MUSIC
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Audience Information
The Schwartz Center welcomes a volunteer usher corps of about 40 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.
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The Schwartz Center wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.
Cover Design: Lisa Baron | Cover Photo: Mark Teague
MUSIC
Emory University
Symphony Orchestra and Chorus
Andrea Baker, soprano
Paul Bhasin, conductor
Jon Easter, interim director of choral studies
April 25, 2025, 8:00 p.m.
April 26, 2025, 8:00 p.m.
Emerson Concert Hall
Schwartz Center for Performing Arts
Program
Second Essay for Orchestra, op. 17 (1942) Samuel Barber (1910–1981)
Gloria (1959) Francis Poulenc
I. Gloria in Excelsis Deo (1899–1963)
II. Laudamus Te
III. Domine Deus, Rex Caelestis
IV. Domine Fili Unigenite
V. Domine Deus, Agnus Dei
VI. Qui Sedes ad Dexteram Patris
Andrea Baker, soprano
Symphony No. 2 in D Major, op. 73 (1877) Johannes Brahms
I. Allegro non troppo (1833–1897)
II. Adagio non troppo
III. Allegretto grazioso (Quasi Andantino)
IV. Allegro con spirito
Welcome
The 95-member Emory University Symphony Orchestra (EUSO) celebrated its 100th Anniversary in 2023. The orchestra performs a repertoire spanning a variety of compositional genres, from the Baroque through the present day. With concert programming featuring both classic and emerging literature, the EUSO has been celebrated in tours (to New York City), recordings (on Atlanta’s NPR affiliate), and collaborations with soloists and organizations including Janelle Monae, Matt Haimovitz, HBO, the National Basketball Association, and Ben Folds. Membership is by competitive audition and comprises of undergraduate and graduate students from diverse disciplines. While the majority of the EUSO includes music majors, many minors and non-majors participate each season as well. The EUSO is recorded on the Centaur Record label, with a 2023 release (iTunes, Spotify) of works for Atlanta and Dallas Symphony wind soloists and orchestra.
Program Notes
All program notes by Ken Meltzer unless otherwise noted
Second Essay for Orchestra, op. 17 (1942)
In the late 1930s, Samuel Barber emerged as one of America’s most gifted and promising young composers. In the spring of 1938, both the New York Philharmonic and Cleveland Orchestra included Barber’s The School for Scandal, Overture as part of their New York concerts. On November 5 in New York, the legendary Italian conductor Arturo Toscanini conducted the NBC Symphony Orchestra in a nationwide broadcast of the world premieres of Barber’s Adagio for Strings, and First Essay for Orchestra.
In 1939, Barber accepted a commission to write what would become one of his most beloved concert works, the Violin Concerto. Barber’s sketchbook reveals that in addition to the Violin Concerto, he worked on his Second Essay for Orchestra. Barber completed the Second Essay on March 15, 1942. The following day, Barber shared the score with conductor Bruno Walter, who was interested in featuring American works in his concerts with the New York Philharmonic. Walter and the New York Philharmonic performed the world premiere of Barber’s Second Essay for Orchestra at New York’s Carnegie Hall on April 16, 1942. A month later, Eugene Ormandy conducted the Philadelphia Orchestra in the Second Essay. The Second Essay soon received further performances by several prominent orchestras, further solidifying Barber’s reputation in the United States and throughout the world.
The Second Essay’s arresting opening measures feature the flute, and then the bass clarinet, introducing a wide-ranging dolce, espressivo theme over hushed accompaniment by the bass drum. The melody is soon developed by other winds and finally, the strings, as the music builds to a radiant climax. The violas, followed by the oboe, sing the second principal theme, related to the first, and developed in energetic fashion by the orchestra. A sforzando chord by the entire ensemble heralds a vibrant fugue, based upon a puckish theme (again related to the first) and launched by the clarinet. The fugue reaches a hushed, mysterious resolution. The Second Essay concludes with a majestic chorale transformation of music from the work’s opening section.
Gloria (1959)
French composer Francis Poulenc composed his Gloria in response to a commission by the Koussevitsky Music Foundation (established in 1942 by the Boston Symphony Orchestra’s longtime music director, Serge Koussevitsky). The Koussevitsky Foundation informed Poulenc that he could select the type of piece he wished to compose. In the spring of 1959, Poulenc wrote to a friend: “I am trying to think about a Gloria before definitively proposing it to Boston. I am rusty, but it is always thus. Today for the first time I found four worthwhile bars.” In July of 1959, Poulenc and the Koussevitsky Foundation agreed upon the terms for his new composition. Poulenc, who had begun work on the Gloria in May of 1959, completed the piano-vocal score in December of that year, and put the finishing touches on the orchestration the following June. Poulenc dedicated the Gloria “to the memory of Serge and (his wife) Natalie Koussevitsky.”
The premiere of Poulenc’s Gloria was scheduled to take place in Boston on January 20, 1961. Poulenc, who arrived in Boston on January 15, took part in the rehearsals, frequently offering critiques and advice to the performers—soprano Adele Addison, the Chorus Pro Musica, the Boston Symphony Orchestra, and its music director, Charles Munch. But a fierce snowstorm delayed the Gloria’s premiere until January 21. In that concert, Poulenc, along with Evelyne Crochet, also performed the composer’s Concerto for Two Pianos in D minor.
Poulenc had long enjoyed a warm relationship with American audiences. “Decidedly, I love America and America loves me,” he once declared. The Boston audience and critics were effusive in their praise of the Poulenc Gloria. Poulenc was thrilled with the performance, and in particular, the contribution of Adele Addison. In the soprano’s pianovocal score, Poulenc wrote that Addison “sings this GLORIA for soprano solo, chorus, and orchestra ‘miraculously,’ with great thanks. Francis Poulenc 61, Boston.”
Typical of Francis Poulenc’s works, the Gloria features an intriguing and effective synthesis of a number of styles—classical and popular, sacred and secular. Poulenc commented: “When I wrote this piece, I had in mind those frescoes by Gozzoli where the angels stick out their tongues. And also some serious Benedictine monks I had once seen reveling in a game of football.”
In 1961, Poulenc completed his Sept répons des ténèbres, thereby concluding a trilogy of great devotional choral works that also included the Stabat mater (1950) and Gloria. Poulenc wrote: “The Ténèbres are
finished. I think it is beautiful and don’t regret having taken so much time because it is carefully wrought. I have with the Gloria and Stabat, three good religious works. May they spare me several days of purgatory, if I manage to avoid going to hell.”
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Glory to God in the highest. And on earth peace to all of good will.
Laudamus te, benedicimus te, adoramus te, glorificamus te; Gratias agimus tibi, Propter magnam gloriam tuam.
We praise Thee, we bless Thee, We adore Thee, we glorify Thee. We give Thee thanks for Thy great glory.
Domine Deus, Rex caelestis! Deus, Pater omnipotens!
Lord God! Heavenly King! God, the father Almighty!
Domine Fili unigenite, Jesu Christe!
Lord Jesus Christ, the only begotten Son!
Domine Deus! Agnus Dei! Filius Patris! Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.
Lord God! Lamb of God! Son of the Father. Thou, who takest away the sins of the world, have mercy upon us. Thou, who takest away the sins of the world, receive our prayer.
Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus.
Tu solus Dominus, Tu solus altissimus, Jesu Christe!
Cum Sancto Spiritu in gloria Dei patris. Amen.
Thou, who sits at the right hand of the Father, have mercy upon us. For Thou alone art holy,
Thou alone art Lord, Thou alone art the most high, Jesus Christ. With the Holy Ghost in the glory of God the Father. Amen.
Symphony No. 2 in D Major, op. 73 (1877)
In 1870, Brahms wrote to conductor Hermann Levi: “I shall never write a symphony. You have no idea how the likes of us feel when we hear the tramp of a giant like him beside us.” The “giant” Brahms feared was Beethoven, whose Nine Symphonies form a cornerstone of the orchestral repertoire.
Although he attempted the composition of a symphony as early as 1854, it wasn’t until 1876 that the 43-year-old Brahms gathered the courage to complete his First (in C minor, opus 68). The Symphony No. 1 received its premiere on November 4, 1876. The premiere and early subsequent performances were far from unqualified triumphs. Nevertheless, Brahms had finally cast aside his reservations about composing in a genre that invited comparisons to Beethoven.
Brahms spent the following summer in Pörtschach, an Austrian village on Lake Wörth. It was there, between the months of June and September 1877, that Brahms composed his Second Symphony. Brahms found Pörtschach a congenial place for musical inspiration. In addition to the Second Symphony, Brahms composed his Violin Concerto, the G-Major Violin Sonata, and Two Piano Rhapsodies while vacationing at the peaceful lakeside village.
The first performance of the Brahms Second Symphony took place on December 30, 1877, at the concert hall of the Musikverein in Vienna. The eminent conductor, Hans Richter, led the Vienna Philharmonic.
The D-Major Symphony seems to reflect the composer’s relaxed state of mind during the happy summer of 1877. The lyrical character of the work—sometimes referred to as Brahms’s “Pörtschach” or “Pastoral” Symphony—certainly is in marked contrast to the storm and stress that pervades the C-minor First (although to be sure, the Second Symphony has its moments of conflict as well, particularly in the first two movements).
Brahms referred to his Second Symphony as a “charming new monster” and, in typically self-deprecating fashion, told his friend, Elisabeth von Herzogenberg, that it was merely a little Sinfonia. That of course, is hardly the case, and in spite of Brahms’s protestations to critic Eduard Hanslick that “there is nothing clever about it,” the Second Symphony is a remarkably intricate and unified composition. In its own
genial fashion, the D-Major Symphony is as musically and dramatically rewarding as its heroic predecessor.
The Symphony No. 2 is in four movements. The first (Allegro non troppo) opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the Symphony. The movement also includes a waltz-like theme that recalls the composer’s beloved “Lullaby,” opus 49, No. 4. The slow-tempo second movement (Adagio non troppo) alternates lyrical repose with moments of tension, a conflict not resolved until the final bars. The third movement (Allegretto grazioso) begins with the oboe’s presentation of a sprightly principal melody that returns throughout, alternating with fleet interludes. The concluding movement (Allegro con spirito), the most cheerful finale among Brahms’s Four Symphonies, radiates energy and optimism from start to finish.
Emory University Symphony Orchestra
The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs
The two named chairs, concertmaster and principal second violin, are in recognition of instruments given to the Emory University Symphony Orchestra in the value of $350,000. Joel M. Felner is an associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for 37 years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of music and friends of Emory University. The concertmaster plays a 1687 Grancino and the principal second an 1870 Scarampella.
Violin I
Chloe Nelson | Rancho Santa Margarita, CA | Chemistry/Music
Joel M. Felner MD Concertmaster Chair
Performing on the Giovanni Grancino violin, Milan, 1687
Isabella Lin, Assistant Concertmaster | Alpharetta, GA | Music/Biology
Yujin Ha | Basking Ridge, NJ | Human Health
Samuel Igbo | Boerne, TX | NBB/Music
Alex Zhu | Wilmington, MA | Business/Computer Science
Ayi Ekhaese | Sugar Land, TX | Music/Business
Ajay Balasubramaniam | Suwanee, GA | Biology/Music
Nora Lee | Short Hills, NJ | Chemistry/Music
Edric Nduwimana | Rex, GA | Music
Youyou Zhu | Johns Creek, GA | NBB
Louisa Ma | Phoenix, AZ | BBA
Emory University Symphony Orchestra
Violin I (continued)
Katherine Mombo | Southbury, CT | History/Music
Caitlin Weinheimer | East Greenbush, NY | Chemistry/Music
Sunny Sun | Vancouver, Canada | Film
Mia Motley | Marietta, GA | NBB/Music
Quentin Brydon | Ann Arbor, MI | Nursing
Violin II
Kaitlyn Kaminuma | Chelmsford, MA | Music/QSS
Edward Goodwin Scruggs Principal Second Chair
Performing on the Giuseppe Scarampella violin, Brescia, 1870
Brandon Lee, Assistant Principal | Duluth, GA | Biology/Music
Christopher Li | Holmdel, NJ | Biology
Katie Shin | Auburn, GA | NBB/Music
Josephine Sim | Woodway, TX | NBB
Chloe Busracamwongs | Millbrae, CA | NBB
Karen Wang | Andover, MA | Chemistry
Eric Zhang | Dublin, OH | Applied Math/Music
Jessica Liu | San Jose, CA | NBB
Robin Meyer | Grand Rapids, MI | Music/Environmental Science
Alex Kashanchi | Potomac, MD | Biology
Nicholas McIntyre | Knoxville, TN | Chemistry/Music
Akhila Jallepalli | Austin, TX | NBB
Viola
Christian Chae, Principal | Arcadia, CA | BBA
Sihyun Jeon, Assistant Principal | San Jose, CA | Biology/Chemistry
Caroline Ma | Phoenix, AZ | BBA
Hannah Lim | Newton, MA | Nursing
Stephen Kwon | Kansas City, MO | Undecided
Cynthia Min | Chandler, AZ | BBA
Rachel Lee | Atlanta, GA | Biology
Dylan Rybacki | San Antonio, TX | Applied Math
Michelle Lu | St. Louis, MO | NBB
Chanhee Park | San jose, CA | BBA
Lillian Liao | Sugar Land, TX | NBB
Jihwan Shin | Suwanee, GA | Psychology
Thora Spence | Oak Ridge, TN | Math/Biology
Emory University Symphony Orchestra
Viola (continued)
Kyle Jeong | Alpharetta, GA | Biology/Music
Jenny Zheng | Potomac, MD | Business
Cello
Sergey Blinov, Principal | Atlanta, GA | Physics/Math (GT)
Jaia Alli, Assistant Principal | Atlanta, GA | Biology/Music
Daniel Yoon | San Jose, CA | Business
Alexander Moon | Berkeley Heights, NJ | Chemistry
Sean Yoshihara | Schaumburg, IL | Computer Science (GT)
Christopher Jang | San Marino, CA | Biology
Chris Park | Rye, NY | Chemistry
Ben Uslan | Charlotte, NC | Music/German
Audrey Chun | Lexington, MA | NBB
Meiya Weeks | Cambridge, MA | PPA
Sabrina Sung | Westford, MA | Public Policy
Joshua Kim | Suwanee, GA | Undecided
Paul Kim | College Station, TX | NBB
Bass
Jonathan Jacques, Principal | Shaker Heights, OH | Biology
Tess Kassinger, Assistant Principal | Chicago, IL | Biology
Carsen Valenta | Weston, MA | NBB
Tucker Sampson | Duxbury, MA | Computer Science/Music
Charles Ascone | Manalapan, NJ | Computer Science/Music
Jackson Dietz | Port Washington, NY | Business/Computer Science
Flute and Piccolo (Listed Alphabetically)
Ashan Galhena | Suwanee, GA | NBB/Music
Robyn Jin | Bellevue, WA | Biology
Brooke Liu | Irving, TX | BBA
Julia Nagel | Crozet, VA | Music/PPL
Oboe and English Horn (Listed Alphabetically)
Sophia Kim | Princeton, NJ | Biology
Isaac Light | Pleasanton, CA | Business/CS
Eric Xu | Short Hills, NJ | Applied Math/Chemistry
Malia Yap | Pacific Palisades, CA | QSS - Sociology
Emory University Symphony Orchestra
Clarinet (Listed Alphabetically)
Narin Kim | Schaumburg, IL | Nursing
Sam Kutsman | Belmont, MA | Biology/Music
Nick Wandrick | Alpharetta, GA | NBB/Music
Bass Clarinet
Sam Kutsman | Belmont, MA | Biology/Music
Bassoon (Listed Alphabetically)
Lazara Santana | Atlanta, GA
Donovan Tong | San Ramon, CA | BBA
Horn (Listed Alphabetically)
Andrew Antoun | Frisco, TX | Biology
Noah Choe | Dubai, UAE | Biology
David Kim | San Jose, CA | Physics
Zhi Lin | Johns Creek, GA | Business
Trumpet (Listed Alphabetically)
Joey Chen | Beijing, China | Music/Math
Max Curtis | Natick, MA | Biophysics/Music
Austin Watkinson | Great Falls, VA | Business and Music
Trombone and Bass Trombone (Listed Alphabetically)
Misha Gupta | Marietta, GA | Business/Music
Michael Hu | Cary, NC | Computer Science
Christopher Park | Lilburn, GA | Biology
Tuba
Kushal Maganti | Suwanee, GA | Neuroscience
Percussion and Tuba (Listed Alphabetically)
Eric Chen | Taichung, Taiwan | Biology/Applied Math
Jace Park | Newnan, GA | Business
Ethan Xu | Charlotte, NC | Chemistry
Jack Xu | Mendham, NJ | Undecided
Alan Zhao | Fremont, CA | Biology
Harp
Emma Burnsworth | Winston, GA | Music
Andrea Baker, soprano
Soprano Andrea Baker’s 2023-2024 season was a triumph of debuts, with a string of critically acclaimed performances that showcased her vocal prowess and dramatic flair. Of her portrayal of Marzelline in Fidelio at Opera Company of Middlebury, the Times Argus praised her “brilliant and sensitive” singing. She earned an excellent critical nod as Donna Anna in Don Giovanni with TEC Monterrey in Mexico and Donna Elvira with Opera Tampa, solidifying her reputation as a versatile and compelling performer.
Her 2024 engagements included Mimi in La bohème with Western Plains Opera, a Mozart gala with Glacier Symphony, Fiordiligi in Così fan tutte with Opera Ithaca, and Madame Silberklang in The Impresario Plus at Anchorage Opera. The soprano’s 2025-2026 calendar boasts several new roles: Gulf Shore Opera as the title role in Rusalka, Pamina in Die Zauberflöte at Opera Tampa, Baby Doe in The Ballad of Baby Doe with Minot University, and Poulenc’s Gloria at Emory University.
Her debut as Mimi in La bohème with Wichita Grand Opera was a particular highlight, with critics noting her nuanced and affecting interpretation. Her role debut as Violetta in La traviata with Anchorage Opera earned phenomenal kudos, with America Presswire declaring: “Soprano Andrea Baker is quite likely breaking out right here and right now in what has been called her star-turn role . . . without question, Baker nails it. Her voice shimmers and shines as bright as the jewels bedazzling the women and costumes of the era, and it grips the heart of the audience . . .”
Baker placed first in the Edward M. Murray International Competition with Opera Ithaca and third in the James Toland Vocal Arts Competition.
Photo Courtesy Insignia Artists
Paul Bhasin, conductor
Paul Bhasin serves as Director of Orchestral Studies at Emory University where he holds the Donna and Marvin Schwartz Professorship in Music. In this capacity, he conducts the Emory University Symphony Orchestra and Emory Youth Symphony Orchestra, oversees music research programs, and teaches conducting. Praised for his “crisp, clear” conducting and “highly expressive” interpretations, Bhasin’s career began when he won the Yamaha Young Performing Artist Competition in 1998. As a conductor, composer/arranger, and instrumentalist, Bhasin has collaborated with diverse institutions including the San Francisco Symphony, Virginia Symphony, “President’s Own” US Marine Band, the International Computer Music Conference, St. Louis Opera, New World Symphony, Interlochen Arts Academy, International Dvořák Festival (Prague, Czechia), and Chicago Civic Orchestra. Bhasin has performed on National Public Radio, Detroit PBS-TV, and at the Aspen, Tanglewood, Grand Teton, and Ravinia music festivals. Bhasin has recorded as a trumpeter and conductor for the Centaur, ACA, and Interscope record labels.
Bhasin also serves as Music Director and Conductor of the DeKalb Symphony Orchestra and Atlanta Chamber Music Festival. An avid educator, Bhasin has collaborated with the Chicago Symphony Orchestra’s Musicorps program, the Grammy-winning sextet Eighth Blackbird, led honor orchestras and bands (including at the All-State level), and has presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. Bhasin’s trumpet students have won first prize at major competitions including the National Trumpet Competition.
Bhasin composed and conducted the orchestral scores to the motion picture Sister Carrie (recently premiered at the Gene Siskel Center in Chicago) and Hogtown (award winner at the Berlin, Los Angeles, and Nashville International Black Film festivals) which was named a “Critic’s Pick” and one of the “Top 10 Films of 2016” by the New York Times (both films stream on Amazon Prime Video). He received his musical education from Northwestern University, the University of Michigan, and the University of Wisconsin-Madison.
Jon Easter, interim director of choral studies
Jon Easter is celebrated for his moving expressivity and musical artistry across multiple instruments and as a conductor. He performs with Emory’s Concert Choir and Atlanta Master Chorale, serving as both accompanist and assistant conductor. His expertise has also been showcased with the Atlanta Master Chorale at ACDA and AGO conventions at regional and national levels.
Throughout his career, Easter has held significant positions as organist and choir director at Saint Paul’s by the Sea Episcopal in Jacksonville, Florida, Roswell Presbyterian Church in Roswell, and Saint Mark United Methodist Church in Atlanta. His collaborations with renowned singers, including multiple recitals with Jamie Barton—featuring a recording of Lee Hoiby’s Bon Appétit! and participation in the Metropolitan Opera virtual Gala— further highlight his distinguished career.
Easter holds an undergraduate degree in organ performance from Shorter College, where he studied with Peter Dewitt. He earned double master’s degrees in choral conducting and organ performance from Emory University under Eric Nelson and Timothy Albrecht. He also pursued additional conducting studies with Donald Nally and Martha Shaw and organ studies with Bill Evans and Alan Morrison.
Emory Choirs
Under the direction of Dr. Eric Nelson, the Emory Choirs represent long-standing traditions in the Emory community, with performances including the annual Festival of Nine Lessons and Carols, solo concerts including a variety of choral repertoire, masterworks with the symphony orchestra, and joint concerts with Emory’s a cappella groups. Jon Easter is serving as interim director of Choral Studies while Dr. Eric Nelson is on medical leave.
Emory University Chorus
Open to all Emory students as well as to members of the Emory community, the University Chorus holds a unique place in Emory life. Music majors and nonmajors, undergraduate and graduate students, faculty and staff, parents and their children, workers and retirees, alumni and neighbors, all come together to rehearse each Monday evening, united by their common love of singing. The chorus regularly collaborates with the Emory University Symphony Orchestra to present major works, including the 2024 performance of Giuseppe Verdi’s Requiem.
Rehearsal Pianist
Gregory Matteson
Soprano
Jordan Averett
Abby Balson
Lexi Bancroft
Grace Chen
Mariah DeRenzo
Camille Douglass
Amy Dunagin
Cathy Ethridge
Alejandra Ferreira
Greta Franke
Ariel Gale
Candy Gao
Vivien Huang
Audrey Isakov
Elise Isakov
Aidan Kane
Stephanie Lin
Yajie Ma
Morgan McNair
Tori Mooney
Ashwini Narayanan
Lynn O’Neill
Elianna Paljug
Sejal Patel
Divya Pereira
Zoë Pollock
Anya Qin
Diana Ricketts
Sophia Ricketts
Sonia Sathe Ryland
Karina Saldivar
Delia Savin
Alexa Schwartz
Elaine SeeToh
Arushi Sharma
Hlina Temesgen
Elena Vallis
Rachel Warhaftig
Sarah Wiley
Serena Zhou
Alto
Carol Allums
Sophia Barthel
Hannah Baskin
Lydia Bearss
Alex Berman
Srinidhi Bharadwaj
Lily Clemente-Cong
Gloria Coble
Isabella Colindres
Kimiko Darcy
Aine Devins
Emory University Chorus
Alto (continued)
Carter Douglas-Brown
Rebecca Follman
Lillian Friedman
Kaley Frye
Emma Gile
Julia Green
Emily Griswold
Rita Helfand
Bryn Higdon
Anika Hofmeister
Audrey Howell
Alina Huang
Mila Kocic
Olivia Leu
Valerie Loichot
Ally Mandell
Francis Marquez
Julia Niles
Selene Percher
Rose Petta
Lynn Rogers
Abby Rollins
Ava Sandstrom
Emma K. Shibley
Mary Slaughter
Caroline Smith
Rosalind Staib
Amber Tejeda
Cathy Toren
Catalina Varela
Dhwani Venkatarangan
Vicki Wang
Phyllis Weiss
Jessie Zhu
Tenor
Julian Agudelo
Pranav Anand
Charlie Byrne
Edward Cao
Michael Diebert
Anthony Gacasan
Chuck Hagel
Thane Henschel
Davis Husk
Andy James
Braden James
Varun Karry
Tyler Krug
John Lin
Charles Matthews
Alex Moss
Matthew C. Nails
Jack Nickles
Jonathan Owen
Aidan Park
David Rogers
Stephen Rogers
Jaiden Suddee
Bass
Jonathan Ackleh-Tingle
Deven Allen
Austin Beale
Daniel Bell
Terry Chorba
Aidan Conley
Kushal Daruwala
Paul DeSandre
Isaac Feiner
Emory University Chorus
Bass (continued)
Joe Follman
Jordan Friedman
Paul Frysh
Alex Isakov
Dennis Jones
Michael Lammons
Wonjae Lee
John Lilly
Jeffrey Lin
George Lin Wu
Scott Matthews
Jacob Mercer
Geoffrey Middleton
Ed Morris
Tom Morris
Cade Nabors
Neeraj Palnitkar
Trey Peterson
Renard Sexton
Stephen Sexton
Michael Sorkin
James Steffen
Patan Tippitak
Carson Tomlinson
Daniel Weiss
Bryan Wu
Max Yost
Minghao Yu
Department of Music Administration
Stephen Crist, Chair
Meredith Schweig, Director of Undergraduate Studies
Paul Bhasin, Director of Undergraduate Research
Kathy Summers, Academic Department Administrator
Martha Shockey, Senior Secretary
Simone McGaw Evans, Communications Specialist
Magdalena Shumanova, Academic Services Coordinator
Emory String, Wind, and Percussion Faculty
Violin
Justin Bruns •
Jay Christy •
Emily Daggett Smith H
Jessica Wu H
Viola
Yinzi Kong
Paul Murphy •
Joseph Skerik H
Clarinet
Jesse McCandless •
Justin Stanley
Bassoon
Anthony Georgeson •
Shelly Unger
Trumpet
Mark Maliniak •
Michael Tiscione •
Trombone
Ed Nicholson s
Nathan Zgonc •
Percussion
Sarah Dietrich
Scott Pollard
Mark Yancich •
Euphonium
Adam Frey
Flute
Christina Smith • Jim Zellers s
Oboe
Emily Brebach •
Sasha Shatalova Prior
Tuba
Michael Moore •
Saxophone
Gary Paulo
Horn
Jason Eklund s
Ryan Little •
Harp
Elisabeth Remy •
Cello
Karen Freer •
Roee Harran
Guang Wang H
Bass
Michael Kurth •
Joe McFadden •
• Atlanta Symphony Orchestra
s Atlanta Opera Orchestra
H Vega Quartet
Music at Emory brings together students, faculty, and world-class artists to create an exciting and innovative season of performances, lectures, workshops, and master classes. With more than 150 events each year across multiple Emory venues, audiences experience a wide variety of musical offerings.
We hope you enjoy sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world.
music.emory.edu
