10/29/2022, Emory University Symphony Orchestra

2022–2023

MUSIC AT EMORY

This concert is presented by the Schwartz Center for Performing Arts.

404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Audience Information Please turn off all electronic devices.

Health and Safety

The Schwartz Center follows the Emory University Visitor Policy with additional protocols outlined at schwartz.emory.edu/faq.

Photographs and Recordings

Digital capture or recording of this concert is not permitted.

Ushers

The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.

Accessibility

The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.

Design and Photography Credits

Cover Design: Lisa Baron | Cover Photo: Mark Teague

Acknowledgment

This season, the Schwartz Center is celebrating 20 years of world-class performances and wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.

2022–2023

MUSIC AT EMORY

Emory University Symphony Orchestra Paul Bhasin, conductor Saturday, October 29, 2022, 8:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program Leonore Overture No. III, op. 72b

Ludwig van Beethoven (1770–1827) George Walker (1922–2018)

Lyric for Strings Photography by Sierra King Scheherazade, op. 35 I. II. III. IV.

Nikolai Rimsky-Korsakov (1844–1908)

The Sea and Sinbad’s Ship The Story of the Kalendar Prince The Young Prince and the Young Princess The Festival of Baghdad—The Sea—The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior

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About the Emory University Symphony Orchestra The 90-member EUSO celebrates its 100th anniversary this season. The orchestra performs repertoire spanning a variety of compositional genres, from the Baroque through present day. With concert programming featuring both classic and emerging literature, the EUSO has been celebrated in both tours (to NYC), 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 undergraduate and graduate students from diverse disciplines. While the majority of the EUSO includes music majors, many minors and nonmajors participate each season as well.

In Fall 2022, the EUSO will collaborate with professional archivist and photographer Sierra King (2022 Emory Arts & Social Justice Fellow). This “re-imagined” class will partner the EUSO with King to explore how an archivist and an academic symphony orchestra can join forces to build community, arts access, and new audiences within the City of Atlanta. The work will center on the music of George Walker and combine archival, participatory, interpretive, photographic, and performative elements with documented activities taking place on campus and off.

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Program Notes Leonore Overture No. III, op. 72b (1806) Fidelio, Beethoven’s only opera, held a special place in the composer’s heart.

In his Will, Beethoven said of his beloved work: “before all others I hold it worthy of being possessed and used for the science of art.”

The creation of Fidelio (called Leonore by the composer) was hardly an easy process. Toward the end of his life, Beethoven confessed to his friend, Anton Schindler: “Of all my children, (Fidelio) is the one that caused me the worst birth-pangs, the one that brought me the most sorrow, and for that reason, it is the most dear to me.” Beethoven composed at least three versions of the opera. The Leonore Overture No. III premiered as part of a revised version of the opera and was first performed on March 29, 1806.

Beethoven’s Fidelio is based upon a libretto created during the French Revolution by lawyer and writer Jean Nicolas Bouilly. It was a story that greatly appealed to Beethoven, a staunch advocate of democracy and freedom.

Fidelio takes place in 18th-century Spain. The evil governor Don Pizzaro has imprisoned the nobleman Don Florestan for daring to speak out against his corrupt regime. In an attempt to rescue her husband, Florestan’s wife Leonore disguises herself as the young man, Fidelio. This allows Leonore to gain employment at the jail where her husband is imprisoned.

When Don Pizzaro learns that the benevolent minister Don Fernando is coming to inspect the prison, he vows to kill Florestan, thereby concealing evidence of his wrongdoing. Leonore discovers her husband in a dungeon.

She places herself in front of Florestan, and holds Pizzaro at bay with her pistol. The sound of trumpets heralds Don Fernando’s arrival. Fernando soon learns of Pizzaro’s misdeeds and orders him imprisoned. Florestan and all the political prisoners are freed, and Leonore is hailed as their savior.

The Overture begins with an extended slow-tempo introduction (Adagio), featuring a portion of Florestan’s prison aria, “In des Lebens Frühlingstagen ist das Glück von mir gefloh’n” (“In the spring days of life happiness has flown from me”). The principal Allegro section features the introduction and development of the Overture’s central themes. At the climax of the development, Beethoven provides one of his most dramatic effects. An off-stage trumpet twice sounds, heralding the approach of the minister Don Fernando. A recapitulation of the principal themes leads to a series of quiet ascending figures by the strings. The accumulated tension gives way to a breathless rush of activity in the overwhelming Presto coda, featuring blazing versions of the opening theme and a transformation of Florestan’s lament.

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Lyric for Strings (1946) Internationally acclaimed composer and pianist George Walker was born in Washington, DC, on June 27, 1922. In 1945, he became the first AfricanAmerican graduate of Philadelphia’s Curtis Institute of Music, earning artist diplomas in both piano and composition. That same year, Walker gave his piano recital debut at Town Hall, and made his orchestral debut as soloist in the Third Piano Concerto of Sergei Rachmaninoff, performing with the Philadelphia Orchestra and conductor Eugene Ormandy.

George Walker’s teaching appointments include such institutions as Dillard University, the New School of Social Research, Smith College, the University of Colorado, Boulder, and Rutgers University. His honors include Fulbright, Whitney, Guggenheim, Rockefeller and MacDowell fellowships, an award from the American Academy and Institute of Arts and Letters, and a 1996 Pulitzer Prize for his composition, Lilacs.

Walker composed his Lyric for Strings in 1941, as a memorial to his grandmother. The original title for the work, Lament, was modified at the request of the composer’s publisher. Lyric for Strings received its first public performance at the National Gallery in Washington, DC, in 1947, with Richard Bales conducting the National Gallery Orchestra. This brief and haunting work, scored for string orchestra, has earned a prominent place in orchestral concerts and on recordings.

Scheherazade, op. 35 (1888) The fantastic collection of tales known as The Arabian Nights, or A Thousand and One Nights, has captivated readers for centuries. The ancient stories, mostly of Arabic, Indian, or Persian origin, were first presented to European readers in an early 18th-century French translation by Antoine Galland. In the late 19th century, British explorer Sir Richard Burton created a popular English-language version. To this day, such tales as “The History of Aladdin, or the Wonderful Lamp,” “The History of Sinbad the Sailor,” and “The History of Ali Baba and the Forty Thieves,” continue to weave their magical spell.

Russian composer Nikolai Rimsky-Korsakov created his Scheherazade, Symphonic Suite after A Thousand and One Nights, in the summer of 1888.

During that same period, Rimsky-Korsakov also completed his brilliant Russian Easter Overture, op. 36.

Rimsky-Korsakov was a master of the art of instrumentation. His Principles of Orchestration (1896-1908) remains one of the most important texts on that subject. In speaking of Scheherazade, as well as his Capriccio espagnol, op. 34 (1887) and Russian Easter Overture, the composer proudly acknowledged: “my orchestration had achieved a considerable degree of virtuosity and bright sonority.” Rimsky-Korsakov’s brilliant deployment 7

of orchestral forces—coupled with his unerring sense of dramatic contrast and impressive melodic gifts—have assured continued affection for Scheherazade by musicians and audiences alike.

In a preface to the score, Rimsky-Korsakov provided the following program note for Scheherazade: The Sultan Schahriar, convinced of the perfidy and faithlessness of women, vowed to execute each of his wives after the first night. But the Sultana Scheherazade saved her own life by interesting him in the tales she told him through 1001 nights. Impelled by curiosity, the Sultan continually put off her execution, and at last entirely abandoned his sanguinary resolve. Many marvels did Scheherazade relate to him, citing the verses of poets and the words of songs, weaving tale into tale and story into story.

I. The Sea and Sinbad’s Ship—The movement opens with a menacing fortissimo orchestral pronouncement, perhaps representing (at least in this passage) the Sultan Schahriar. A series of pianissimo woodwind chords leads to the delicate entrance of the solo violin, representing throughout the work the voice of Scheherazade, who now begins her first tale.

The principal section of the opening movement features variants of the opening motif and Scheherazade’s music. Throughout, an accompanying undulating string figure evokes the motion of the sea upon which Sinbad’s ship travels. The movement proceeds to a series of grand climaxes, but finally resolves to a whisper.

II. The Story of the Kalendar Prince—Scheherazade’s music returns as the introduction to the second movement, which concerns a Kalendar, or beggar Prince (several Kalendar Princes are mentioned in The Arabian Nights).

The bassoon plays a seductive melody, marked dolce ed espressivo.

The oboe incorporates the melody, later played by the violins and woodwinds. A reprise of the oboe solo leads to a contrasting, agitated sequence. Toward the close, there is a magical reverie featuring muted strings, harp, and various solo instruments. The movement concludes with a thunderous outburst.

III. The Young Prince and the Young Princess—The violins offer the initial statement of the slow-tempo movement’s graceful principal melody.

Rapid ascending and descending woodwind scales punctuate various presentations of the melody. After a jaunty, delicately scored interlude, Scheherazade (solo violin) returns. A reprise of music from the opening episode leads to a dolce resolution.

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IV. The Festival of Baghdad—The Sea—The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior—Furious statements of the opening “Sultan” motif, alternating with Scheherazade’s music, serve as a prelude to the central portion of the finale. A solo flute introduces the sprightly principal melody. A whirlwind of activity ensues, growing ever more ominous. At the climax, there is a massive reprise of the “Sinbad” music.

Finally, the mood calms, and the solo violin brings Scheherazade’s narrative to a magical conclusion.

—Notes by Ken Meltzer

Paul Bhasin, conductor Paul Bhasin serves as director of orchestral studies and director of undergraduate research in the Department of Music at Emory University where he holds the inaugural Donna & Marvin Schwartz Professorship in Music. In this capacity, he conducts the Emory University Symphony Orchestra, 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.

Bhasin serves as music director and conductor of the DeKalb Symphony Orchestra and has recently led the Virginia Symphony Orchestra (including live radio broadcasts of subscription concerts), “the President’s Own” United States Marine Band, American Youth Philharmonic, Williamsburg Symphony, and performances at Interlochen, the Kennedy Center, and throughout the People’s Republic of China.

He has also led performances as a guest conductor with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra, and with honor orchestras and bands (including at the All-State level). Bhasin has presented at national conferences, including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. An avid proponent of chamber music, Bhasin serves as music director of the Atlanta Chamber Music Festival, has performed as a chamber musician on WFMT in Chicago, Detroit PBS-TV, and developed residencies with the Chicago Symphony Orchestra’s Musicorps program and the Grammy Award–winning sextet Eighth Blackbird.

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Bhasin has performed and recorded as a trumpeter with the Virginia Symphony and Opera, Columbus (OH) Symphony, New World Symphony, the Civic Orchestra of Chicago, and at the music festivals of Aspen, Tanglewood, and Ravinia, and as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, and at the International Dvořák Festival (Prague, CZ). He has performed under the batons of Michael Tilson Thomas, James Conlon, James DePriest, Leonard Slatkin, Andreas Delfs, and Gustav Meier; and his trumpet students have won first prize at major competitions including the National Trumpet Competition. Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels.

Bhasin’s compositions, transcriptions, and arrangements are published

by Carl Fischer Music and have been performed and commissioned in the US and abroad by the San Francisco Symphony Orchestra, St. Louis Opera Theater, and Grand Tetons Festival Orchestra. In 2015, he composed and conducted the orchestral score to 9:23 Films’ motion picture, 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. He received his musical education from Northwestern University, the University of Michigan, and the University of Wisconsin-Madison.

Sierra King, photographer and archivist Sierra King is an Atlanta-based artist, photographer, and archivist. She holds a Bachelor of Arts in Art from Valdosta State University. Her creative and arts administration work is dedicated to documenting, preserving, and archiving the work of Black women artists. King had the honor of working as lead photo archivist for the Kathleen Cleaver Papers before it was acquired by the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University. In 2020, she was awarded the Rose Library’s Billops-Hatch Fellowship Award to continue research for Build Your Archive, a nomadic memory work lab where Black women artists build their archives in real-time. King is currently building and preserving the archives of printmaker Jasmine Williams and director Ebony Blanding. Additionally, she is the co-curator alongside Melissa Messina for the forthcoming exhibition New Worlds— Georgia Women to Watch, which will debut at Atlanta Contemporary, presented by the Georgia Committee of the National Museum of Women in the Arts in January 2023.

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Emory University Symphony Orchestra The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs The two named EUSO 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 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 Kaito Mimura ¥ § Pennington, NJ Joel M. Felner, MD Concertmaster Chair Yihoon Shin ¥ Waterloo, IA Assistant Concertmaster Chloe Nelson ¥ Rancho Santa Margarita, CA Thomas Sarsfield Eric Zhang Knoxville, TN Doowon Kim ∞• Suwanee, GA Seyon Kim ¥ Santa Clara, CA Harutoshi Okumura Hong Kong/ Nara, Japan Ruth Jao Clarksburg, MD Aritro Ray Dallas, TX Alexander Koeppel New York, NY Mirielle Ma ¥ Glastonbury, CT Louisa Ma Phoenix, AZ Christopher Li Holmdel, NJ Katherine Mao Princeton, NJ Alyssa Stegall Salinas, CA Daniel Wu Buffalo Grove, IL Juliana Bushnell Edmonds, WA

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Chemistry/Music Chemistry Chemistry/Music Performance

Physics/Music Business/Music NBB Physics/GT Dual Degree NBB NBB/Chemistry NBB Sociology/Biology Business/Economics Biology Biology Political Science/Music Performance

Computer Science Epidemiology

Violin II Christy Song ¥ Ringgold, GA Biology/Music Edward Goodwin Scruggs Principal Second Chair Carol Xu Dallas, TX Human Health/Economics/ Assistant Principal Music Performance Erin Yoon Dallas, TX Human Health/Economics Jaemin Paik Fresno, CA Business Seongeun Lee Seoul, South Korea Economics Ryana Rajesh Wilmington, DE Biology/Economics (Pre-Med) Katie Shin ∞• Auburn, GA Engineering Sciences/Music Dan Kim Bettendorf, IA Biology David Chung Atlanta, GA Business Alyssa Chen Belmont, MA Biology Noah Kann Bethesda, MD Business/Music Rachel Fann Taipei, Taiwan Psychology Cheolmin Oh South Korea Business Izzy Hipple Beaufort, SC Biology (Pre-Med) Mark Arshavsky Atlanta, GA Economics Sasha Lessin-Burris Minneapolis, MN NBB/Women’s, Gender, and Sexuality Studies Madison Park∞

Viola

Sihyun Jeon Principal Rachel Lee •¥ Assistant Principal Siji Osunkoya • Christian Chae ∞ Andrew Chung Sewon Park Caroline Ma∞ Victoria Kang Michael Blankfein Sirui Zhou Jihwan Shin Malhaar Nair Emory Wilson Ayusha Shrestha

Cello

Caleb Park ∞ Principal Sean Parker ∞ Assistant Principal Tim Cho •

San Jose, CA

Biology/Chemistry

Atlanta, GA

Biology/Music

Lilburn, GA Los Angeles, CA Edison, NJ Honolulu, HI Phoenix, AZ Johns Creek, GA Westport, CT

NBB/Music Composition

Suwanee, GA

Psychology

Business/Computer Science Human Health Business/Economics Business/Math Anthropology

Winston-Salem, NC Chemistry Salt Lake City, UT NBB /Political Science Columbia, MD

Chemistry/Music Performance

Baton Rouge, LA

Biology/Music Performance

Suwanee, GA

Quantitative Sciences/Economics 12

Alex Banul Richardson, TX Biology/Philosophy Andrew Choi Carrollton, TX Alexander Moon Berkeley Heights, NJ Neuroscience/Healthcare Innovation Extension Solomon Kim∞ Tokyo, Japan Music Composition/Economics Rachel Seong • Sugar Hill, GA Biology/Music Performance Harrison Helms Greensboro, NC History Chris Park Rye, NY Owen Zealey-Chen Atlanta, GA Business/Film David Liang Richard Jensen Pittsburgh, PA Business /Quantitative Sciences Sophia Lin-David Boston, MA Political Science /Business

Bass

Alex Petralia ¥• Principal Jinsun Yoo Charles Ascone∞ Max Heeden • Hannah Perron

Seoul, South Korea Manalapan, NJ Atlanta, GA

Flute and Piccolo (Listed alphabetically) Robyn Jin Sara Ju Julia Nagel ∞

Bellevue, WA Deer Park, NY Crozet, VA

Computer Science Mathematics/Computer Science

Biology Human Health Music/Philosophy, Politics, Law

Oboe and English Horn (Listed alphabetically) Sophia Kim∞ Samantha Lai Katie Liu Eric Xu

Princeton, NJ Dallas, TX Tainan, Taiwan Short Hills, NJ

Biology Anthropology/Human Biology Biostatistics Applied Mathematics/Chemistry

Clarinet (Listed alphabetically)

Isabelle Myers South Beloit, IL History and Art History/Chemistry Chunjin Park Duluth, GA Biology/Architectural Studies Eli Parrish Bremen, GA Music Composition/ Environmental Sciences

Bass Clarinet

Rodrigo Salinas

Lakeland, FL

Chemistry

Bassoon and Contrabassoon (Listed alphabetically) Vishaal Kareti • Nathan Muz

Marietta, GA Cambridge, MA

Horn (Listed alphabetically) Noah Choe Michael Bian Jose Moreno Pulkit Gupta ¥

Dubai, UAE Buffalo Grove, IL Dallas, Tx Dallas, TX 13

Computer Science/Math Applied Mathematics Biology NBB/Ethics Business Physics/Biology

Trumpet (Listed alphabetically) Joey Chen Natalie Park Nathaniel Lechtzin Austin Watkinson ∞

Decatur, GA Towson, MD Great Falls, VA

Business Biophysics/Music Music Performance/BBA

Trombone and Bass Trombone (Listed alphabetically) Timothy Brewer∞ Christopher Park• Shiven Sinha Joshua Peacock

Tuba

Graham Wells

Mason, OH Lilburn, GA

Biology

Elkhart, IN

Physics

Atlanta, GA

07C, Chemistry

Percussion and Timpani (Listed alphabetically) Ginger Lau ∞ Alexa Mohsenzadeh ∞ Peter Rubin Emmy Shi

San Ramon, CA

Physics

Highland Park, IL Shanghai, China

Biology/Environmental Science Psychology/Computer Science

Holly Springs, NC

Music Performance/Classics

Phoenix, AZ

NBB /Music Performance

Harp

Ruby Ladd Brigid May∞

Piano and Keyboard Vivian Zhao

NBB: Neuroscience and Behavioral Biology • Emory Youth Symphony Orchestra Alumni ∞ Woodruff/Music Woodruff Scholar/Music LAS Award Recipient § Dean’s Achievement Scholar ¥ Edward Goodwin Scruggs Scholarship Holder u Emory Friends of Music Scholarship Holder

Department of Music Administration Stephen Crist, Chair Bradley Howard, Director of Undergraduate Studies Paul Bhasin, Director of Undergraduate Research Martha Shockey, Senior Secretary Kathy Summers, Academic Department Administrator Julia Hudgins, Academic Services Coordinator

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Emory String, Wind, and Percussion Faculty Laura Ardan, clarinet • Emily Brebach, oboe • Jay Christy, violin • Emily Daggett Smith, violin u Jason Eklund, horn s Karen Freer, cello • Adam Frey, euphonium Anthony Georgeson, bassoon • Roee Harran, cello Yinzi Kong, viola u Michael Kurth, bass • Mark Maliniak, trumpet • Michael Moore, tuba • Paul Murphy, viola •

Ed Nicholson, trombone s Gary Paulo, saxophone Scott Pollard, percussion Elisabeth Remy Johnson, harp • Sasha Shatalova Prior, oboe Jessica Shuang Wu, violin u Christina Smith, flute • Michael Tiscione, trumpet • Shelly Unger, bassoon Guang Wang, cello u Mark Yancich, percussion • Jim Zellers, flute s Nathan Zgonc, trombone • • Atlanta Symphony Orchestra s Atlanta Opera Orchestra H Atlanta Ballet Orchestra u Vega String Quartet

Music at Emory The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in the department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, the faculty and ensembles also welcome the participation of nonmajor students.

Become a part of Music at Emory by giving to the Friends of Music. A gift provides crucial support to all of the activities. To learn more, visit music. emory.edu or call 404.727.6280.

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Music at Emory 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.

404.727.5050 music.emory.edu