TUTTI 2026 Festival Program

TU TT I 2026 | MARC H 23 - 28 MONDAY, MARCH 23

7 P.M. | IMMERSION! Micaela Vivero, Marion Ramírez, Pete Mills and Visual Arts, Dance, and Music students THORSEN DANCE STUDIO - EISNER CENTER

WEDNESDAY, MARCH 25

4:30 P.M. | Artist Talk With Mira Jacobs DENISON MUSEUM - EISNER CENTER

7 P.M. | CONCERT I * Attacca Quartet with Gabriel Kahane SHARON MARTIN HALL - EISNER CENTER

THURSDAY, MARCH 26

11:30 A.M. | INTERDISCIPLINARY GRAPHIC WRITING WORKSHOP With Mira Jacobs DENISON MUSEUM - EISNER CENTER

3 P.M. | CONCERT II Kaleidoscope: Chamber Music BURKE RECITAL HALL - EISNER CENTER

7 P.M. | CONCERT III * Shifting Landscapes: Chamber Singers and Orchestra SHARON MARTIN HALL - EISNER CENTER

FRIDAY, MARCH 27

9:30 A.M. | ROUNDTABLE DISCUSSION With Attacca Quartet, David Lang, and Gabriel Kahane EISNER 144 - EISNER CENTER

* Tickets Required ** For Registered Participants Only 2

FRIDAY, MARCH 27

10:30 A.M. | CONCERT IV Morning Musings: Chamber Music BURKE RECITAL HALL - EISNER CENTER

1:30 P.M. | CONCERT V Afternoon Tea: Chamber Music BURKE RECITAL HALL - EISNER CENTER

3 P.M. | PHILOSOPHY COFFEE With Jonthan Maskit (host), David Lang, Attacca Quartet, and Gabriel Kahane EISNER 144 - EISNER CENTER

7 P.M. | CONCERT VI * El derecho de vivir: Wind Ensemble with Cristian “Huevo” Sanhueza-Zaninovic, and Ricardo Alvarez Bulacio SHARON MARTIN HALL - EISNER CENTER

SATURDAY, MARCH 27

10:30 A.M. | CONCERT VII Electric Interplay: Dance, Chamber Music, and Interactive Media THORSEN DANCE STUDIO - EISNER CENTER

2 P.M. | CONCERT VIII Morning Musings: Chamber Music BURKE RECITAL HALL - EISNER CENTER

4:30 P.M. | ROUNDTABLE DISCUSSION ** PRESIDENTS DINING ROOM - HUFFMAN HALL

5:30 P.M. | KEYNOTE DINNER ** PRESIDENTS DINING ROOM - HUFFMAN HALL

7 P.M. | CONCERT IX * The Vail Series presents Attacca Quartet SWASEY CHAPEL

WELCOME TO DENISON’S TUTTI FESTIVAL 2026!

Welcome to the 12th TUTTI Festival! What started as a new music weekend back in 2004 has grown to a weeklong new arts event and we’re excited to have you here. We have programmed around 400 works and have been fortunate to work with so many amazing artists around the world and colleagues in our own backyard.

This year we are so honored to have with us David Lang as our featured composer. Pulitzer Prize winner David Lang is one the most performed composers in the USA. He has been instrumental in the face, sound, and philosophy of new music in the United States and his impact cannot be overstated.

Our first featured ensemble is the amazing Attacca Quartet, whom I got to see dissect and bring to life new chamber music at a conference a few years ago. Their precision and artistry is compelling and I’m thrilled to have them open and close our TUTTI concerts.

This is Nick Ritter’s second appearance on TUTTI. A few years ago, he came as part of our featured ensemble, Fifth House Ensemble. This year, he brings his beautiful sounds to the bassoon and contrabassoon, and he will be heard throughout TUTTI. Denison’s Wind Ensemble welcomes Cristian “Huevo” Sanhueza Zaninovic and Dr. Ricardo Alvarez Bulacio as guest artists and co-curators of Chilean music on Friday night in a truly immersive concert not to be missed. OH50, central Ohio’s wind quintet, joins us this weekend showcasing their talents and we are excited to have you hear them.

TUTTI has grown to welcome all, which is what “tutti” means in Italian. And in the case of the TUTTI Festival, it means there is more than just music this week. Beck Series’ guest artist Mira Jacob, a graphic artist and memoirist showcases her work this week. If you walk through Eisner, be sure to check out Denison Museum’s exhibit, Curiosity, as well as the work of Micaela Vivero’s and Christian Faur’s visual art students, as they took the selected works of TUTTI 2026 and used them as inspiration for new art that they’ve created for TUTTI. And while you’re here, check out the immersive beautiful work of Christian Faur and composer Zachery Meier at the Mulberry House. And join us for our Roundtable Discussion and our Philosophy Coffee, hosted by Jonathan Maskit, for more discussions on art and our world today.

With each day, I am more convinced that the arts are even more vital now than they ever have been.. Art matters.

On behalf of all the artists you will encounter this week, art is us. Welcome!

Ching-chu Hu

Director, TUTTI New Arts Festival Director, Denison Vail Series

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It is a pleasure to welcome you to Denison University’s TUTTI 2026 New Arts Festival.

Every two years something special takes place at Denison. We host the fabulous TUTTI festival. This year is our 10th anniversary of TUTTI! Why do we host TUTTI and why are we so proud of TUTTI? Denison has a long and proud tradition across the arts. We believe the arts are a foundational element to educating and inspiring our students to lead meaningful lives, to achieve professional success, and to be the citizens the world needs.

We find our humanity through the arts.

TUTTI is also part of a larger institutional commitment at Denison to deepen our commitment to the arts and to position Denison as a top liberal arts college for arts oriented students who are seeking an alternative to a conservatory.

Students can go deep into an artistic passion, or they can go deep and wide across the arts, or they can combine a passion for the arts with any other academic interest.

As always, I am awed by the scope of TUTTI. This year, the people and performances span a range of fine arts and beyond. I am also deeply grateful to the faculty, staff, students, community members, friends of the college and others who have put so much work into making this happen.

As we emerge from two years of Covid, we all need the opportunity to experience the arts and to do so together.

While lots of people deserve thanks, I want to give a loud and grateful shout-out to Professor Ching-chu Hu. Without his vision, leadership, persistence, intellect, talents and grace, TUTTI does not happen. I am proud to call him a Denison faculty member (and a friend!).

We are pleased that you are participating in TUTTI and hope you will enjoy the artistic gifts we will receive this week from our performers.

Adam Weinberg

President, Denison University

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I’m delighted to welcome you to Denison’s TUTTI 2026 New Arts Festival.

TUTTI is an interdisciplinary festival, reaching across divisional boundaries to immerse us in a celebration of new music and the arts. I find the definition of “TUTTI,” a musical term taken from Italian meaning “all together,” to be an apt expression to describe the unusual depth and breadth of the artistic offerings of this event. From a Pulitzer Prize winning composer and GRAMMY-award winning artists to creative work involving our own faculty and students, this celebration will feature guest artists, faculty, and students who will showcase their work in new and exciting ways.

The TUTTI festival will span many disciplines across campus and showcase much of what we strive to achieve at Denison University. Through our innovative and inclusive curriculum, our students can learn, create, and collaborate with others across the college. No matter what major our students pursue, Denison challenges students to think across division and across differences to explore the depth and breadth of their interests both within their majors and outside. This multi-disciplinary approach focusing on the whole person prepares students to leave Denison as autonomous thinkers and active citizens who have learned the skills to be successful in life. The TUTTI Festival and the work that you will see exemplifies this approach.

I hope that you will take time to experience all that TUTTI brings to Denison. Enjoy!

Kim Coplin

Provost, Denison University

FEATURED GUEST ARTISTS DAVID LANG

“With his winning of the Pulitzer Prize for the little match girl passion (one of the most original and moving scores of recent years), Lang, once a postminimalist enfant terrible, has solidified his standing as an American master.”

— The New Yorker David Lang is one of the most highly esteemed and performed American composers writing today. His works have been performed around the world in most of the great concert halls.

Lang’s the little match girl passion, commissioned

by Carnegie Hall and premiered by Paul Hillier and Theatre of Voices, was recently listed by The Guardian as “one of the top 25 works of classical music written in the 21st Century.” It won the Pulitzer Prize in 2008 and the recording received a Grammy Award in 2010. simple song #3, written as part of his score for Paolo Sorrentino’s acclaimed film YOUTH, received many awards nominations in 2016, including the Academy Award and Golden Globe.

His opera prisoner of the state (with libretto by Lang) was co-commissioned by the New York Philharmonic, Rotterdam’s De Doelen Concert Hall, London’s Barbican Centre, Barcelona’s l’Auditori, Bochum Symphony Orchestra, and Bruges’s Concertgebouw, and premiered June 2019 in New York (conducted by Jaap van Zweden). prisoner of the state received its UK premiere in January 2020 with the BBC Symphony (conducted by Ilan Volkov) and its EU premiere in May 2023 with the Bochum Sinfoniker (conducted by Steven Sloane).

Lang is a Professor of Music Composition at the Yale School of Music. He is co-founder and co-artistic director of New York’s legendary music collective Bang on a Can. His music is published by Red Poppy Music and G. Ricordi & Co., New York (ASCAP) and is distributed worldwide by the Universal Music Publishing Group.

ATTACCA QUARTET

The two-time Grammy Awardwinning Attacca Quartet is recognized and acclaimed as one of the most versatile and outstanding ensembles of the moment — a true quartet for modern times. Gliding through traditional classical repertoire to electronica, video game music, and contemporary collaborations, they are one of the world’s most innovative and respected Ensembles.

In 2021, the quartet released two albums that embody their redefinition of what a string quartet can be. The first Album, Real Life, featuring guest artists such as TokiMONSTA, Daedalus, and Anne Müller, was followed up by Of all Joys, which features works by Philip Glass, Arvo Pärt, and music of the Renaissance period.

Passionate advocates of contemporary repertoire, the quartet is dedicated to presenting and recording new works. Their 2019 release Orange, in collaboration with Caroline Shaw, saw them win the 2020 Grammy Award for Best Chamber Music/Small Ensemble Performance, with their follow-up album Evergreen winning the 2023 award in the same category. The quartet continues to perform in the world’s best venues and festivals.

Recent highlights include Lincoln Center’s White Light Festival and Miller Theatre, Carnegie Hall, Phillips Collection, Chamber Music Detroit, Chamber Music Austin and Isabella Stewart Gardner Museum in Boston as well as the Concertgebouw in Amsterdam, Wigmore Hall, Ojai Festival, BRIC Arts and Big Ears Festival. Outside

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of the US, performances include Kings Place and in Oslo at the Vertavo Haydn Festival as well as performances at Gothenburg Konserthuset, MITO Settembre Festival in Italy, Sociedad Filarmónica de Bilbao, Strijkkwartet Biennale Amsterdam, Strings of Autumn Festival Prague, Thüringer Bachwochen, Sala São Paulo in Brazil, Fundación Beethoven in Chile, National Theatre of Panamá, and Teatro Mayor in Bogota. They have also soloed with the Nagoya Philharmonic in Japan, the National Orchestra of Catalunya at the Palau in Barcelona, the Cabrillo Festival Orchestra, and the Colombian National Orchestra in Bogota.

In addition to the quartet’s traditional concert stage work, they were the first to collaborate with Billie Eilish and FINNEAS on their recent album and also performed with the duo on Saturday Night Live. As featured Artists, the Attacca Quartet can be heard on the soundtrack of the upcoming Ken Burns Documentary Leonardo da Vinci (soundtrack by Caroline Shaw) and the soundtrack for the film We Grown Now (directed by Minhal Baig and soundtrack by Jay Wadley).

In their 2024-25 season, the Attacca Quartet performs for Carnegie Hall, Nashville’s Chamber Music City, and Richmond’s Belvedere Series, and will lead a residency at Montclair State University. Outside of the US, performances include Vancouver’s Music in the Morning, the Winnipeg Symphony, Norwegian National Opera & Ballet, and La Biennale Di Venezia. The upcoming season also includes commissions by David Lang and Gabriella Ortiz. The founding members of the Attacca Quartet met while all studying at the Juilliard School in the early 2000s and they made their professional debut at Carnegie Hall in 2003. Other accolades include First Prize at the 7th Osaka International Chamber Music Competition, the Top Prize and Listeners’ Choice award winners for the Melbourne International Chamber Music Competition, and Grand Prize Winners of the 60th annual Coleman Chamber Ensemble Competition.

The Attacca Quartet has engaged in extensive educational and community engagement projects, serving as guest 6

artists and teaching fellows at the Lincoln Center Institute, University of Texas, Juilliard School, the Boston University Tanglewood Institute, and Bravo! Vail among others. They are expert programmers and communicators, and beautifully mix existing works with those by living composers. Visit attaccaquartet.com for more information.

GABRIEL KAHANE

Hailed as “one of the finest songwriters of the day” by The New Yorker, Gabriel Kahane is a musician and storyteller whose work spans the theater, club, and concert hall.

Highlights of the 2024-25 season include a return to the New York stage in a production at Playwrights Horizons of two solo works, Magnificent Bird and Book of Travelers, which Gabriel performs in repertory.

In addition, he tours as a duo with fellow composer/ performer Caroline Shaw in the United States and Europe, including performances at the Philharmonie de Paris, Wigmore Hall, and the Concertgebouw.

This season also witnesses the premiere of a clarinet concerto for Anthony McGill, a solo debut with the Orchestre National de Lyon, as well as Kahane’s San Francisco conducting debut in Carla Kihlstedt’s Twentysix Little Deaths.

Gabriel’s discography includes five LPs as a singersongwriter; The Fiction Issue, an album of chamber music with string quartet Brooklyn Rider; as well as emergency shelter intake form, an oratorio exploring economic inequality through the lens of housing insecurity. That work, commissioned and recorded by the Oregon Symphony, has also been heard in San Francisco, Chicago, and London, with a New York premiere this season at Trinity Church Wall Street.

Upcoming recordings include Heirloom, a piano concerto written for his father, the noted pianist and conductor Jeffrey Kahane; as well as the debut album from Council, an ongoing project with violinist, composer, and conductor Pekka Kuusisto.

As a theater artist, Kahane made his off-Broadway debut with the score for February House, which received its world premiere at the Public Theater in 2012. He made his Brooklyn Academy of Music debut in 2014 with The Ambassador, in a production directed by John Tiffany. In 2018, he wrote incidental music for the Broadway revival of Kenneth Lonergan’s The Waverly Gallery, starring Elaine May. Kahane maintains a diverse roster of collaborators from various corners of the musical universe, ranging from Phoebe Bridgers, Paul Simon, Sufjan Stevens, and Sylvan Esso, to the Danish String Quartet, Roomful of Teeth, and Attacca Quartet. As a writer, he has been published

by The New Yorker online and The New York Times; a newsletter and collection of essays on music, literature, and politics can be found at gabrielkahane.substack.com.

A two-time MacDowell Fellow, Kahane received the 2021 Charles Ives Fellowship from the American Academy of Arts and Letters. He lives with his family in Portland, Oregon, where he serves as Creative Chair for the Oregon Symphony.

NICK RITTER

Virginia native Nick Ritter joined the Charlotte Symphony as bassoonist and contrabassoonist in 2023.

He has also performed with orchestras including the Chicago Symphony, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Nashville Symphony, and Lyric Opera of Chicago. Over the past two summers, Nick has been a guest performing with the Santa Fe Opera. He first connected with the Tutti Festival in 2022, where he performed as a member of the Fifth House Ensemble.

Nick is a passionate educator, serving as the bassoon professor at the University of North Carolina at Charlotte. He also teaches for the North Carolina Youth Orchestra, leading their beginning classes for oboe and

saxophone, in addition to conducting the Junior Wind Ensemble. Nick maintains a private studio of bassoon and reed making students, and has previously held teaching positions at Northwestern University, Northern Illinois University, and The People’s School of Music in Chicago.

Nick attended Northwestern University and DePaul University, earning degrees in Music Theory and Bassoon Performance. He studied with Christopher Millard, Lewis Kirk, David McGill, Bill Buchman, and Miles Maner, in addition to Nancy Goeres and Per Hannevold at the Aspen Music Festival.

Outside of rehearsal, Nick is most often knitting, playing video games, or getting lost in the woods. He lives in Charlotte with his partner and two cats.

CRISTIAN “HUEVO” SANHUEZA ZANINOVIC

Cristian Sanhueza Zaninovic is an artist who has distinguished himself for his extensive and versatile work in the national art scene, encompassing theater, dance, film, and music, as a composer, director, documentary filmmaker, and producer. In 1997, he began his work as a composer of music for theater and dance, with several projects awarded to date. In 2000, he founded, directed, and produced the artistic development of Banda Conmoción, their four albums (Pregonero 2009, Cuerpo Repartido 2011, DVD 2013, Tiraneño 2014), and two international tours (Europe 2009, Shanghai 2010, and Argentina 2013).

He won the Pulsar Award in 2014 for Best Folk Roots Album with the double album Tiraneño.

Upon his return to Iquique, he developed a broad and varied musical catalog, forming groups such as Tambobrass, Hueo & el Panel de Expertos, Los Canillas, and Hueo & Los Yatiris (WomAD 2023), participating 7

in national and international festivals and always characterized by the northern sound that he manages to imbue in each project. His work for the stage and musical composition has diversified with more than six albums of original music for contemporary circus, dance, theater, and audiovisual works, such as the recently released documentary: “Don Anselmo Charcas, Singer of the Crosses of Pica,” where he acted as both director and composer. He has been characterized by his constant work surrounding cultural heritage, regional traditions, historical groups, and practitioners of popular art, mainly through audiovisual projects and musical sound recordings.

In Tarapacá, he founded the Union Calata label, from which he is currently producing the musical work “Tonos del pueblo de Ancuyo by Don Fortunato Vichez and Juanita Mamani,” the next album by the brass band Los Reales del Folclor, among other ongoing projects. His latest production, premiered on December 21, 2024, was “Cantata Santa María in Brass Band.”

RICARDO ÁLVAREZ BULACIO

Dr. Ricardo Álvarez Bulacio is a performer, music researcher, and composer. He holds an MA and PhD in Music from the University of York (UK). As a performer, he has appeared on various stages throughout Chile and internationally, giving concerts in Argentina, Costa Rica, Bolivia, the United States, England, Germany, and the Netherlands. As a researcher, he has presented his work at international conferences such as the British Forum for Ethnomusicology Conference, the Latin American Music Seminar, the Rhythm Changes International Conference, and the Documenting Jazz Conference. He has also published in academic journals and books. As a composer, his works have been performed by the Julian Arguelles Octet (England), Quotuor Diotima (France), Latin Strings (Germany), The Assembled (England), and the University of York Jazz Orchestra (England). Two of his compositions received awards in the 2017 and 2020 8

editions of the “Margot Loyola: Premio a la Música de Raíz” competition, organized by the Chilean Society of Musical Authors and Performers (SCD). He currently performs with the “Ricardo Alvarez Quartet” and is the musical director of the “IMUS Saxophone Quartet.”

MIRA JACOB

Mira Jacob is a novelist, memoirist, illustrator, and cultural critic. Her graphic memoir Good Talk: A Memoir in Conversations was shortlisted for the National Book Critics Circle Award, longlisted for the PEN Open Book Award, named a New York Times Notable Book, as well as a best book of the year by Time, Esquire, Publisher’s Weekly, and Library Journal.

Her novel The Sleepwalker’s Guide to Dancing was a Barnes & Noble Discover New Writers pick, shortlisted for India’s Tata First Literature Award, longlisted for the Brooklyn Literary Eagles Prize and named one of the best books of 2014 by Kirkus Reviews, the Boston Globe, Goodreads, Bustle, and The Millions. Her next novel, We Killed Anji Alexander, about the murder of a whitepassing Indian actress, will be released in 2027 with Ecco Books. Her work has appeared in The New York Times Book Review, Tin House, Literary Hub, Guernica, Vogue, and the Telegraph. She is currently visiting professor in the MFA Creative Writing program at The New School and a founding faculty member of the MFA Program at Randolph College. Mira co-founded Pete’s Reading Series in Brooklyn, where she spent 13 years bringing literary fiction, non-fiction, and poetry to Williamsburg. She lives in Brooklyn with her husband, documentary filmmaker Jed Rothstein, and their son.

OH50

Founded by a shared love of chamber music and years of friendship, the OH5O Wind Quintet brings together five accomplished musicians united by curiosity, craftsmanship, and a spirit of collaboration. Though newly formed as an ensemble, the members’ musical relationships span many years, forged through shared performances, schooling, and a mutual respect for one another’s artistry.

musical experiences that connect with audiences of all backgrounds, while continually refining their collective voice. Rooted in friendship and professionalism, the OH5O Wind Quintet brings a fresh perspective to the tradition of chamber music, grounded in experience and driven by a shared artistic vision.

The group consists of Katie Kuvin on flute, Kelli Lawrence on oboe, Evan Lynch on clarinet, Emily Klepinger on bassoon, and Mitchell McCrady on French Horn. Each musician balances careers in fields outside of music while remaining active music performers, educators, and collaborators, appearing regularly with orchestras, chamber ensembles, and in solo recitals. Their collective experience encompasses a wide range of musical settings, from traditional concert halls to community venues and educational outreach programs. Members regularly appear with the Columbus Symphony, ProMusica Chamber Orchestra, Newark-Granville Symphony, New Albany Symphony, Central Ohio Symphony, and Worthington Chamber Orchestra. This breadth of experience informs the quintet’s approach: technically refined, stylistically versatile, and deeply attentive to ensemble balance and color.

As a woodwind quintet, the group is dedicated to exploring both the core repertoire of the genre and works by contemporary composers. Their programming reflects a commitment to clarity, expressive nuance, and thoughtful interpretation, whether performing beloved classics, playing arrangements of popular tunes, or introducing audiences to lesser-known and newly commissioned works. Looking ahead, the quintet aims to establish a strong presence in the chamber music community through performances and educational initiatives. They are committed to fostering meaningful 9

WEEK LONG EXHIBITIONS CURIOSITY DENISON MUSEUM - EISNER CENTER

FROM WITHIN: COLORS OF THE SAGRADA FAMILIA MULBERRY GALLERY - MULBERRY HOUSE Collaboration with Zachery S. Meier, Chris Faur, and TOWER DUO

ART FROM SOUND LOWER LEVEL - EISNER CENTER Collaboration with TUTTI Call For Score winners, Micaela Vivero, and Denison Student Artists: Gabby Belmonte, Hayden Brashear, Emily Deck, Lily Donovan, Maredith Havre, Logan Jacobina, Vania Jung, Madi Kessler, Ryo Kojima, Minh Le, Maeva Lile, Stella Mckitrick, Viet Nguyen, Jasmine Olazava, Sienna Sein, Kendall Sirens, Tori Tutt

PROJECTIONS AND SOUND LOWER LEVEL - EISNER CENTER Collaboration with TUTTI Call For Score winners, Chris Faur, and Denison visual arts students: Vidit Bhandari, Jenna Cutlip, Wyatt Fabyanske, Alelie Farkas, Anthony Flynn, Leah Jackson, Yuvelk Lopez Garcia, Mark Moore, Amy Nguyen, Jusung Pae, Kay Patmon, Jack Soroka

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IMMERSION! MICAELA VIVERO, MARION RAMÍREZ, PETE MILLS AND VISUAL ARTS, DANCE, AND MUSIC STUDENTS Monday, March 23 | 7:00 P.M. Thorsen Dance Studio - Eisner Center DANCE STUDENT ARTISTS Emma Bradford Cindy Sobtafo Grace Lukens

JAZZ STUDENT ARTISTS Julian Patterson, trumpet Liz Hedger, trumpet Dimi Martinez-Davila, alto saxophone Seby Newman, piano Colin Angstrom, bass Khang Nguyễn, guitar Michael Dugas, drums

VISUAL STUDENT ARTISTS Mark Moore Amy Nguyen Grace Vap Melody Wienandt

CONCERT I ATTACCA QUARTET WITH GABRIEL KAHANE Wednesday, March 25 | 7:00 P.M. Sharon Martin Hall - Eisner Center A Selection of Songs

Gabriel Kahane

Final Privacy Song String Quartet No.1, “Klee” daisy David Lang Amy Schroeder, violin, Domenic Salerni, violin, Nathan Schram, viola Andrew Yee, violoncello, Gabriel Kahane, piano *Concert order and selections to be announced from stage 11

CONCERT II KALEIDOSCOPE: CHAMBER MUSIC Thursday, March 26 | 3:00 P.M. Burke Recital Hall - Eisner Center Chopiniana

Julian Maple-Oliveira

Mary Davis, cello Julian Maple-Oliveira, sampler and electronics

unchained melody Alexandros Fragiskatos, percussion

David Lang

SIDEWINDER John Savage, solo mandocello

John Savage

light, unraveled

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Nick Ritter, bassoon Hana Chu, piano

Robert McClure

Prelude No. 1 San Sung Aum, piano

EunSeok Park

Dream Dance

Mark Phillips

live electronics

It’s raining on Wall Street Nick Ritter, bassoon Hana Chu, piano

Anna Abasheva

Shards

Richard Power

fixed media

PROGRAM NOTES JULIAN MAPLE-OLIVEIRA | Chopiniana

Chopiniana, for cello and electronics, reimagines the spirit of Frédéric Chopin through a contemporary lens.

A poetic tribute to one of the most iconic figures in Romantic music, this work distills fragments of Chopin’s emotional language and reanimates them within a new sonic landscape. The work draws loosely on material from several of Chopin’s iconic genres. While there are no direct quotations, attentive listeners may recognize echoes of some of my personal favorites among the works of the Polish master. Chopiniana explores the vitality of artistic inheritance. It invites listeners into a space where tradition is not preserved but revived.

DAVID LANG | unchained melody

I like the idea of a tune with complications. In unchained melody I imagine that the glockenspiel is in the background, as if the tune is the resonant byproduct of a more relentless foreground of noisy accents.

JOHN SAVAGE | SIDEWINDER

SIDEWINDER, for solo mandocello, was completed in the summer of 2025. The mandocello is both the larger cousin of the mandolin, and the fretted, pluckedstring equivalent of the violoncello. In my attempt to write a piece that highlighted the tonal qualities of the mandocello, I drew a great deal of inspiration from the guitar music of Michael Hedges, who often tuned his guitar in a manner similar to the mandocello. I have perceived that the mandocello is beginning to gain newfound and well-deserved attention, and so I wanted to write new repertoire for this instrument that has gone unnoticed or been relegated to a background role.

ROBERT McCLURE | light, unraveled

light, unraveled was written for my good friend, composer and bassoonist, Jamie Leigh Sampson. The piece explores images of light passing through ocean water, reflecting and refracting in morphing shapes and patterns. As light descends, it reaches an area called the “midnight zone.” The ocean plunges into darkness past this point. These images informed much of the textural treatment of light, unraveled.

EUNSEOK PARK | Prelude No.1

Prelude No. 1 for solo Piano was originally commissioned in 2022 for the 77th Commemoration of the Atomic Bombings of Hiroshima and Nagasaki Peace Concert 2022. The piece was premiered by the composer himself.

This piece is set against the backdrop of the devastating war and the pain of loss and ruin following the atomic bombings that should never have been unleashed.

Yet amidst it all, it seeks to capture the beauty of life reemerging—sometimes whispering softly, other times roaring loudly—within the resonant sounds that echo through the void, like the ruins themselves.

MARK PHILLIPS | Dream Dance

Dreamy vocoders give way to an algorithmic synth groove, but only partially … and not for long.

ANNA ABASHEVA | It’s raining on Wall Street

I started this piece last summer when I was doing an internship in a firm near Wall St – an internship that made me deeply miserable and drained all my energy.

While this piece is inspired by my personal experience, it also serves as a statement against the finance industry. It is usually portrayed in the media with a lot of hype, but this music is about its opposite side: about an industry that overworks its employees to desperation and keeps them in a state of constant meaningless competition.

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”It’s raining on Wall Street” began with an improvisation that became the basis for the somber piano solo in the beginning. The piece has a contrapunctal texture: bassoon and piano play superimposed, overlapping, or alternating themes sometimes clearly distinct from each other. The music gradually increases in intensity until a sudden plunge, followed by a poignant bassoon solo.

RICHARD POWER | Shards

Shards is made of broken off bits and pieces from another work of mine, Flow. While Flow is about continuity, steady progression, and inevitable destination, Shards concerns itself with the constant reshuffling and kaleidoscopic reorganization of a small amount of available material.

CONCERT III SHIFTING LANDSCAPES: CHAMBER SINGERS AND ORCHESTRA Thursday, March 26 | 7:00 P.M. Sharon Martin Hall - Eisner Center statement to the court * To help the Crampe If It Was Your Son

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David Lang Ashi Day Paul Winchester

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Brent Spence Bridge II from Drei Brüken

Jennifer Jolley

Song of the Sea Part III

Mark Smythe

Denison University Chamber Singers Dr. Harris Ipock, conductor Philip Everingham, keyboard * Ensemble for statement to the court Violin I Philip Rudd Chris Lape Nathan Greenwood Maya Stauffer

Viola Nancy Nehring Aiden Jeng Meredith Shepherd Elliott Grenier

Violin II Jim Van Reeth Nadine Moehlencamp Maaike Snider Caroline Urban

Cello Chris Moehlencamp Alex Van Laven Leo Rosenhagen

Bass Colin Angstrom Julia Phillips Percussion Erica Elefson

PAUSE

mountain

David Lang

Catharsis: Far from Morning

Holland Albright

Lichtweg (Lightway)

Jennifer Jolley

Denison University Symphony Orchestra Dr. Philip Rudd, conductor Ensemble rosters can be found on pages 41 and 42 15

PROGRAM NOTES DAVID LANG | statement to the court

When Donald Nally asked me to write a piece for his choir, The Crossing, I decided to create something political. I turned to a speech by Eugene Debs, delivered after he was convicted of sedition for opposing U.S. involvement in World War I. What moved me was its balance of critique and optimism: Debs clearly sees the injustices around him yet remains confident that dedicated people can make things better. My setting aims to capture that dual feeling—honest recognition of what is wrong alongside hope for meaningful change.

ASHI DAY | To help the Crampe

This text is taken from the “Book of Magical Charms,” a 17th-Century compilation of various types of witchcraft and sorcery. The song sets a particular spell labeled, “To help the Crampe.” While the exact source of this text is unknown, it may come from the tradition of wise women or cunning folk, who were peasant healers in Early Modern Europe. If so, the text possibly preserves a way women were helping women during a time period in which women were also heavily persecuted--the time of witch panics. The setting is meant to imagine what it might feel like to visit such a healer.

PAUL WINCHESTER | If It Was Your Son

When I stumbled across this poem, I was struck by the truth of its words – about how easily we can look away from tragedy and fail to remedy human pain in favor of our own comfort. I was stunned to learn it was written by a 16-year-old: a Syrian journalist reporting via social media on the horrors in his country. Posted with the poem was a photo of a small child in a life jacket on the shore, wailing, as his family seeks refuge from war. I had only seen this repackaged through facebook and so, 16

when I went to find the original post on Twitter, I found the image replaced with a disclaimer message. Now, I never use Twitter, which means my content settings were the default. Such an irony: the message of this poem paired with a default disclaimer hiding its photographic subject for fear of disrupting our peace – our false tranquility that requires the shutting out of the suffering of others.

JENNIFER JOLLEY | Brent Spence Bridge II From Drei Brüken Those glittering lights obscured by river’s fog transmit but don’t receive from this opposing shore.

Remember Rankin’s hill, remember to light the lamp, remember to open freedom’s path, remember, please, to listen for unsilenced voices seeking their way in.

MARK SMYTHE | Song of the Sea

Rainer Maria Rilke’s 1904 poem “Song of the Sea” depicts the ocean as a metaphor for life - it speaks of timelessness, awakenings and survival. The sea connects us to something larger than ourselves: Part III - We speak directly to the sea: take us away - teach us to forget.

DAVID LANG | mountain

I’ve never been much of a nature person, but one of my favorite experiences came when my family rented a modest summer cottage in Vermont. From a small balcony overlooking a distant mountain, I would sit for hours watching a view that felt rugged, beautiful, and remarkably unchanging. What struck me most was its timeless dependability—something that contrasted with the fleeting pace of our own lives and music. Mountains seem almost eternal, and perhaps it’s valuable for us, now and then, to contemplate that sense of permanence.

HOLLAND ALBRIGHT | Catharsis: Far From Morning Time can feel relentless in its march forward. There is some sort of grief that settles in as time continues on and we move from one chapter of life to the next. We find community, friendship, stability and routine, and then, inevitably, our lives push us in new directions. I find myself longing for life to stand still, just for a moment, to stave off the changes that I’m not ready for- to prepare myself before jumping into the unknown next chapter.

But time won’t stop, and so we all keep moving, despite nostalgia trying to hold us in the past. Big changes, holding patterns, transitions, can feel like loss before we realize and experience the reason for it. Darkness can seem to last forever. Waiting for the dawn to break this long night. I hope that my work is meaningful and cathartic for others as it is for me.

JENNIFER JOLLEY | Lichtweg (Lightway)

Lichtweg/Lightway is a wind ensemble piece, arranged for orchestra, based on Keith Sonnier’s light installation in Connecting Level 03 in Terminal 1 at the Munich Airport. Bright fluorescent neon lights line the walls of a typical airport walkway to guide travelers to where they are going and help them cope with the stress of being in transit. In this piece, I musically portray the rhythmic placement of red and blue light emanating from this neon installation by creating a constant eighth-note ostinato that is heard throughout the work. Just as the panes of glass, mirrors and aluminum sheets refract and scatter the colorful neon light, this ostinato is diffused amongst the different colors in the ensemble.

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CONCERT IV MORNING MUSINGS: CHAMBER MUSIC Friday, March 27 | 10:30 A.M. Burke Recital Hall - Eisner Center exactly; as if fixed media press release Nick Ritter, bassoon

David Lang

Rhapsody in BE Amy Dahm Huh, viola Koeun Grace Lee, piano

Jiyoun Chung

a place without language or streets Nick Ritter, bassoon and fixed media Accretion Shock fixed media with video 먹 [mək]

Nick Ritter, bassoon

Videogame Vespers Aaron Schwartz, violin and electronics

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Meredith Gulla

Jack Herscowitz Chris Arrell Jee Won Kim Aaron Israel Levin

PROGRAM NOTES MEREDITH GULLA | exactly; as if

This piece is a sonic reflection of E.E. Cummings’ poem entitled (im)c-a-t(mo). This poem is thought to portray an observer watching a cat in motion. In my personal interpretation, the observer finds the cat clumsy and disorderly. However, as they continue to study its movements, they realize the grace and beauty the cat possesses as it falls, leaps, and tumbles about. They begin to realize the effortless nature of its being and find something once mundane to be quite extraordinary.

DAVID LANG | press release

I wrote press release in 1991 for Evan Ziporyn. Because writing for a single instrument limits the color of an ensemble, I built the piece around a rhythmic idea: a high melody and a low bass line rapidly alternating, each with its own clear identity. Inspired by the driving bass lines of James Brown, I treated the lower line like a funk groove rather than simple accompaniment. The title came from my mistaken assumption that low notes required pressing keys and high notes releasing them—but the joke stuck even after I learned that wasn’t quite true. A later version for bassoon was written for Shannon Peet.

JIYOUN CHUNG | Rhapsody in BE

Rhapsody in BE was composed in the summer of 2025, while I was living between the United States and South Korea. Originally written for violin and piano, the work will be performed at this festival in a version arranged for viola and piano.

deeply, it explores my identity as a Korean American and the sense of duality that shapes my daily life.

JACK HERSCOWITZ | a place without language or streets

“And for the first time, he wished he were far away.

Lost in a deep, vast country where nobody knew him.

Somewhere without language, or streets. He dreamed about this place without knowing its name. And when he woke up, he was on fire. There were blue flames burning the sheets of his bed. He ran through the flames toward the only two people he loved... but they were gone. His arms were burning, and he threw himself outside and rolled on the wet ground. Then he ran. He never looked back at the fire. He just ran. He ran until the sun came up and he couldn’t run any further. And when the sun went down, he ran again. For five days he ran like this until every sign of man had disappeared.”

– from Paris, Texas (written by Sam Shepard and L. M. Kit Carson, spoken by Harry Dean Stanton, and directed by Wim Wenders)

CHRIS ARRELL | Accretion Shock

Accretion Shock takes inspiration from systems pushed beyond their limits, in which sudden and rapid changes exceed the capacity to respond and adapt. Sound and image begin in close choreography. As energy accumulates, this coordination destabilizes, reflecting the underlying theme of rupture. I developed the audio using IRCAM’s OpenMusic for high-level structural design, and Csound for sound synthesis. I built the visuals in Processing, using ChatGPT as a sounding board for feedback and troubleshooting during development of the Processing code.

The piece centers on the two pitches, B and E and the piece reflects my experience of moving between two very different countries within a single summer. More 19

JEE WON KIM | 먹 [mək] 먹 [mək] is a Korean word that means “inkstick.”

Though ink might seem like mere blackness, it unveils an infinity of shades through brush strokes, ink density, water concentration, the pressure of the hand, and the empty spaces. I related this to the performer’s kinesthetic sense: ink density represents the pressure of the reed in the mouth, brush strokes represent the intensity of air blown into the instrument, water concentration represents the volume of air, the pressure of the hand represents the minor movements of finger muscles and gestures on the instrument’s keys and toneholes, and empty spaces represent the spaces in the sound.

AARON ISRAEL LEVIN | Videogame Vespers

The world of classical music is a lot like a video game.

When first learning music, you start at level one.

As the music becomes more and more challenging, you eventually level up. Winning a competition or an audition is akin to conquering a final level boss. In the virtual world of video games, losing often means losing a life. The stakes of performance are different, but the feeling of loss can be equally disappointing. Such disappointments, however, serve as motivation for further improvement. In pairing violin virtuosity with video game violence, Videogame Vespers examines the ambition we have as artists, demands of performance, the pain of failure, and the fleeting pleasure of achievement.

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CONCERT V AFTERNOON TEA: CHAMBER MUSIC Friday, March 27 | 1:30 P.M. Burke Recital Hall - Eisner Center Cosmópolis Gabriel Andrés Gallegos Evan Lynch, clarinet Alexandros Fragiskatos, percussion Three Songs for Mezzo-Soprano Carolyn Redman, mezzo-soprano San Sung Aum, piano

Vigo Kovačić

Introspection: Sonata for Bassoon / Contrabassoon I. Inhale/Exhale II. Meditation III. Perception Nick Ritter, bassoon Hana Chu, piano

Ching-chu Hu

cusp Evan Lynch, clarinet wed

Hana Chu, piano

Zachery S. Meier David Lang

GASP Koeun Grace Lee, piano

HyeKyung Lee

Sulpicia’s Songs Emily Noël, soprano Jessica Krash, piano

Jessica Krash

Interrupted Slumber Evan Lynch, bass clarinet Deborah Barrett Price, viola

Sean Penzo

Neon Aaron Schwartz, violin San Sung Aum, piano

Kyle Shaw 21

PROGRAM NOTES GABRIEL ANDRÉS GALLEOS | Cosmópolis

As a highly coveted global mecca, New York City is home to residents hailing from a multitude of countries and cultural backgrounds…it is a true cosmopolis. When I arrived in the city many years ago, I found myself amongst a chaotic, overgrown, grime-covered Gotham desperately clinging to the deteriorating remnants of its art deco golden years. Although far from the stylized iconography reflected in television and film, I remained steadfast to be a part of it. Cosmópolis is a contemporary portrayal of NYC through my eyes and ears, a transplant who grew up idolizing the romanticized versions of the city found in art, music, television, and film. Tinged with influences of Cab Calloway, Miles Davis, and Duke Ellington, this duet for clarinet and percussion evokes the provocative mise en scène of NYC after dark while paying homage to the musical styles that define its iconic identity.

VIGO KOVAČIĆ | Three Songs for Mezzo-Soprano

Three Songs is a song cycle consisting of not one, not two, but three songs for mezzo-soprano and piano.

Initially, these songs were part of an earlier work, Advent Miniatures, in which I composed a piano miniature for each day of Advent 2020. Out of the 24 miniatures, I chose three that seemed to me to have the potential to be expanded into songs for voice and piano, and thus composed the 3 songs on tonight’s program. The lyrics in the songs were written by none other than my dad, Bruno Kovačić, a renowned guitarist and songwriter here in Croatia.

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CHING-CHU HU | Introspection

Introspection: Sonata for Bassoon/Contrabassoon, commissioned by Nick Ritter, is about the inner strength one must possess in challenging times. Written for a soloist playing both bassoon and contrabassoon within the work, Introspection seeks to create balance, dialogue, and reflection among its three movements, “Inhale/Exhale,” “Meditation,” and “Perception.”

ZACHERY S. MEIER | cusp

cusp, for solo clarinet, was written as an exploration of the in-between-ness of growth. Exploring the edges of sound production that the clarinet does so beautifully allows me to reflect on other moments that we live “on the cusp” of something. Utilizing breath, aeolian tone (the air-tone mixture that lives at the cusp of tone production), and a more clear and resonant sound were the driving forces behind this composition. I also engage with close-voiced multiphonics that share the concept of in-between-ness; where these multiphonics are incredibly fragile and only exist on the cusp of sound production. The exploration is also a metaphor for growth into adulthood. The in-between years that leave behind the innocent youth and energized drive for the future and explore the maturing of the next phase of adulthood. These years have felt “on the cusp” of resistance and achievement while providing me many opportunities to explore more about myself and my identity within the LGBTQIA+ community.

DAVID LANG | wed

My piece wed is from a larger series of piano works, called “memory pieces.” These eight pieces were all written between the years 1992-1997 and may be played separately or together. They were each written after the death of someone close to me, someone with whom I had a relationship that I wanted some way to hold on to.

Kate Ericson, to whose memory wed is dedicated, was a young conceptual artist and a close friend of my wife. In

her hospital bed, just before she died, she was married to her boyfriend and longtime collaborator, Mel Ziegler.

A wedding is usually a joyful event, full of hope and optimism, but this wedding of course had something much darker hovering around the joyfulness. In my piece, the four independent lines of the piano part are made of small changes – a half step up, a whole step down, and each line by itself is not that interesting. Put together, however, they allow the music to rock oddly back and forth between major and minor, between consonance and dissonance, between hope and despair.

SEAN PENZO | Interrupted Slumber

HYEKYUNG LEE | GASP

The far right of the periodic table is the classy neighborhood: the noble gases. Largely resistant to chemical reaction, seemingly above mixing or slumming it with the rest of the elements (though some have been caught in clandestine clinches with other elements).

Of these, Neon must be the funkiest. When excited by electrical energy, electrons zap and zing, emitting bright, brilliant and stunningly colored light.

Gasp was written for The 2003 American Liszt Society Festival and was premiered by Kevin Sharpe at the Festival in Gainsville, FL. March 2023. The piece is based on the first few notes of the melody from Un Sospiro (a sigh) Liszt composed in 1848. Now, in 2003, I have created substantial transformations from “sigh” to “gasp”! GASP won Fenée B. Fisher Composer Award in 2009 to write a new piece for the 2010 Fenée B. Fisher Piano Competition.

Interrupted Slumber was written in January of 2024 for Hillary Herndon and Jorge Variego. The work’s title sums up the main premise of its contents. With jarring twists and turns, the piece tells a tale of a rather sleepless night.

Just as things appear to settle and drift off, sound sleep is snatched away again, and then again. A comical chase ensues; the greater the effort made, the more sleep seems to evade capture. With finite hours dwindling, one might finally decide to just get out of bed.

KYLE SHAW | Neon

JESSICA KRASH | Sulpicia’s Songs

Sulpicia’s few lines, written in Rome circa 50 BCE, are the only Latin poems by a woman from that era to survive until our time. Poet Mary Maxwell translated them from Latin to English, and wanted to see Sulpicia’s voice come back to life. Mary, Emily Noel, and Jessica Krash worked together to create this song cycle. For her era, Sulpicia was brave in writing about her boyfriend. She was maybe even more proud to be a writer than to have a boyfriend!

But maybe she also felt vulnerable. The songs convey Sulpicia’s experience, and also some sadness that young women like Sulpicia did not write more that endured, and that their voices have spent years being suppressed or forgotten. How do we listen today to the thoughts and feelings of young women?

Translations by Mary Maxwell.

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CONCERT VI EL DERECHO DE VIVIR… Denison University Wind Ensemble | Dr. Chris Westover-Muñoz, music director Ricardo Álvarez Bulacio, guest artist | Cristian “Huevo” Sanhueza Zaninovic, guest artist Joe Burke, projection design & original artwork Friday, March 27 | 7:00 P.M. Sharon Martin Hall - Eisner Center Cantata de Santa María de Iquique Pregón: Señoras y señores Preludio instrumental

Luis Advis

arr. Chris Westover-Muñoz & Bernardo ILaja V.

Mañana me voy pa’l norte Violeta Parra/Los Jaivas* Lucía Castaneda and Andrew Hanson, soloists Saltos de la Banda Wiracocha

Guillermo Contreras Maldonado arr. Ricardo Álvarez Bulacio

Cantata Santa María en Bandes de Bronce Luis Advis Canción: El sol en desierto grande arr. Hector Gutierrez* Interludio Instrumental 1 Relato – Si contemplan la pampa

Luis Advis

Venceremos

Sergio Ortega arr. Eric Rosen*

El derecho de vivir en paz

Victor Jara

* arranged or transcribed by Chris Westover-Muñoz 24

La partida

Victor Jara*

Estadio Chile/Somos cinco mil

Victor Jara

Y Arriba quemando el sol Andrew Hanson, tenor

Violeta Parra/Los Jaivas*

IN T ER MIS SION

Violeta Parra/Los Jaivas/ La Gran Comparsa del Pueblo*

Arauco tiene una pena Relato – Me gustan los estudiantes

Violeta Parra

Móvil” Oil Special (Los estudiantes)

Relato – Se había acumulado mucho daño

Luis Advis

Cantata Santa María en Bandes de Bronce Canción: Vamos Mujer Interludio Instrumental 2 Tinkus de la Banda Dignidad

Victor Jara arr. Isco Campos

Luis Advis* arr. Hector Gutierrez

Franco Toro Contreras/Victor Jara arr. Ricardo Álvarez Bulacio

Cantata Santa María en Bandes de Bronce Pregón: Señoras y señores Canción final: Ustedes que ya escucharon

Luis Advis* arr. Bernardo ILaja V. arr. Hector Gutierrez

Ensemble roster can be found on page 42 25

CONCERT VII ELECTRIC INTERPLAY: ELECTRONICS, DANCE, AND AMERICAN ROOTS Saturday, March 28 | 10:30 A.M. Thorsen Dance Studio - Eisner Center Echoes In The Dark Emmanuel Rodriguez, dance artist Tianci Lu, electronics

Tianci Lu

Strap-On * Orson Abram, guitar and live electronics

Orson Abram

Dimmar Öldur Rísa (Dim Waves Rise) Gulli Björnsson, guitar and live electronics

Gulli Björnsson

CHORMA 1 Lukas Shrout, viola and fixed media

David Acevedo

PAUSE

Can’t You See? Hayes Griffin, guitar Jack Rehbeck, mandolin Autumn on the Hill Leo Rosenhagen, cello Maya Stauffer and Caroline Urban, violin Ringgold Cockey, banjo Danny Marcus, bass A Selections of Songs Gabriel Kahane, vocals and piano * Content Warning: This piece contains adult themes.

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James Parker

Gene Otto

Gabriel Kahane

PROGRAM NOTES TIANCI LU | Echoes in the Dark

Echoes in the Dark is an interdisciplinary work that explores the psychological tension and struggle between the ego and the superego. The piece opens with the dancer embodying a bat fallen into a steep, desolate canyon, its wings moving involuntarily in response to hollow echoes. As sampled instrumental textures emerge, they symbolize the intrusion of the superego and intensify the internal conflict. By relaxing the head and lower limbs while emphasizing upper-limb movement, the dancer conveys pulling, resistance, and confrontation. Repeated attempts to stand and escape suggest moments of awakening and defiance. Centered on a shifting threshold where sound dissolves and perception destabilizes, the work intertwines music and movement to evoke inner turmoil and transformation through contrast, repetition, and structural unity.

ORSON ABRAM | Strap-On

Strap-On is a continuation in a series of works exploring gender identity, sexuality, and instrumental performance built off of my solo improvisation practice. Here, I use the guitar to symbolically represent an object, that when placed in the hands of a performer, becomes a phallus. When paired with other phallic objects, such as a massage gun and a vibrator, the guitar transforms from an instrument into a desiring object.

DAVID ACEVEDO | CHORMA 1

Everything you hear in this piece is viola. Alongside the live viola, the electronics entirely comprise processed clips of viola sounds that a collaborator sent me while I composed, such as plucked pitches and percussive knocks on the body of the instrument. I imagine these various electronic sounds as a team of viola-playing androids, which, when combined with a human violist, creates music that is as mechanistic as it is organic.

Chroma simply means “color” in Greek, and when it’s used in English, it’s a technical term that refers to “a quality of color that combines hue and saturation.” In many ways, this piece is all about color—how many different colors, and how much saturation of color, can you draw from a single instrument, both through its natural sounds and through its electronically processed sounds?

This central question animates the music you hear.

GENE OTTO | Autumn on the Hill

This piece for Bluegrass ensemble is inspired by the many times I spent playing music both casually and professionally on campus as a member of said ensemble as a former Denison student. It was designed to be adaptable to either a small or large group of players of varying skill level and familiarity with the tune, reflecting the circumstances we often encountered as Denison bluegrass ensemble members. I am very happy to be returning to Denison’s campus, and look forward to seeing how the ensemble interprets and performs this piece!

GULLI BJÖRNSSON | Dimmar Öldur Rísa

Dimmar Öldur Rísa (Dim Waves Rise) tells the story of capsizing and falling into the ocean, bouncing around in the waves as it gets dark. Stories of capsizing were a source of inspiration as well as this verse from an Icelandic poem.

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CONCERT VIII OH50 AND BEYOND: CHAMBER MUSIC Saturday, March 28 | 2:00 P.M. Burke Recital Hall - Eisner Center just (after song of songs) David Lang Emily Noël, soprano, Carolyn Redman, mezzo-soprano Alison Morooney, alto, Deborah Barrett Price, viola Cora Kuyvenhoven, cello, Alexandros Fragiskatos, percussion Reading the Wound fixed media with video

Erich Barganier

A Golden Keep Nick Ritter, bassoon

Sean Penzo

Quick Brew Chawin Temsittichok Kelli Lawrence, oboe, Evan Lynch, clarinet, Emily Klepinger, bassoon Mountain Heartleaf

Heather Niemi Savage

Where You Went

Julienne K. Tsang

Cars for Mark Fisher fixed media

Thomas Santore

OH50 Katie Kuvin, flute, Kelli Lawrence, oboe, Evan Lynch, clarinet Emily Klepinger, bassoon, Mitchell McCrady, horn

these broken wings David Lang Part III - (learn to fly) Zachery S. Meier, piccolo/flute, Evan Lynch, clarinet, Aaron Schwartz, violin Cora Kuyvenhoven, cello, Alexandros Fragiskatos, percussion, Hana Chu, piano 28

PROGRAM NOTES DAVID LANG | just (after song of songs)

just (after song of songs) is a setting of a text I made by finding certain things in the Song of Songs. The original text is of course the most passionate and erotic of the ancient Jewish books, and it is always strange to encounter it in the Bible. In 2008 I wrote a choral piece called for love is strong, in which I made a similar text from the Song of Songs, trying to use the words to see through the relationship between the man and the woman in the story to the relationship between Man and God. According to Jewish tradition the Song of Songs is a metaphor for our passion for the Eternal, so the words themselves become very important.

coding arrhythmic drum samples in SuperCollider, deconstructing open-source video game objects in TouchDesigner, and then datamoshing everything together using video codecs dating back to 2002.

The piece takes its name from one of Morton’s quotes on beauty and deals with the panoramic and kaleidoscopic approach Morton takes when analyzing general aesthetics.This work was created by combining 3D video game assets that deconstruct in real time in TouchDesigner through visual noise and datamoshed 4k creative commons stock footage.

SEAN PENZO | A Golden Keep

For my text I listed everything personal or owned that is attributed to the man and to the woman. To clarify who is speaking I started every phrase of his with ‘just your’ and every phrase of hers with ‘and my.’ It is interesting that in a text about a love that is shared there are only seven instances of ‘our.’ just (after song of songs) is dedicated to my friends Amy Podmore and Frank Jackson. just (after song of songs) was written for the combined forces of Trio Mediaeval and Saltarello, and was commissioned by Eamonn Quinn for Louth Contemporary Music Society, funded by the Arts Council / An Chomhairle Ealaion.

​ Golden Keep was written in 2023 for the incredible A bassoonist, Lauren Henning. The work comprises a set of miniatures - each one following a different character that could be found in the keep of a castle. The first miniature introduces “The Monarchs”, boisterously kicking off an evening of festivities, and becoming progressively drunk on wine or power, or maybe both. Next, “The Jester” provides a comical satire of the chaotic situation, wowing a captive audience with daring acrobatics.

“The Sorcerer” introduces a more devious character, casting spells of illusion to entice outsiders with prestige - bathing the keep in a wash of glittering gold. “The Princess” follows a character that feels rather trapped by it all, singing a song of longing and ambition. The work ends on a hopeful note with the introduction of “The Fairy Godmother” to help transform those longing wishes into reality.

ERICH BARGANIER | Reading the Wound

CHAWIN TEMSITTICHOK | Quick Brew

This work is inspired by the author and environmental philosopher Timothy Morton and their deconstructive approach to examining ecology. The audio and video were created through abstract generative techniques, including farming audio machine models with biblical quotes to extract bizarre singing samples,

Coffee is arguably one of the most influential drinks in human history. It drove productivity, creativity, and perhaps reformations across the globe. This composition is inspired by an exhibition at the Connecticut Museum of Culture and History; Coffee: A Connecticut Story, which explores the story of Connecticut’s coffee beans across time and places.

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Quick Brew is a series of three short movements inspired by the love for coffee. With musical gestures and timbre, they explore the states of mind and body affected by caffeine. These include, but are not limited to, racing heartbeat, hyperactivity, anxiety, slumber, jittering thoughts, and intense stillness.

HEATHER NIEMI SAVAGE | Mountain Heartleaf

As an herbalist, I was excited to receive a commission to write a piece for woodwind quintet inspired by a plant considered threatened or endangered in North Carolina.

I was able to choose the plant, so I chose Hexastylus contracta, a species of wild ginger. The piece is organized into five segments, each depicting an aspect of the plant: it’s growing conditions, rhizome, variegated leaves, flower, and medicinal qualities.

JULIENNE K. TSANG | Where You Went

Mvt. 1: Elemental: Oracles of Life and Magic: Power innate and energy incarnate, they harness their magic to balance the forces of the universe; Mvt. 2: Charle: The Scriptures in the Mines The people sing as their voices reverberate through the natural and lustrous caverns of granite and gems. Their prayers sing the praise of connection and stories.

Mvt. 3: Egrino: Port for the Doors Networks of dimension piercing gates bob and weave in the skies. Anything goes here in the port-city of Egrino.

Mvt. 4: Cin: Tundra Unforgiving Proud and strong, the people thrive under the harsh pressures of the land. Remain vigilant, remain brave, and retain your empathy.

Mvt. 5: Oscuro: Last Wish of a Selfless Prince Usurped and sent into a shaky darkness, will we ever know the outcome of the coup d’etat?

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THOMAS SANTORE | Cars for Mark Fisher

Cars for Mark Fisher (2023) is inspired by similarities between certain problems of car-dependent infrastructure and certain problems with contemporary Capitalism, particularly problems that Mark Fisher discusses in Capitalist Realism, such as environmental destruction, instability, and the individualization of collective needs. The book’s name comes from a term Fisher uses to refer to a “pervasive atmosphere” of ideology—an atmosphere that entrenches culture in the idea that Capitalism is the only viable economic system. The piece is constructed exclusively from a field recording I took of cars driving by as I stood by the side of the road, mirroring the idea of an atmosphere in which only Capitalism is possible by creating an atmosphere in which the only possible sound is the sound of cars.

DAVID LANG | these broken wings

The three movements of these broken wings concentrate on three different physical and musical challenges. The first movement consists of music that requires incredible stamina and intense concentration.

Sad, falling gestures dominate the slow second movement, and I gave the vague but hopefully inspiring instruction that the players should drop things when they are not playing. In the last movement I wanted to make a music that danced and pushed forward, in the hope that it would encourage the musicians to do so as well.

CONCERT IX ATTACCA STRING QUARTET | A Vail Series Concert Saturday, March 28 | 7:00 P.M. Swasey Chapel wed David Lang impossible inventions

Paul Novak

Seven Scenes for String Quartet

Zoe Yost

like Clockwork, perpetuum

Jason Zhang

Engine Trouble

Scott Lee

Valencia

Caroline Shaw

PROGRAM NOTES DAVID LANG | wed

My piece wed is from a larger series of piano works, called “memory pieces.” These eight pieces were all written between the years 1992-1997 and may be played separately or together. They were each written after the death of someone close to me, someone with whom I had a relationship that I wanted some way to hold on to.

Kate Ericson, to whose memory wed is dedicated, was a young conceptual artist and a close friend of my wife. In her hospital bed, just before she died, she was married to her boyfriend and longtime collaborator, Mel Ziegler.

A wedding is usually a joyful event, full of hope and optimism, but this wedding of course had something much darker hovering around the joyfulness. In my piece, the four independent lines of the piano part are made of small changes – a half step up, a whole step down, and each line by itself is not that interesting. Put together,

however, they allow the music to rock oddly back and forth between major and minor, between consonance and dissonance, between hope and despair.

PAUL NOVAK | impossible inventions

impossible inventions (2024) makes the string quartet defy the laws of physics. Structured in four interlocking movements without pause, this piece takes its inspiration from hypothetical technologies envisioned in science fiction, reimagining the quartet as a series of fantastical machines. The first movement, the most substantial of the four, imagines a spacecraft hurtling at an extraordinary speed. The second and third movements are shorter interludes which conjures churning clockwork with pizzicati and the weightlessness of space with shimmering natural harmonics. The final movement transforms the viola in a robot falling in love, 31

accompanied by a lyrical, gentle dance. The “inventions” of the title have a double meaning, referring to both the wondrous sci-fi machines and to the piece’s swirling contrapuntal writing reminiscent of Bach.

ZOE YOST | Seven Scenes for String Quartet

Seven Scenes is a series of vignettes inspired by classic human scenarios we encounter throughout our lives.

The first three movements portray a boisterous, warm-hearted celebration, leading to a drowsy next morning and, consequently, a frantic scramble on the way to work. Movements four and five pick up later in the day, with chatting and razzing among friends.

Someone takes the joke too far, however, and a bitter altercation ensues. The sixth movement expresses the gloom, sadness, and shame which typically follow such an outburst. Concluding the work is a reflection on that dearest of human phenomena, that which embraces and overcomes all, and suffuses our lives with beauty even when we are unable to see it. “Is Patient, Is Kind” incorporates themes from the preceding movements, integrating them into a transfigured whole: the virtuoso capacity of love in its truest form.

JASON ZHANG | like Clockwork, perpetuum

Tell me of a time when you forgot time. Letters are not the only way of sending messages. And your body does not count…

Shall I cut out the silence to fill it with my own sound? Or, cut out the music to fill it with someone else’s silence?

And temporary noise?

What is to be done about that? There are 3 or more stories resonating as one, overlap is bound to it like a law.

The sunset has tonight interlocked with my day. With carefully executed plans, I am able to sit and enjoy a moment with energy.

I will burn up in a great ball of heat and sniff without oxygen.

I will end in a dim twinkle as the bright lights go out.

- Jake Westerbeke 32

SCOTT LEE | Engine Trouble

Growing up on a canal in Florida, my Dad would sometimes let me take our secondhand boat out to go fishing with friends. The engine was a bit unreliable though, and sometimes it wouldn’t start when we wanted to come back home, forcing us to pull the boat back ourselves, wading and swimming through the shallow water.

In Engine Trouble you’ll hear the motor running smoothly at first, only for something to get stuck inside causing it to lose steam. It builds up some momentum only to putter out once again, leaving one final attempt to get the motor running.

CAROLINE SHAW | Valencia

There is something exquisite about the construction of an ordinary orange. (Grocery stores around the country often offer the common Valencia as the standard option.) Hundreds of brilliantly colored, impossibly delicate vesicles of juice, ready to explode. It is a thing of nature so simple, yet so complex and extraordinary.

In 2012, I performed at the MoMA with the musician and performance artist, Glasser — a song which she described as being about the simple beauty of fruit.

Later that summer I wrote Valencia, for a concert I was playing with some good friends in Manchester-by-theSea, Massachusetts. I decided to channel Glasser’s brave and intuitive approach to melody and texture, such that Valencia became an untethered embrace of the architecture of the common Valencia orange, through billowing harmonics and somewhat viscous chords and melodies. It is also a kind of celebration of awareness of the natural, unadorned food that is still available to us.

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COMPOSERS AND PERFORMERS ANNA ABASHEVA I’m a composer and a mathematics PhD student at Columbia University. Music and mathematics have been big passions of mine since early age, and even though I chose mathematics as my career, I am very serious about writing music. I also play piano and sing in two early music choirs.

ORSON ABRAM Orson Abram is a multimedia artist who blurs the lines between composer, percussionist, improviser, filmmaker, and performer.

DAVID ACEVEDO David Acevedo is a Philadelphia-based composer, performer, and music educator. His wide-ranging work draws from many different traditions—including jazz, M-Base, Afro-Latin, electronica, metal, hip-hop, and early music—and integrates linear and cyclic concepts to weave hypnotic multimedia narratives.

HOLLAND ALBRIGHT Holland Albright is a self-taught, freelance composer. Influenced by video game, film, and classical composers, Holland creates new music that is captivating, romantic, exciting, and accessible.

CHRIS ARRELL Recognition for Chris Arrell’s music includes a portrait concert at the Alte Schmiede (Vienna), selection as the featured guest composer for the Pellegrini Festival, NEXTET, and the AURA New Music Ensemble, and commissions from Boston Musica Viva, MATA, Spivey Hall, and the Fromm Foundation, and the Underscore Prize. More at chrisarrell.com

SAN SUNG AUM San Sung Aum is an active soloist and chamber musician and serves on the piano faculty at Denison University.

She holds a Doctor of Musical Arts in Piano Performance from the University of Cincinnati College-Conservatory of Music and is a prizewinner of multiple international competitions. She has performed at major venues including Carnegie Hall and Lincoln Center and at leading international music festivals.

ERICH BARGANIER Erich Barganier is a composer and multi-instrumentalist hailing from St. Petersburg, Florida who currently resides between NYC and Durham, NC. GULLI BJÖRNSSON Gulli Bjornsson is a guitarist, composer and programmer from Iceland whose music typically ties electronics, live instruments and visuals to experiences in nature. He is currently pursuing his PhD in music composition from Princeton University and worked as professor of electronic composition at the University of Kansas from 2022-24.

JOE BURKE Joe Burke is an award-winning designer spanning his creativity across a wide range of performance types and creative disciplines. Centering his creative offerings on projection-based designs has afforded him opportunities to design nationwide. His artistry has been seen and appreciated in venues producing live theatre, exhibits, visual art installations, and music performances.

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HANA CHU Dr. Hana Chu is an acclaimed soloist and collaborative pianist who has performed internationally throughout North America, South America, Europe, the Middle East, and Asia. A native of South Korea, she is an active advocate of contemporary music, having premiered works by composers including Michael Torke, HyeKyung Lee, and Adam Roberts, and collaborated widely in modern and cross-genre projects. She is on the piano faculty at Denison University; more information can be found at www.hanachupiano.com JIYOUN CHUNG Pianist-composer Jiyoun Chung’s music has earned many awards and is performed at international festivals and concerts.

Reflecting her Korean American identity, she blends diverse cultural influences and writes works that call for equity and justice. She is Assistant Professor at Central Washington University.

AMY DAHM HUH Violist, Artistic Director of the New York Artists Guild, Wagner College faculty, bridging East & West through performance.

MARY DAVIS Mary Davis, hailed as “an unusually fine cellist,” currently performs with the Columbus Symphony Orchestra and UCelli, the Columbus Cello Quartet. Her interests and activities have ranged from baroque performance—as principal cellist and soloist with the Columbus Bach Ensemble—to contemporary music, including premieres of many works and dedications of new pieces. Mary teaches cello privately in Clintonville and online; two of her students have served as All State principal cello in recent years, and some of her earliest Columbus students now have their own thriving studios.

You can find her pedagogical videos on YouTube at “Mary Davis cello.” Mary likes to read and enjoys practicing yoga and Argentine tango.

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ASHI DAY Ashi Day’s vocally-driven works explore unconventional intersections between music and theater, strategic use of humor, and expanding the canon. Performers include Renegade Opera, Maryland Opera Studio, Opera Ithaca, Lyric Opera of Kansas City, Choral Arts Initiative, Cappella Clausura, Whistling Hens, Balance Campaign, KC VITAs, and more.

CHRIS FAUR Christian Faur serves as the director of collaborative technologies for the fine arts at Denison University. Over the past twenty years, Faur has been an integral part of the university’s creative endeavors, playing a pivotal role in enriching music, theater, and dance productions through his expertise in video projections and multimedia installations. In addition to his directorial role, he teaches class across a range of subjects, including new media, graphic design and animation.

ALEXANDROS FRAGISKATOS Dr. Alexandros Fragiskatos is a person who likes percussion and is really happy to play it professionally and teach it, along with music theory, at Denison University.

He studied both at schools. He also appreciates brevity.

GABRIEL ANDRES GALLEGOS Gabriel Andrés Gallegos is a composer based in NYC. His music, described as elements of the avant-garde juxtaposed with classical and Mexican folk music, features eclectic instrumentation with a flair for midcentury cinematic sounds. His works have been recorded by members of the NY Philharmonic, Orquestra de la Comunitat Valenciana, and LSO.

HAYES GRIFFIN Hayes Griffin is a multi-instrumentalist and music educator based in Columbus, Ohio. He has over a decade of touring experience with artists including Canadian fiddler April Verch and the progressive bluegrass band Newtown, whose album Harlan Road— featuring Griffin’s guitar work—debuted at #8 on the Billboard Bluegrass chart. He now reaches thousands of musicians through weekly YouTube lessons, private instruction, and his online platform, Guitar Club.

MEREDITH GULLA Meredith Gulla is an undergraduate composition student at Bowling Green State University. She has studied with Dr. Christopher Dietz and Dr. Marilyn Shrude. Meredith is also a piano student of Dr. Robert Satterlee, as well as the Public Relations Representative for BGSU’s New Music Student Organization, Praecepta.

JACK HERSCOWITZ Jack Herscowitz is a Chicago-based composer working across experimental music and art practices including instrumental composition, dramaturgy, electroacoustic improvisation, installation, landscape film, object performance, text, and communal sound making. He is pursuing PhD in Composition and Sound Practices at the University of Chicago.

CHING-CHU HU Ching-chu Hu, Director of the Vail Series and Professor of Music, loves to bring people together through TUTTI. The camaraderie among artists and the creative energy shared he hopes everyone will absorb and treasure. In addition to composing (for almost as long as he’s played with Legos), he’s also chauffeur to four amazing kids - X, M, E, N- who think they are the center of his universe, which they are. They also are great reminders for what is important in his life: family, music, teaching, and Legos — it’s all good!

HARRIS IPOCK Harris Ipock is Director of Choral Activities and Coordinator of Vocal Studies at Denison University. He has conducted in major venues including Carnegie Hall, Boston’s Symphony Hall, Kioi Hall in Tokyo, and the Taipei National Concert Hall, and appears on several recordings including the Grammywinning The Sacred Spirit of Russia (Harmonia Mundi, 2015) and the Grammy-nominated albums House of Belonging (Delos, 2023) and The Singing Guitar (Delos, 2021). He holds a DMA from the Eastman School of Music, an MM from East Carolina University, and degrees in Vocal Performance and Economics from UNC–Chapel Hill.

JENNIFER JOLLEY Jennifer Jolley is a composer, conductor, and professor. Her work is founded on the belief that the pleasures and excesses of music have the unique potential to engage political and provocative subjects.

She is now an Associate Professor of Music Theory and Composition at Lehman College and was a Fulbright Scholar to Egypt in 2023.

JEE WON KIM Jee Won Kim is a composer based in the US and South Korea. Her music explores the relationship between time, space, and perception, often drawing inspiration from literature, visual art, and architecture. She is currently a candidate of Doctor of Music in Composition at the Indiana University Jacobs School of Music.

VIGO KOVAČIĆ I’m a 5th-year Croatian student of Classical Composition currently on Erasmus in Milano. I’ve composed works performed by string and chamber orchestras, choirs as well as smaller ensembles and have written one musical. I’ve had numerous performances on Croatian festivals and have also earned first prize in a composition competition in Palmanova.

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JESSICA KRASH Jessica Krash taught at GW University for 30 years. She studied at Harvard, Juilliard, and the University of Maryland, and did research in music cognition at MIT. More information can be found at jessicakrash.com

KOEUN GRACE LEE Pianist and educator Dr. Koeun Grace Lee promotes new music blending Eastern and Western traditions through performance, teaching, and scholarship.

CORA KUYVENHOVEN Cora Kuyvenhoven is adjunct cello and chamber music professor at Denison University. She is one of the four fabulous cellists of UCelli: The Columbus cello quartet, that have performed over 20 commissions. Assistant principal cellist of ProMusica Chamber orchestra, her previous experiences include The Toronto Symphony and the Canadian Opera Company, which enabled her to tour Europe, Asia and Australia.

AARON ISRAEL LEVIN Aaron Israel Levin is an American composer whose music is guided by the emotional dynamism of storytelling and drama. Drawing on an eclectic range of influences, his work weaves fluidly between playful and somber, lyrical and gestural, tender and fierce. For more information, visit aaronisraellevin.com

SCOTT LEE Praised by The Philadelphia Inquirer as “colorful” and “engaging,” Scott Lee writes music that blends classical craft with the energy of popular genres. His works have been performed by orchestras and ensembles across the U.S., and he teaches composition at the University of Florida.

HYEKYUNG LEE An active composer/pianist, HyeKyung Lee has written works for diverse genres, from toy piano to big concertos, to electronic music, and to film music. She received 2017 Bonnie McElveen-Hunter Commission for Maestro Gerard Schwarz for The Eastern Music Festival in 2018. Her music has been supported by the National Endowment for the Arts, Meet the Composer Fund, Johnstone Foundation, and Artist Residencies such as Yaddo and the MacDowell Colony. She is Associate Professor at Denison University in Granville, OH.

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TIANCI LU Tianci (Dorothy) Lu, composer, is currently pursuing her doctoral degree in music composition at Princeton University. She possesses immense versatility in both concert and media composition. Her works have been performed at Carnegie Hall, Curtis Theater, Roy O. Disney Hall, etc JULIAN MAPLE-OLIVEIRA Born in São Paulo, Brazil, in 1993, Julian Maple- Oliveira holds a Bachelor’s Degree in Music Composition and Electroacaustic Music from São Paulo State University (Unesp) and a Master’s Degree in Composition with specialization in Sonology from the Royal Conservatory in The Hague.

JONATHAN MASKIT Jonathan Maskit is Associate Professor of Philosophy and Sustainability and Environmental Studies at Denison University (USA). He works on environmental, urban, and everyday aesthetics; issues having to do with consumption and economic growth; and the relations between technology and everyday life with a particular focus on urban transportation. He has previously published on Deleuze

and Guattari and the environment as well as on wilderness.

He is the author, most recently, of Bicycle in Bloomsbury Press’s Object Lessons series.

ROBERT MCCLURE Robert McClure is a composer who focuses on the interaction between acoustic and electronic sounds, conceptual and practical ideas, nature and technology, and the spheres of beauty, intensity, and drama. He was recently named the 2023 MTNA Distinguished Composer of the Year. He is Associate Professor of Composition/Theory at Ohio University.

ZACHERY S. MEIER Zachery S. Meier is an Ohio-based composer and Visiting Assistant Professor of Music Theory, Composition, Queer Studies, and Assistant Director of TUTTI New Arts Festival at Denison University in Granville, Ohio. Works have been performed Internationally in Europe, Asia, and North America, along with domestic performances at National/Regional Conferences. Phd, U-Iowa; MA, WSU; BM, UMN-D. www.zacherymeiermusic.com PETE MILLS A native of Toronto, Canada, saxophonist Pete Mills has been praised by critics for his “virtuosic,” “gorgeous,” and “versatile tenor-kick-butt” playing (David Franklin, JazzTimes). The Columbus Dispatch describes Mills’ compositions as “impressive, with solos that are ear-opening…with a tone that is big and rich.” His discography includes the 2025 release For The Record with his B3 4tet, as well as multiple other albums as a leader.

ALISON MOROONEY Alison Morooney is an Assistant Professor of Music Theatre here at Denison University. In her professional life she spent nearly a decade as a dancer, singer and actress before shifting gears to her current practice as a director and choreographer for the stage. Alison holds a BFA in Musical Theatre and an MFA in Directing from Penn State University.

EMILY NOËL Emily Noël is a music educator whose work builds on a vibrant career as a soprano, actor, and opera director. She has performed across North America and Europe, with highlights including appearances at the John F. Kennedy Center, the Folger Shakespeare Theatre, and Shakespeare’s Globe in London.

Her voice has been praised for its “alluring clarity and fluidity” by the Wall Street Journal, and her recordings can be heard on the Albany, Bard, and Dorian/Sono Luminus labels.

PAUL NOVAK The “spellbinding” (Washington Post) music of Chicago-based composer Paul Novak immerses listeners in shimmering and subtly crafted musical worlds. He is the co-artistic director and flutist of Chicago-based ensemble Mycelium New Music, and is a PhD candidate at the University of Chicago. paulnovakmusic.com GENE OTTO Gene Otto is a versatile musician and composer based in Salt Lake City, Utah.

Gene is a graduate of the Denison University music department (American Roots/Composition). Gene is a semiprofessional guitarist, mandolinist, and banjoist. Gene is currently pursuing a Masters of Music in Music Technology at Southern Utah University.

EUNSEOK PARK EunSeok Park, originally from South Korea, holds a D.M.A. in Music Composition from Ohio State University, where he studied with Jan Radzynski. He is currently a faculty member at Ohio Wesleyan University. His works have ranged from full-orchestra pieces to chamber works, choral compositions, and electronic music, which are actively performed.

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JAMES PARKER James Parker is a composer, sound artist, and bandoneonist based in Ithaca, New York. He works across various media, including performance, installation, composition, and improvisation. His work addresses questions of aesthetic slowness and varying modes of attention by engaging in gradual, loosely structured transformational processes.

SEAN PENZO Sean Penzo is a composer, cellist, and writer known for a wide range of collaborations and compositions including co-founding East Zodiac.

MARK PHILLIPS Ohio University Distinguished Professor Mark Phillips won the 1988 Barlow International Competition for Orchestral Music, leading to collaborations with conductor Leonard Slatkin. His music has received hundreds of performances throughout the world.

More information is available at www.coolvillemusic.com RICHARD POWER Composer and saxophonist Richard Power’s music explores the dialogue between tradition and innovation, the continuum between composition and improvisation, and new types of formal and temporal expression through sound. While much of his music is precisely notated, other scores encourage collaborative invention through structured improvisations.

DEBORAH BARRETT PRICE Violist Deborah Barrett Price is an innovative pedagogue and performer who serves as principal viola of the Worthington Chamber Orchestra and Opera Project Columbus, Resident Artist at the Caroga Lake Music Festival, and viola faculty and Co-director of String Chamber Music at Denison University.

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She is also founder and artistic director of the nationally recognized Chamber Music Connection, Inc., and has received numerous honors including the Chamber Music Society of Lincoln Center Award for Extraordinary Service to Chamber Music and the Columbus Symphony Orchestra Community Educator of the Year Award.

MARION RAMÍREZ Marion Ramirez is a Puerto Rican dance artist whose work integrates somatics, improvisational dance, and collaborative performance to explore bodily agency, empathy, and community, informed by her Caribbean cultural perspective and international performance experience. She holds a BA from the Laban Center in London and an MFA from Temple University, received the 2019 Reflection: Response Choreographic Commission for kNots and Nests, co-creates the touring interdisciplinary project Mareas/Tides, and serves as Assistant Professor of Dance and Director of the Denison Dance Company at Denison University.

CAROLYN REDMAN Carolyn Redman, mezzo-soprano, is originally from Bellevue, Ohio and holds MM and DMA degrees in vocal performance from The Ohio State University. She has performed leading operatic and musical theater roles with companies including Des Moines Metro Opera, Cincinnati Opera, Opera/Columbus, and Lyric Opera Cleveland, with appearances across the United States as well as in Argentina and Austria, and was an apprentice artist with both Des Moines Metro Opera and the Cincinnati Opera Young Artists programs. A prizewinner in multiple competitions and an active concert soloist, she currently serves on the voice faculty at Denison University.

PHILIP RUDD Conductor, educator, and violinist Philip Rudd has served as Director of Orchestral Activities at Denison University since 2017, after completing doctoral studies in orchestral conducting at the University of Iowa. While his earlier research focused on amateur

women’s orchestras in late-Victorian England, recent papers on aesthetic philosophy, performance studies, and the role of empathy in music have been presented at the national conferences of the College Orchestra Directors’ Association and the American String Teachers Association.

Dr. Rudd thinks about these things and sings Bob Dylan songs while running unreasonably long distances on trails, especially in the Denison Biological Reserve.

at major venues and festivals including the Ravinia Music Festival, Saratoga Performing Arts Center, and Maverick Concerts Series, collaborating with leading chamber musicians and ensembles. A dedicated teacher, Aaron has presented masterclasses and taught at institutions such as Denison University and Nyon Conservatory (Switzerland), and holds degrees in violin performance from Carnegie Mellon University, where he studied with Andrés Cárdenes.

THOMAS SANTORE Thomas Santore is a composer of acoustic and electronic music from New Hampshire. Informed by the inquiries and investigations of literature and philosophy, Santore’s compositions explore a sense of mystery through subtle textures and shifting intensities. He is currently pursuing a Master of Music in Composition at Boston University.

KYLE SHAW Recipient of numerous awards, commissions, and presenter at several national and international festivals, composer Kyle Shaw earned his DMA from the University of Illinois and is currently associate professor of music theory and composition at California State University, Bakersfield.

JOHN SAVAGE John Savage is a guitarist based in Morganton, NC. He received a Bachelor of Arts in Music from the University of Rhode Island, and was inducted into Pi Kappa Lambda. He was the co-founder of a music and arts school in southern RI. His eclectic and unique performance style draws from a wealth of global musical influences.

HEATHER NIEMI SAVAGE Heather Niemi Savage is a North Carolinabased composer, pianist and educator who writes highly introspective music that explores the intersection of divergences and invites listeners to ponder deeply.

Her compositions have been performed at various new music festivals throughout the United States. She loves collaborating with artists of all kinds.

AARON SCHWARTZ Aaron Schwartz is a versatile violinist and educator whose performance career spans orchestral, chamber, and solo settings. He is a founding member of the KASA Quartet and has performed

LUKAS SHROUT Lukas Shrout is a violist based in Long Island, NY. He is pursuing a DMA at Stony Brook University, studying with Matthew Lipman and Lawrence Dutton.

LIHUEN SIRVENT Lihuen Sirvent is an Argentinian composer and flutist currently based in Buffalo.

Alongside her acoustic work, she works on music with live electronics that generate interactions between sound and light employing feedback systems. This path includes her work on designing and building music instruments, sound devices, and music interfaces.

MARK SMYTHE Mark is a New Zealand-born composer of concert and film music, based in LA. Since 2023, he has composed and performed 14 chamber works for 9 concert collaborations: LA Choral Lab (2), Choral Arts Initiative (1) and The Night Temple (6), and performed a selection of his choir & electric guitar works with Belgium’s Lassenne Vocale.

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CHAWIN TEMSITTICHOK Chawin Temsittichok is a Thai composer whose works explore the interconnectedness of musical phenomena, culture, and history.

Incorporating his foundation in Thai traditional music, Chawin navigates across different artistic domains, weaving together contemporary sonic landscapes and Thai traditional musical elements.

JULIENNE K. TSANG Self-acclaimed “Creator of Stuff”, Julienne simply cannot choose a single artistic discipline to dive into. From their arsenal of musical motifs to their shonen-action fight sequences, Tsang weaves never ending narratives into the ever changing mediums they choose.

MICAELA VIVERO Micaela Vivero has exhibited her work nationally in the US, in Canada, in Ecuador, Colombia, Brazil, Argentina, Ireland, Finland, Austria, Spain, France, Portugal, Bulgaria and Armenia. She has been an artist in residence at the Bemis Center for Contemporary Art in Omaha, NE (2001), at the Irish Museum of Modern Art in Dublin, Ireland (2003), at the Chretzeturm in Stein am Rhein, Switzerland (2005), at Koli Ryynaanen in Koli, Finland (2007), at the Rondo Marienmühle in Graz, Austria (2007-2008), at the Acoss Foundation in Yerevan, Armenia (2011), at Frankfurter Kunstverein in Germany (2013), at Camac in Marnay-sur-Seine, France (2016), Institute for American Universities in Aix-en-Provence, France (2017), at Museu de Lanificios in Covilhã, Portugal (2018) and at PINEA – Linea de Costa in Rota, Spain (2019).

CHRIS WESTOVER-MUÑOZ Dr. Chris Westover-Muñoz is an awardwinning conductor/curator with an active international career as a performer and scholar. Under his direction, the Denison Univ. Wind Ensemble has developed a “reputation for concerts that ... are exquisitely curated, immersive, interdisciplinary experiences that engage multiple art forms and challenge expectations of musical 40

performance and the meaning it can create.” He frequently appears as a guest conductor at the Penderecki Academy of Music in Kraków and his recordings appear on the Free Dirt and Penderecki Academy Press labels.

PAUL WINCHESTER Paul Winchester is a composer from Duluth, Minnesota and serves as the Music Director of the Unitarian Universalist Church of Minnetonka. Paul was trained at The College of Wooster and at Syracuse University where he was a Heaton Fellow.

ZOE YOST ​A gritty, imaginative wayfinder, Zoe Yost centers her artistic life at the crossroads.

Her compositions have been premiered by artists including David Friend, members of the International Contemporary Ensemble, Genevieve Hahn, Choral Chameleon Ensemble, Eight Strings & a Whistle, and San Francisco Choral Artists.

JASON ZHANG Jason Zhang is a composer, pianist, and programmer from Michigan whose work draws squiggly lines and surprising connections between music, technology, and humor. He received Bachelor’s degrees in Composition and Computer Science at the University of Michigan, where he worked with Roshanne Etezady, Evan Chambers, Michael Daugherty, and Bright Sheng.

ENSEMBLE ROSTERS DENISON SYMPHONY ORCHESTRA ROSTER Dr. Philip Rudd, conductor

Violin I Maya Stauffer, concertmaster Maaike Snider Carolyn Urban Asha Jha Bee Michael Kenton Kern Parker Sloan Violin II John Quello, principal Donald Keough Elijah Koliner Bethany Brandt Maria Dow Emily Yunk Camille Donovan Karina Komatsuzaki

Viola Meredith Shepherd, principal Elliot Grenier Ryan Thorsen Ella Skvor Audra Jenike Ravyn Jones Giselle Dvorak Alex Grabowski Elsa Pfrenger Evie Grim Cello Alex VanLaven, principal Jackson Holland Alex Kolb Leo Rosenhagen Sylvie Eriksen Elaine Zhang Ethan Spencer Grant Snyder Daniel Ziabicki

Bass Colin Angstrom, principal Julia Phillips Noah Mack William Murphy Flute Carrie Emerman Ana McCallister Lucy Ayres Oboe Gigi Yakes Bradley Walsh Clarinet Max Bishop Emma Baum Gabriel Heetland Bassoon Nick Ritter Scott Hanratty

Horn Miranda Louis Sara Clifton Mitchell McCrady Trumpet Eli Lishack Elizabeth Hedger Austen Puglise Trombone Chase Compton Doug Moran Tuba Kristian Belford Piano Jonathan Zheng Timpani/Percussion Erica Elefson Tara Sefchick Dr. Alexandros Fragiskatos

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ENSEMBLE ROSTERS DENISON UNIVERSITY WIND ENSEMBLE

Dr. Chris Westover-Muñoz, music director & conductor Flute Lucy Ayres Eleanor Cleary Carrie Emerman Addy Lamport Ana McCallister Nolan Ponferrada Lilly Walz Carolyn Williams

Clarinet Emma Baum Max Bishop Sophie Calendo Alex Carlton Gabriel Heetland Aurora Hodar Sophie Keenan Aislinn McGill

Oboe Amy DeLong Gigi Yakes

Saxophone Antonio Cambraia Jason Chen Matthew Evans Dimi Martinez-Davila Lexi Smith

Horn Rebekah Allen Lucia Castaneda Dr. Sara Clifton Miranda Louis Trumpet Liz Hedger Julian Patterson Austen Puglise Henry Shaw Alyssa Wheeler

Tuba Kristian Belford Percussion William Eddleman Erica Elefson Luke Philip Greeley Justin Nuñez Apollo Solihin Piano Jonathan Zheng

Trombone James McPeek Gregory Paskvan

DENISON UNIVERSITY CHAMBER SINGERS Dr. Harris Ipock, conductor | Philip Everingham, rehearsal pianist

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Soprano Celia Car Gwen Goodney Kriti Gupta Robin Hannold Manya Hegde Elyse Janikian Erin Oberle Leah Oberle Elizabeth Schrappe Alexis Spangler Maya Sutte Sage Szucs Karisa Ticknor

Alto Natalie Casa Halla Emmons Anna Feddersen Vanessa Gerakines Maddie Geschke Lucy Hays Audra Jenike Shelby McNeal Rachel Showalter

Tenor Robin Adams Elliott Benson Mason Campbell Zacc Greene Andrew Hanson Amos Smith Anderson Stoner

Bass IyiOluwa Adaramola Liam Kaznelson Nathan Lepak Michael Maguire Danny Marcus Ben Nelson Mitch Randjelovic Ian Schneider

ACKNOWLEDGEMENTS AND THANKS TO President Adam Weinberg and Provost Kim Coplin for their support of our fine arts division; TO Zachery Meier, for all his work as Assistant Director, and for his friendship; TO Elizabeth Dauterman, who was our pro in all things logistics; TO Kathy Peter, Marla Krak, Tess Webster, Chris Montgomery, Channing Salazar, and the amazing EISNER team that makes sure we can do what we want to do; TO Christian Faur, and his support for our division and our activities; TO Dan Blim, for his continued support of TUTTI as Chair of the Music Department; TO Robin Pickenpaugh, providing amazing audio support for our concerts; TO Jon “Sully” Sullivan, DU ‘17, for coming back and supporting our sound; TO Kristi Matthews and Cristina Dorda Soriano, for their support day in and out of our department; TO Megan Hancock, the Denison Museum, Amy Butcher, and the Beck Series for their sponsorship of Mira Jacob’s residency; TO Margot Singer, for advocating the mission of the arts far and wide; TO Cortney Harris and Harvest Table, for all the food and receptions; TO Jessica Regan and Front of House staff, for running our concerts and welcoming our guests; TO the Department Fellows, you are true ambassadors to our department; TO the student artists and dancers, thank you for your voice to kick off TUTTI 2026; TO all the student composers who helped throughout the festival, this festival is for you and by you - thank you.

TO OUR ARTISTS: David Lang, your music, words and ideas will reverberate through us; Attacca Quartet, amazing artists, thank you for sharing your talents and views; Nick Ritter, for your collaborative spirit, artistry, and willingness to jump into TUTTI and all that we wished to do; Evan Lynch and OH50 - thank you for joining us and representing central Ohio; Chris Westover-Muñoz, for showcasing the music of Chile with TUTTI; Cristian “Huevo” Sanhueza Zaninovic and Dr. Ricardo Alvarez Bulacio for your artistry; Mira Jacob, thank you for bringing your energy to TUTTI; Philip Rudd, Harris Ipock, Adam Schlenker, and Pete Mills, for bringing TUTTI to your students, and supporting TUTTI with fantastic performances and experiences; Marion Ramírez and Micaela Vivero, amazing artists and colleagues, for your continued collaborations; Jonathan Maskit, for hosting the Philosophy Coffee, enhancing TUTTI in more meaningful ways than we can even predict; Hana Chu, and San Sung Aum, our rockstar piano area, whose amazing energy and artistry are the epitome of professionalism; Alexandros Fragiskatos, Hayes Griffin, Cora Kuyvenhoven, Alison Morooney, Emily Noel, Debbie Price, Carolyn Redman, and Aaron Schwartz, I’m so grateful for your talents and know our students are lucky to be able to learn from you; AND TO OUR PERFORMERS: A big thank you to all who performed. Without you, we would be sitting in an empty hall, waiting to be filled with music.

Thank you for your hard work, dedication, and adding more performances to your already full schedules!

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COVER: 衝, 2014, by HU HUNG-SHU 42”x34” OIL ON CANVAS

EISNER CENTER FOR THE PERFORMING ARTS PROFESSIONAL STAFF Kathy Peter, Managing Director Channing Salazar, Technical Director - Stage Operations Nate Glowacki, Technical Director-Production Elizabeth Dauterman, Production Manager Chris Montgomery, Program Coordinator Laura Plikerd, Costume Shop Supervisor Marla Krak, Vail Series Assistant Director and Arts Engagement Coordinator Jessica Regan, House Manager and Operations Assistant Cat Tope, Costume Shop Draper Camille Lerner, Theatrical Designer Abbey Lynn Smith, Theatrical Designer Tess Webster, Graphic Design and Media Specialist

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