up, he left the storm to me. I lay down beside her and just listened to her anguish. For what seemed like an eternity, I fought back the urge to cajole. Instead, I lay silently, leaning into her suffering. At last she was spent, and she wiggled herself across the floor into my arms.
Mother Music listens before she speaks. She “inclines her ear” (Psalm 17:6) to her children’s suffering voices before she makes a sound. She hears before she sings, and only afterwards does she try to soothe. Once we are heard, we can fall into her arms knowing that she knows and understands.
Music responds to the human “impulse to keep the painful details and episodes of a brutal experience alive in one’s aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing it from a near-tragic lyricism.” (James H. Cone “The Cross and the Lynching Tree”).
Mother Music’s wisdom lies in her ability to cradle us as we recall painful details and brutal experiences of life, and only then does she sing to us the songs we need to hear.
“Pavane pour une infante défunte”
“Pavane for a Dead Princess”
Composer: Maurice Ravel (1875 - 1973)
Instrumentation: 2 flutes; oboe; 2 clarinets; 2 bassoons; 2 horns; harp; and strings.
Approximately 8 Minutes
Maurice Ravel
Maurice Ravel was born in the basque region of France near the border of Spain. Ravel showed a lot of promise as a musician at an early age. In his late teens he applied and was accepted to the Paris Conservatory. The faculty thought he was too difficult to teach and that he did not stand out as a student. His progressive ideas severely irritated the faculty. He was expelled from the Paris Conservatory twice!! Ravel also applied five times for the top French prize in music composition, the Prix de Rome. He was unsuccessful each time. Despite this, Maruice continued to study and work. His most notable pieces of music first started out as works for piano. Later Ravel would turn his piano pieces into full blown orchestral works.
Visual art and music often share similar ideas and values. Ravel is an impressionist composer. Impressionist music, like visual impressionist art, is meant to be dream-like. A slightly hazy picture where not all the details are clear. Maurice Ravel liked the wording he titled this piece of music. The composer explicitly stated that he did not mean anything serious by the title.
“Do not attach any importance to the title. I chose it only for its euphonious qualities. Do not dramatize it. It is not a funeral lament for a dead child, but rather an evocation of the pavane which could have been danced by such a little princess as painted by Velázquez.” - Maurice Ravel
A pavane is a slow procession-like dance that couples used in the 1500’s and 16oo’s to present themselves to the King and Queen. Although the composer says we should not take the title seriously, his composition and the way he arranges it for orchestra say otherwise. “Pavane for a Dead Princess” was originally written for piano. Ravel is a master at orchestration. His orchestral arrangement of this piano piece is exceptionally beautiful. It is considered a show piece for french horn players across the world. It contains one of the most difficult solos for the instrument written in its upper register. The horn is complemented by the beauty of the harp and woodwinds scattered throughout this piece. Its strong sense of beauty, elegance, and nobility is evenly matched by its serenity; making it a necessary addition to this program.
“Dios Nunca Muere”
“God Never Dies”
Composer: Macedonio Alcalá (1830 - 1869)
Instrumentation: piccolo; 2 flutes; 2 oboes; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 2 trumpets, 2 trombones; bass trombone; tuba; timpani; cymbals; snare drum; marimba (the marimba part will be played on the harp); and strings.
Performance Time: Approximately 6 Minutes
Macedonio Alcala
Macedonio Alcala Prieto was born in Oaxaca, Mexico. He showed great promise as a musician at a young age mastering several instruments. His particular favorite was the violin. Macedonio was quite in demand all over the city. He was such a fantastic musician that he was granted a scholarship to study music in Mexico City. It was there that he joined the Philharmonic Society of Santa Cecilia. This organization focused on playing regional composers. Shortly after joining the Philharmonic society, Alcala became the city band director of Oaxaca. When he moved to the city of Yanhuitlán. He was unable to earn a living as a musician which led to lots of depression and alcoholism.While he struggled to recover he was visited by a group of indigenious people from the nearby town of Tlacolula. They came to ask him to compose a waltz in honor of their town’s patron saint, the Virgin Mary. As he worked though his illness Alcala worked on the musical composition. Once it was completed and performed it was a smashing success. During the last two years of Alcala’s life, he was the professor of music at the Hacienda de la Concepción.
“God Never Dies” is considered the unofficial state anthem of Oaxaca. “God Never Dies” is a waltz. It has been included on this program as a way of reminding all of us that even though our loved ones may be missing from our lives, hope is always present. Hope must endure, because of this, we have a reason to dance.
“Adoration”
Composer: Florence Beatrice Price (1887 - 1953)
Instrumentation: flute; oboe; 2 clarinets; bassoon; 2 horns; and strings.
Performance Time: Approximately 5 Minutes
Florence B. Price
Florence Beatrice Price is a Black American woman who was born in Arkansas. She began composing music at the early age of four. When she was nineteen, Ms. Price entered the New England conservatory of Music. Coincidentally, The New England Conservatory of Music is also where in the future, a young Coretta Scott King would go to study voice and violin and where James Weldon Johnson, writer of “Lift Every Voice and Sing” would also study music. Ms. Price graduated from the New England Conservatory with degrees in both piano and organ. In 1932 she won two first prizes in the Lewis Rodman Wanamaker competition for her “Symphony Number 1 in E Minor” and her “Piano Sonata in E Minor”. She is the first Black composer to be played by a major symphony orchestra and the first woman composer to be played by a major symphony orchestra. Ms. Price made her living by playing organ in movie theaters and churches.
Despite her massive accomplishments, the work of Ms. Price was almost lost forever. In 2009 a couple unknowingly acquired Ms. Price’s home in St. Anne, Illinois with a plan to renovate it. The house was a mess. Vandals had ransacked it, and a fallen tree had torn a hole in the roof. In a part of the house that had remained dry, the couple discovered piles of musical manuscripts, books, personal papers, and other documents. The name that kept appearing in the materials was Florence Price. After doing some internet research the couple found that she was a moderately well-known composer, based in Chicago, who had died in 1953. The house they sought to renovate had been Price’s summer home. The couple got in touch with librarians at the University of Arkansas, which already had some of Price’s papers. Archivists realized, with excitement, that the collection contained dozens of Price scores that had been thought lost. Today we have several compositions by Price that have recently been published. Symphony orchestras and chamber music groups are now playing her works with regularity on music programs throughout the world. Adoration was originally written for pipe organ. The arrangement we are playing tonight is for chamber (small) orchestra.
*Rev’s Comments: These pieces of music appeared on Black String Triage Ensemble programs. Clergy were asked to provide commentary on the pieces of music. That commentary was developed according to the stage of grief assigned to those pieces of music on those programs and the overall theme of that particular program. Rev. Molly Doreza is the Associate Chaplain for the Black String Triage Ensemble. Rev. Ronald Ballew is the Lead Chaplain for The Black String Triage Ensemble.
Special Thanks for Making Tonight’s Concert Possible
Central United Methodist Church
Viviane Thomas-Breitfeld
Bayshore Lutheran Church
The ELCA Greater Milwaukee Synod
Bishop Paul Erickson
Rev. Ronalld Ballew
Rev. Molly Doreza
Milwaukee Youth Symphony Orchestra Artistic Director Mr. Carter Simmons
Concord Chamber Orchestra Music Director Mr. Jamin Hoffman
West Bend High School Band Director Leah K. Duckert
Hamilton High School Band Director Wendy Milbauer
Milwaukee School of Languages Band Director Ben Titus
Richard Schwinn
Dave Rasmussen
Clark Graphics
About The Black String Triage Ensemble
Board of Directors
Rev. Marilyn Miller
Kate Yelvington
Bria Burris
Trent Muller
Marie S. Warren
Dr. Edward Kawakami
Founder & Music Director:
Dayvin Martin Anthony Hallmon
Dayvin M.A. Hallmon has been studying music since the age of 5. He plays Violin, viola, clarinet, piano, alto saxophone, tenor saxophone, flute, and pipe organ. Dayvin is the musical grandchild of Jascha Heifetz, Dr. Thomas Dorsey and Dr. Mattie Moss Clark. Since the age of 9, Mr. Hallmon has been building ensembles in churches and helping congregations craft a strategic vision for their music ministry. Perfectly at home in both Gospel and Western Classical, Mr. Hallmon was Assistant Concertmaster of the Church of God In Christ International Orchestra for seven years. Mr. Hallmon was born in Chicago in 1985. In 1990 his family moved to Racine, Wisconsin which is where Mr. Hallmon grew up. For ten years he was a county board supervisor in Kenosha County, Wisconsin. Since September 2018 Mr. Hallmon has been a resident of Milwaukee, Wisconsin.
The Black String Triage Ensemble
Founded in January of 2019, The Black String Triage Ensemble is a string orchestra of Black & Latin musicians that play Triage Concerts in the immediate aftermath of: shootings; car accidents; and drug overdoses. Those Triage Concerts happen right at the scene. The Black String Triage Ensemble also plays Triage Peacekeeping Concerts, at the scene of, and in the midst of, riots/civil unrest.
The Black String Triage Ensemble only plays Black and Latin composers across all genres of music, including but not limited to: Blues; Soul; Jazz; Gospel; Classical; Tango; Reggae; Spirituals; R & B; Folk; Mariachi; and others. All the music is programmed in accordance with the five stages of grief with the sixth stage of Faith added at the conclusion.
The Black String Triage Ensemble will hold its 5th Annual Open Rehearsal on Sunday May 28th, 2023 at 4:00PM. The location will be at the Washington Park Bandshell 4599 West Lloyd Street. The Annual Open Rehearsal is the only scheduled public event The Black String Triage Ensemble has. The Annual Open Rehearsal is held so that the general public can hear the music that will be used before the musicians start their work going on call for the summer.
Legion of the Soul
Founded in July of 2020 Legion of the Soul, is a sister string orchestra of non Black & non-Latin musicians. Participation is open to all non Black & non-Latin string players age 18 and up. Legion of the Soul is called into active duty to support The Black String Triage Ensemble for effective Peacekeeping Concert work at the scene of, and in the midst of, riots/civil unrest.
Peacekeeping concerts are a multi-racial and multi-ethnic effort to use music to hold off any and all acts of violence by civilians or law enforcement. Legion of the Soul only plays Spirituals and Black and Latin Classical composers. Legion of the Soul was active alongside The Black String Triage Ensemble holding a peacekeeping concert in the middle of the August 2020 Kenosha unrest.
Black Diaspora Symphony Orchestra
Founded in December 2021, The Black Diaspora Symphony Orchestra is a third sister orchestra. It is the performance and education arm of The Black String Triage Ensemble. The BDSO seeks to place Black & Latin composers at the center of symphonic music. All of The BDSO concerts are rooted in the life experiences Black & Latin communities and people face.
BDSO musicians come from all racial and ethnic backgrounds. Participation is open to musicians ranging from high school through adulthood. Past and current musicians have been music educators, retirees, professional musicians, college students, high school students, others from throughout the community, and some from across the state of Wisconsin.
The next Black Diaspora Symphony Orchestra concert will our Juneteenth Concert on Sunday June 25th, 2023 at the Washington Park Bandshell 4599 West Lloyd Street. The time for this concert has not been set yet. For More Information about The Black String Triage Ensemble, its sister orchestras, future performances, and past on-call locations please see our website calendar.
The Black String Triage Ensemble organization is the only one of its kind in the entire world. All the activities of the Black String Triage Ensemble organization are free and open to the general public. We cannot continue to do this without your help. Please click here to donate and help support the work of The Black String Triage Ensemble organization.
Thank you!!!