2023 | 2024
Welcome to the Schwartz Center for Performing Arts. Please turn off all electronic devices. Photography, recording, or digital capture of this concert is not permitted. 404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu
Audience Information The Schwartz Center welcomes members of Mu Phi Epsilon and a volunteer usher corps of about 40 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities. 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. 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 2023 | 2024
Emory Wind Ensemble Emory University Symphony Orchestra
Featuring Aritro Ray, violin Winner of the 2023 Emory Concerto and Aria Competition Michael Kobito, conductor Paul Bhasin, conductor Eli Parrish, student conductor Saturday, November 18, 2023, 8:00 p.m. Emerson Concert Hall Schwartz Center for Performing Arts
Emory Wind Ensemble Ralph Vaughan Williams (1872–1958)
Tocatta Marziale
Katahj Copley (b. 1998)
Serenade Eli Parrish, student conductor
William Schuman (1910–1992)
Chester
Emory University Symphony Orchestra Overture to La forza del destino
Giuseppe Verdi (1813–1901)
“Intermezzo” from Cavalleria rusticana
Pietro Mascagni (1863–1945)
Violin Concerto No. 1 in A Minor, op. 99 III. Passacaglia. Andante—Cadenza IV. Burlesque. Allegro con brio Aritro Ray, violin
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Dmitri Shostakovich (1906–1975)
Program Notes Toccata Marziale (1924) Toccata Marziale was Ralph Vaughan Williams’s second work for military band and is one of the most significant contributions to wind band literature. The word “toccata” comes from the Italian “toccare,” meaning “to touch,” hence its association with the early Baroque virtuouso keyboard pieces written by Frescobaldi and others. Toccata Marziale is a contrapunctal masterpiece for wind ensemble, in which textures are juxtaposed in massed effects with large sections of winds and brasses. A rhythmic vigor, as suggested by the title, permeates the piece, and Vaughan Williams’s brilliant scoring reveals the fundamental properties of the band’s sonority and its instrumental virtuosity and color. —Program note by Frederick Fennell
Serenade (2019) This is a piece originally seen as an anti-serenade. I wanted to write about the idea of a relationship going bad. However, I took that idea and decided to go in a different route. Instead of this being a piece for the love of someone or the breakup of someone . . . this is the growth of a person from heartache. The first movement is written from the perspective of someone out of a relationship, hence the rather somber beginning; however, the movement shifts into a change of mood for the person—a more hopeful mood. The second movement is a quirky encounter between two people—they are both shy and don’t know what the future holds for them. The third movement is a scene for a first date for the couple. The final movement begins with the clarinet and is rather slow. However, as the movement progresses, it gets faster and louder until the end. This movement represents the pacing of the couple so that they finally admit their love for one another. —Program note by composer
Chester (1956) Chester is based on the patriotic anthem composed by William Billings during the time of the American Revolution. Billings wrote the first version of the song for his 1770 songbook The New England Psalm Singer 5
and made improvements for the version in The Singing Master’s Assistant (1778). Chester became so popular that it was sung throughout the colonies from Vermont to South Carolina. It became the song of the American Revolution, sung around the campfires of the Continental Army and played by fifers on the march. The music and words, both composed by Billings, expressed perfectly the burning desire for freedom that sustained the colonists through the difficult years of the Revolution. Let tyrants shake their iron rod, And Slav’ry clank her galling chains, We fear them not, we trust in God, New England’s God forever reigns. The Foe comes on with haughty Stride; Our troops advance with martial noise, Their Vet’rans flee before our Youth, And Gen’rals yield to beardless Boys. What grateful Off’ring shall we bring? What shall we render to the Lord? Loud Halleluiahs let us Sing, And praise his name on ev’ry Chord. —Program note by William Schuman
Overture to La forza del destino (1862) Giuseppe Verdi’s grand opera La forza del destino (The Force of Destiny) is based upon a sprawling 1830s Spanish play, Don Alvaro, or The Force of Destiny, by Ángel de Saavedra, Duke of Rivas. To this day, some find the work’s epic length (expanded by several crowd scenes) somewhat problematic. However, the central plot is relatively straightforward. The story takes place in Spain and Italy, toward the middle of the 18th century. Don Alvaro accidentally kills the Marquis of Calatrava—the father of the woman he loves, Leonora di Vargas. Don Carlo, the Marquis’s son, searches for Don Alvaro and Leonora in order to avenge his father’s death. Don Carlo finally confronts Don Alvaro (now a priest), and challenges him to a duel. Don Alvaro mortally wounds Don Carlo, who in turn fatally stabs Leonora when she tries to comfort her brother. Don Alvaro curses the fates, but when he relents and prays for forgiveness, Leonora dies in peace.
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The premiere of La forza del destino took place at the Bolshoi Theater in St. Petersburg, Russia, on November 10, 1862. Although it was a success with the public, Verdi felt the score was not sufficiently concise. He revised the opera for an 1869 carnival season production at the La Scala Opera House in Milan. The revised La forza del destino, which premiered at La Scala on February 27, 1869, was a resounding triumph and continues to be the version performed in opera houses around the world. Verdi created the famous Overture to La forza del destino for the 1869 La Scala premiere. The Overture begins with the repeated ominous brass chords that serve to open Act II (Allegro). The strings play the relentless, churning destiny motif that pursues Leonora di Vargas throughout the opera. Several further melodies from the opera—often accompanied by the destiny motif—are introduced with the unerring contrast and inexorable forward motion that are hallmarks of one of the lyric theater’s greatest dramatists. A rousing coda brings the verture of La forza del destino to a stunning conclusion. —Program note by Ken Meltzer
Intermezzo from Cavalleria rusticana (1890) Pietro Mascagni’s one-act opera, Cavalleria rusticana (Rustic Chivalry) is credited with launching the era of operatic verismo, with its focus on depicting the drama, passion, and violence of real, everyday life. Cavalleria was Mascagni’s greatest success. The opera received first prize in a contest to encourage young Italian composers to create new oneact operas. The prize entitled Mascagni to a staging of his opera at the Teatro Costanzi in Rome on May 17, 1890. Mascagni was 27 years old. The premiere was a stunning triumph, with the audience demanding—and receiving—60 curtain calls. Since that time, Cavalleria has remained a mainstay of the operatic repertoire. Contrarily, Cavalleria rusticana was also the source of Mascagni’s greatest frustration. Mascagni lived another 55 years after the premiere and composed several other operas. However, none came close to achieving the success of his first. Throughout his life, Mascagni was mostly known only as the composer of Cavalleria rusticana. The beautiful and passionate orchestral Intermezzo that precedes the opera’s tragic final portion has enjoyed a regular presence in the concert hall. —Program note by Ken Meltzer
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Violin Concerto No. 1 in A Minor, op. 99 (1948, rev. 1955) In January 1948, Communist leader Andrei Zhdanov summoned members of the Union of Soviet Composers for a conference. There, Zhdanov censured such prominent Russian composers as Dmitri Shostakovich, Sergei Prokofiev, Aram Khachaturian, and Nikolai Miaskovsky, for writing music that displayed “formalist deviations, subjectivism, and the rejection of Socialist Realism.” At the Zhdanov conference, Shostakovich’s compositions were characterized as favored listening “of nobody except foreign bandits and imperialists.” A month later, Zhdanov issued an official decree that included a condemnation of Shostakovich’s music. Shostakovich completed his First Violin Concerto on March 24, 1948, the month after the Zhdanov decree. He dedicated the work to his dear friend, the brilliant Russian violinist, David Oistrakh. Shostakovich well understood that, given Russia’s existing political climate, a performance of this complex and emotionally searching piece was out of the question. In fact, it was not until after Joseph Stalin’s death in March of 1953 that even a modicum of freedom of artistic expression became possible in Soviet Russia. The premiere of the Shostakovich First Violin Concerto took place seven years after its original composition. Oistrakh, the work’s dedicatee, was the soloist. Evgeny Mravinsky conducted the Leningrad Philharmonic Orchestra at the October 29, 1955 concert. David Oistrakh, an immensely popular Soviet artist, immediately championed the Concerto in an article that appeared at the time of the premiere. Oistrakh’s defense of the Shostakovich First Violin Concerto was not only eloquent, but courageous, given that his praise came in advance of any “official” verdict by the Soviet Composers’ Union: “We have prepared this premiere with the very greatest care— we have insisted on about 10 rehearsals in the presence of the composer . . . The Concerto poses exceedingly interesting problems for the performer, who plays, as it were, a pithy ‘Shakespearean’ role, which demands from him complete emotional and intellectual involvement, and gives him ample opportunities not only to demonstrate his virtuosity but above all to reveal his deepest feelings, thoughts and moods.” The premiere of the Shostakovich First Violin Concerto was a great success, with the audience offering an enthusiastic reception. Oistrakh’s continued sterling advocacy of this magnificent work helped to assure its status as one of the finest of 20th-century violin concertos.
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The Shostakovich First Violin Concerto is in four movements. This concert features the final two. The slow-tempo third movement is a Passacaglia (Andante), a series of variations over a repeated figure (here, introduced by the cellos, basses, and timpani). A lengthy solo Cadenza leads without pause to the closing movement (Burlesque. Allegro con brio) in the spirit of a trepak, a vigorous Russian dance in 2/4. —Program note by Ken Meltzer
Emory Wind Ensemble The Emory Wind Ensemble (EWE) is a nationally recognized organization dedicated to performing wind literature of the highest caliber while nurturing individual artistic excellence within an ensemble setting. Membership is determined by audition each fall. Concert programming comprises a wide variety of styles, forms, and genres from several centuries of compositional practice, designed to provide comprehensive exposure to the masterpieces for winds and percussion from the Renaissance period through the modern era. A flexible instrumentation is employed with predominantly one player per part, giving students the opportunity to experience true wind ensemble performance practice. The EWE performs two concerts each semester, regularly participates in world premieres of new music, tours the United States and abroad, and is a national leader in the commissioning of new music, including works by Warren Benson, Steven Bryant, Stephen Paulus, Bruce Broughton, Jennifer Higdon, Libby Larsen, John Mackey, David Maslanka, Jonathan Newman, and many others. In 2017, the ensemble was showcased by the College Band Director’s National Association among its peer institutions with a citation for musical excellence at the “Small Band Showcase,” presented at the Association’s National Conference in Kansas City. The EWE’s recent collaborations include performances with the Emory University Chorus; the Emory Dance Company; Emory’s Mary Emerson Professor of Piano William Ransom; Chris Martin, principal trumpet of the New York Philharmonic; Stuart Stephenson, principal trumpet of the Atlanta Symphony Orchestra; Joe Alessi, principal trombone of the New York Philharmonic; Adam Frey, international euphonium solo artist; and Grammy Award–winning solo clarinetist Richard Stoltzman. The EWE has performed concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece. Additionally, it has performed at the Georgia Music Educators Association (GMEA) State Convention 9
in Savannah, Georgia; at the Southern Division College Band Directors National Association Conference (CBDNA); and for various events on Emory’s campus, including the inauguration of James Wagner as president of Emory University. Most recently, a brass ensemble made up of EWE members performed live during a national broadcast by the National Basketball Association. The EWE is recorded on the NAXOS and Centaur music labels.
Michael Kobito, conductor Michael Kobito is a music educator, conductor, and trumpeter from Cartersville, Georgia. He serves as the conductor of the Emory Wind Ensemble and associate conductor of Tara Winds. Prior to his appointment at Emory University, Kobito served as director of bands at Woodland High School in Cartersville. During his tenure as director, the band performed at multiple national events including the Cherry Blossom Festival Parade in Washington D.C., the Georgia Music Educators Association In-Service Conference, the Southeastern United States Honor Band Festival, the Macy’s Thanksgiving Day Parade in New York City, University of Georgia’s Janfest Honor Band Festival, and most recently in the 2023 London New Year’s Day Parade. He also taught AP Music Theory, where his students earned a 100 percent pass rate on the AP exam. As a conductor and trumpeter, Kobito is an active musician, performing regularly around metro-Atlanta in Tara Winds and the Georgia Brass Band. As a conductor of Tara Winds, the band was invited to perform in France at the 2023 Festival des Anches d’Azur in La CroixValmer, and has been invited to perform at the 2024 GMEA In-Service Conference. Additionally, with these groups, Kobito has performed at multiple honor invitational events including the Midwest Clinic in Chicago and the North American Brass Band Competition in Fort Wayne, Indiana. He has served as a guest conductor for the Georgia Brass Band and has been the clinician for multiple honor bands around Georgia and the United States. He has been the recipient of the National Band Association Citation of Excellence for his work with the Woodland Band and Tara Winds on five occasions.
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Kobito is a dedicated advocate for education, having served as an ambassador for educators in the state as the 2023 Georgia Teacher of the Year. He is an active keynote speaker, clinician, and panelist on topics around best education practices and pedagogy, teacher recruitment and retention, and the future of education.
Eli Parrish, student conductor Eli Parrish has studied conducting with Paul Bhasin; composition with Davor Vincze, Katherine Young, and Adam Mirza; and clarinet with Laura Ardan and Marci Gurnow. He serves as music director for the Emory Pep Band and the Emory Young People’s Concert Orchestra. As a student conductor, Parrish has premiered original compositions and standard repertoire in the United States and abroad featuring the United States Army Band Brass, artist affiliates at various universities, and the Emory Wind Ensemble. His work has been supported by the John and Mary Virginia Foncannon Scholarship program as well as Emory’s Katherine Blumenthal Award and the John H. Gordon Stipe Society.
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Emory Wind Ensemble Flute/Piccolo
Trumpet
Hannah Huang Ivana Chen Tabitha Watson Runyu Huang Audrey Chen Sophia Song
Natalie Park Satya Thota Austin Watkinson Tyler Edwards
Trombone Timothy Brewer Shiven Sinha
Oboe Zachary Kant Ziang Zhang
Bass Trombone Ethan Hsuing
Clarinet
Tuba
Ian Moon Eli Parrish Andrew Mijacika Joe Van Duyn Minjoo Kim
Michael Amsel Eric Juarez
Euphonium Kerry Zhu Allen Zhang
Bass Clarinet Nicole Bring
Percussion and Timpani
Bassoon
Sunny Zheng Mingyu Zhang James Grant Kaylor Garamella Peter Rubin Aidan Neuser Eric Chen
Nicole McGill
Saxophone Paulark Yan Rishie Srivastava Wenhui Lu Clayton Michaels Abigail Balson Martin Lin
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Emory University Symphony Orchestra The 90-member Emory University Symphony Orchestra (EUSO) celebrated its 100th Anniversary in 2023. The orchestra performs 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 both 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 undergraduate and graduate students from diverse disciplines. While the majority of the EUSO is music majors, minors and non-majors participate each season as well. The EUSO is recorded on the Centaur Record label, with a 2023 release of works for Atlanta and Dallas Symphony wind soloists and orchestra.
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 the 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), “President’s Own” United States Marine Band, American Youth Philharmonic, Williamsburg Symphony, 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). He has presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association 13
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-winning sextet Eighth Blackbird. 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; at the music festivals of Aspen, Tanglewood, and Ravinia; as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, and at the International Dvořák Festival (Prague, CZ) with conductors Michael Tilson Thomas, James Conlon, Leonard Slatkin, and Gustav Meier. He participated in the Aspen Conducting Academy orchestral program under David Zinman, 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 United States 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 pictures 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. He received his musical education from Northwestern University, the University of Michigan, and the University of Wisconsin-Madison.
Aritro Ray, violin Aritro Ray is a senior from Dallas where he attended Creekview High School. Ray began playing violin at age five, studying with Violeta Trapcheva and later Amy Wang-Hiller. In the Emory University Symphony Orchestra, Ray holds the Edward Goodins-Scruggs principal second chair, performing on the 1870 Giuseppe Scarampella (Brescia) violin under the mentorship of Emily Daggett-Smith. During his time in the orchestra, he has performed in several master classes held by prominent violinists including Carolyn Huebl and Soovin Kim. Some of his previous solo 14
recitals include works by Beethoven, Saint-Saëns, Shostakovich, and Mendelssohn. Ray is pursuing a double major in neuroscience and chemistry. In addition to musical performance, Ray is a pre-medical student and works in clinical research. He has a keen interest in musical and academic pedagogy, offering private tuition to grade schoolers and participating in community outreach through the Continuo organization. Ray also enjoys researching early-medieval Roman/Byzantine history, weight-lifting, and exploring nature preserves across the United States.
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 associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for thirty-seven 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 Carol Xu : H | Dallas, TX | Human Health/Economics and Music Performance Joel M. Felner MD Concertmaster Chair Performing on the Giovanni Grancino violin, Milan, 1687 Chloe Nelson, assistant concertmaster : | Rancho Santa Margarita, CA | Chemistry and Music Performance Ruth Jao | Clarksburg, MD | NBB Christopher Li | Holmde, NJ | Biology Robin Meyer s | Grand Rapids, MI | Music and Environmental Sciences Kaitlyn Kaminuma s | Chulmsford, MA | Music and Human Health Seongchang Min s | Chandler, AZ | Mathematics and Computer Science Harutoshi Okumura | Nara, Japan | Physics and GT Dual Degree Louisa Ma | Phoenix, AZ | Business and Economics Alex Zhu s | Wilmington, MA | Undecided Isabella Lin • s | Alpharetta, GA | Music and Biology Katie Shin • s | Auburn, GA | Engineering Sciences and Music Alexander Koeppel | New York, NY | NBB Noah Kann | Bethesda, MD | Business and Music Christy Song | Ringgold, GA | 23C, Biology and Music Ashley Kim | South Salem, NY | Business and Sociology 15
Violin II Doowon Kim, principal • s | Suwanee, GA | Business and Music Edward Goodwin Scruggs Principal Second Chair Seyon Kim, assistant principal : | Santa Clara, CA | NBB David Chung• | Atlanta, GA | Business Brandon Lee | Duluth, GA | Chemistry Ajay Balasubramaniam • s | Suwanee, GA | Biology and Music Jennifer Kim | Cupertino, CA | NBB Nora Lee | Short Hill, NJ | Music and Environmental Science Emily Huang s | Houston, TX | Chemistry Josephine Sim s | Woodway, TX | Undecided Katherine Mao | Princeton, NJ | Biology Claire Kwon s | San Jose, CA | NBB Jessica Liu | San Jose, CA | Biology Izzy Hipple | Beaufort, SC | Biology and Pre-Med Ryana Rajesh | Wilmington, DE | Biology and Economics (Pre-Med) Sasha Lessin-Burris | Minneapolis, MN NBB and Women’s, Gender, and Sexuality Studies Samantha Hamilton• | Cumming, GA | Undecided Cheolmin Oh | South Korea | Marketing
Viola Sihyun Jeon, principal | San Jose, CA | Biology and Chemistry Rachel Lee, assistant principal • : | Atlanta, GA | Biology and Music Caroline Ma s | Phoenix, AZ | Business and Economics Siji Osunkoya • | Lilburn, GA | NBB and Music Composition Michael Blankfein | Westport, CT | Anthropology Christian Chae s | Arcadia, CA | BBA Chanhee Park s | San Jose, CA | Business Jihwan Shin | Suwanee, GA | Psychology Thora Spence | Oak Ridge, TN | Mathematics and Biology Angelina Lee | Tenafly, NJ | Quantitative Sciences and Psychology Boyoung Min s | Chandler, AZ | Biology Dylan Rybacki s | San Antonio, TX | Mathematics ByungJae Park | Atlanta, GA | Undecided
Cello Rachel Seong, principal • | Sugar Hill, GA | Biology and Music Performance Andrew Choi, assistant principal | Carrollton, TX | Computer Science and Physics Solomon Kim s | Tokyo, Japan | Music Composition and Economics Alexander Moon | Berkeley Heights, NJ Neuroscience + Healthcare Innovation Extension Sergey Blinov | Atlanta, GA | Physics and Mathematics (GT) Daniel Yoon s | San Jose, CA | Business Alex Banul | Richardson, TX | Biology and Philosophy Harrison Helms | Greensboro, NC | History Sabrina Sung | Westford, MA | Public Policy Owen Zealey-Chen | Atlanta, GA | Business and Film 16
Cello (continued) Christopher Jang | San Marino, CA | Anthropology Chris Park | Rye, NY | Chemistry Paul Kim | College Station, TX | NBB
Bass Jinsun Yoo, principal | Seoul, South Korea | Computer Science Jonathan Jacques, assistant principal s | Shaker Heights, OH | Music and Biology Charles Ascone s | Manalapan, NJ | Mathematics and Computer Science Tess Kassinger s | Chicago, IL | Biology Jackson Dietz | Port Washington, NY | Business and Computer Science Alex Petralia • : | Atlanta, GA | 23C Max Heeden • | Atlanta, GA
Flute and Piccolo (listed alphabetically) Robyn Jin | Bellevue, WA | Biology Sara Ju | Deer Park, NY | Human Health Brooke Liu | Dallas, TX | Business Julia Nagel s | Crozet, VA | Music and PPL Oboe and English Horn (listed alphabetically) Samantha Lai | Dallas, TX | Anthropology and Human Biology Isaac Light s | Pleasanton, CA | Business and Computer Science Eric Xu | Short Hills, NJ | Applied Mathematics and Chemistry Clarinet (listed alphabetically) Chunjin Park | Duluth, GA | Biology and Architectural Studies Eli Parrish | Bremen, GA | Music Composition and Environmental Sciences Nicholas Wandrick s | Alpharetta, GA | NBB and Music
Bass Clarinet Rodrigo Salinas | Lakeland, FL | Chemistry
Bassoon and Contrabassoon (listed alphabetically) Vishaal Kareti • | Marietta, GA | Computer Science and Mathematics Nolan Smith | Pleasanton, CA | Music Donovan Tong | San Ramon, CA | Business and Quantitative Sciences Horn (listed alphabetically) Noah Choe | Dubai, United Arab Emirates | Biology Jackson Jeffries | Decatur, GA | Undecided Jose Moreno | Dallas, TX | Strategy Management Consulting and Finance
Trumpet (listed alphabetically) Joey Chen | Beijing, China | Music and Mathematics Hudson Simmons | Greendale, WI | English and Creative Writing Austin Watkinson s | Great Falls, VA | Business and Music 17
Trombone and Bass Trombone (listed alphabetically) Joshua Antony | Duluth, GA | Mathematics (GT) Timothy Brewer s | Mason, OH | Business Misha Gupta s | Marietta, GA | Business and Music Christopher Park• | Lilburn, GA | Biology Shiven Sinha | Seattle, WA | Political Science
Tuba Graham Wells | Atlanta, GA | 07C, Chemistry
Percussion and Timpani (listed alphabetically) Nellie Gregg | Dalton, GA | Anthropology Ginger Lau s | San Ramon, CA | Physics Peter Rubin | Highland Park, IL | Biology and Environmental Sciences Emmy Shi | Shanghai, China | Psychology and Computer Science Jack Xu | Mendham, NJ | Undecided Alan Zhao | Fremont, CA | Biology
Harp Brigid May s | Holly Springs, NC | Music Performance and English
Piano and Keyboard Vivian Zhao | Phoenix, AZ | NBB and Music Performance NBB: Neuroscience and Behavioral Biology • Emory Youth Symphony Orchestra Alumnus s Woodruff/Music Woodruff Scholar/Music LAS Award Recipient H Dean’s Achievement Scholar : Edward Goodwin Scruggs Scholarship holder
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Emory String, Wind, and Percussion Faculty Violin
Oboe
Tuba
Justin Bruns • Jay Christy • Emily Daggett Smith H Jessica Wu H
Emily Brebach • Sasha Shatalova Prior
Michael Moore •
Clarinet
Gary Paulo
Viola Yinzi Kong H Paul Murphy •
Cello Karen Freer • Roee Harran Guang Wang H
Bass Michael Kurth •
Flute Christina Smith • Jim Zellers s
Marci Gurnow Justin Stanley
Saxophone Euphonium Adam Frey
Bassoon Anthony Georgeson • Shelly Unger
Horn Jason Eklund s
Percussion Scott Pollard Mark Yancich •
Harp Elisabeth Remy •
Trumpet Mark Maliniak • Michael Tiscione •
Trombone
• Atlanta Symphony Orchestra
Ed Nicholson s Nathan Zgonc •
H Vega Quartet
s Atlanta Opera Orchestra
Department of Music Administration Paul Bhasin, Interim Chair Kristin Wendland, Director of Undergraduate Studies Laura Emmery, Director of Undergraduate Research Martha Shockey, Senior Secretary Kathy Summers, Academic Department Administrator Julia Hudgins, Academic Services Program Coordinator Simone McGaw Evans, Program Coordinator
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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.
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