MUSIC AT EMORY
2022–2023
This concert is presented by the Schwartz Center for Performing Arts.
404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu
Audience Information
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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.
Emory Wind Ensemble
Brianna Slone, conductor Emory University Symphony Orchestra
Paul Bhasin, conductor
Saturday, November 19, 2022, 8:00 p.m. Emerson Concert Hall Schwartz Center for Performing Arts
2022–2023 MUSIC AT EMORY
Emory Wind Ensemble Program
Irish Tune from County Derry Percy Grainger (1882-1961)
Emory Wind Ensemble Clarinets
Hands Across the Sea John Philip Sousa (1854-1932)
Wayfaring Stranger arr. Christopher M. Nelson (b. 1987)
Folk Song Suite Ralph Vaughan Williams March, Seventeen Come Sunday (1872-1958) Intermezzo, My Bonny Boy March, Folk Songs from Somerset
Strange Humors John Mackey (b. 1973)
Bryan Wysocki, djembe
Emory University Symphony Orchestra Program
Overture to The Bartered Bride
Bedřich Smetana (1824-1884)
Piano Concerto No. 1 in D-flat Major, op. 10 Sergei Prokofiev (1891-1953) Colin Song, piano
Selections from The Nutcracker, op. 71 Peter Ilyich Tchaikovsky (1840-1893)
3. Children’s Galop and Arrival of the Guests
14 a. Pas de Deux — Dance of the Prince and the Sugar Plum Fairy
12 d. Trepak (Russian Dance)
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Program Notes
Irish Tune from County Derry (1918)
Irish Tune from County Derry is based on earlier settings that date back as early as 1902 with an essentially identical setting of this melody for wordless mixed chorus. Later versions for solo piano (1911) and string orchestra with two optional horns (1912) followed. The wind band setting is cataloged as British Folk Music Setting Nr. 20, and like all Grainger’s settings of British folk music is “lovingly dedicated to the memory of Edvard Grieg.” The composer’s brief program note states, “This tune was collected by Miss J. Ross, of New Town, Limavady, Co Derry, Ireland and published in The Petrie Collection of the Ancient Music of Ireland, Dublin, 1855.”
—Program note by R. Mark Rogers
Hands Across the Sea (1899)
Hands Across the Sea might well be considered as Sousa’s farewell to the nineteenth century that had been so crucial to the evolution of the United States of America. The two final decades of that century had also been very good to Sousa, for in those years he emerged as a world-famous music personality. His magnificent band was one of the first American success stories in music, for it captured audiences wherever it played. Sousa, his band, and his thrilling marches spoke for all of us. Together they just might possibly have been the best ambassadors for the Republic since Benjamin Franklin. Hands Across the Sea could also have been Sousa’s sincerely confident and patriotic view of the years ahead at the dawn of what he hoped might be a bright new era for mankind.
—Program
Wayfaring Stranger (2015)
note by Frederick Fennell
Wayfaring Stranger is a setting of the American folk spiritual known as “Poor Wayfaring Stranger.” While many versions of the lyrics to this tune exist, they all tell the story of a traveler who makes his way on a journey despite a rough road, difficult circumstances, and gathering darkness. He does this, the lyrics say, for the promise of green pastures and a reunion with his father and mother at journey’s end.
This setting is intended to convey not only the difficulty experienced by the traveler, but also the resolve which is displayed as he moves forward despite hardship and disappointment. Wayfaring Stranger is offered as a sort of resolute battle hymn for anyone who must endure a long journey of challenge and trial before the promised green pastures can be enjoyed.
—Program note by publisher
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Folk Song Suite (1923)
Folk Song Suite was commissioned by the band of the Royal Military School of Music. It premiered on July 4, 1923, at Kneller Hall with H.E. Adkins conducting. In three movements, the suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. Historically, the suite is considered—along with Gustav Holst’s two suites for military band—to be a cornerstone work in the literature, and one of the earliest “serious” works for the wind band.
—Program note by Nikk Pilato
Strange Humors (2006)
Strange Humors was originally composed for string quartet and djembe. Mackey wrote while pursuing his graduate degree at the Juilliard School. It was later adapted for use by the Parsons Dance Company, with choreography by Robert Battle. Its transcription came at the behest of Richard Floyd on behalf of the American Bandmasters Association. The piece represents a merging of musical cultures—the modal melodies and syncopated rhythms of Middle Eastern music with the percussive accompaniment of African drumming.
At the heart of the work lies the pulse of the djembe, which remains from the original version. The djembe, an hourglass-shaped drum played with bare hands, is a major part of the customs of west African countries such as Mali and Guinea, where djembe ensembles accompany many functional celebrations of society.
The piece opens with a sultry English horn solo, a line laced with Phrygian influence representing the “typical” melodies of the most northeastern parts of the African continent—most notably Egypt, but also parts of the Arabian peninsula. Later, the saxophones emulate the snaking lines of the English horn. The addition of brass and auxiliary percussion to the original orchestration makes for particular impact during the shout sections of the piece, and the groove of the djembe combined with the quirky rhythms throughout leave an impression that lingers in the listener’s mind long after its conclusion.
—Program note by Jacob Wallace
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Overture to The Bartered Bride (1866, rev. 1870)
The creation of the opera The Bartered Bride occupied Czech composer Bedřich Smetana over several years. Smetana began work on the opera in 1863. The premiere of the original version of The Bartered Bride took place on May 30, 1866, at the Provisional Theater in Prague, where Smetana was principal conductor. Smetana continued to revise the opera, transforming it from two acts to three, and substituting sung recitatives for the original spoken dialogue. The final version premiered on September 25, 1870. To this day, The Bartered Bride remains Smetana’s most well-known and beloved opera.
The story takes place in a Czech village, and concerns the young lovers Mařenka and Jeník. At one point in the action, Jeník gives the (false) impression that he has accepted money in exchange for his right to wed Mařenka (and thus, the opera’s title). However, by the opera’s conclusion, all ends happily for Mařenka and Jeník.
Smetana’s beguiling incorporation of Czech folk subjects and music into the fabric of The Bartered Bride has earned the work a special place in the hearts of not only his fellow countrymen, but opera lovers around the world. The vivacious overture incorporates music from the course of the opera.
Piano Concerto No. 1 in D-flat Major, op. 10 (1911-1912)
Sergei Prokofiev was in his early 20s and a student at the St. Petersburg Conservatory when he composed his First Concerto for Piano and Orchestra. Prokofiev, a superb pianist, hoped that the concerto would help win him recognition both as an instrumentalist and composer. Prokofiev was the soloist at the premiere, which took place in Moscow on August 7, 1912. The rehearsals of the new work did not proceed to Prokofiev’s satisfaction. On the night before the first performance, the composer went to bed, by his own admission, “tired and bad-tempered.”
The premiere, however, fared quite well. The concert marked Prokofiev’s first public appearance with an orchestra. According to Prokofiev, the conductor Konstantin Saradzhev: knew all the tempos perfectly. The music was right in my fingers. The orchestra was faking it at times and was on a slightly lower level. I was told that the concerto sounds good from an instrumental point of view, and that the orchestra didn’t obscure the piano part. The audience responded with considerable enthusiasm—there were many curtain calls and three encores. . . . I am satisfied. It was not difficult to play with an orchestra—it was even extremely pleasant.
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In his autobiography, Prokofiev described the First Piano Concerto as “my first more or less mature composition both as regards the conception and its fulfillment. The conception is expressed, firstly, in some of the means used for combining piano and orchestra, and secondly, in the form. . . .”
The Concerto No. 1, cast in single movement subdivided into three episodes, is a variation on the traditional sonata form (introduction, development, and restatement of principal thematic material). The first episode (Allegro brioso) opens with three forte chords, followed by the vaulting first principal theme. The pianist introduces the skipping second principal theme. At the conclusion of the first episode, the orchestra reprises the opening theme. A measure of silence leads to the slowtempo second episode (Andante assai) that begins peacefully, but moves to a passionate climax. Tranquility finally returns in the episode’s closing measures. The final episode (Allegro scherzando) opens with the furtive tread of quarter notes in the strings and brass. The soloist then initiates a more playful element that will dominate much of the remainder of the concerto. An extended solo passage recalls the opening movement’s principal themes, the first of which returns in triumphant fashion in the closing measures.
Selections from The Nutcracker, op. 71 (1892)
Tchaikovsky’s The Nutcracker ballet was the product of a commission by the Maryinsky Theater in St. Petersburg. The story of The Nutcracker is based upon a French translation by Alexandre Dumas, the elder, of E.T.A. Hoffman’s fairy tale, The Nutcracker and the Mouse King. Tchaikovsky, ever a man of the theater, immediately recognized that the ballet’s libretto was seriously flawed. The composer (and ultimately, the critics as well) faulted the lack of a substantive plot in the second act, as well as a general absence of character development, and dances for the principals. Perhaps even more troublesome were choreographer Marius Petipa’s attempts to dictate, with mathematical precision, the flow of Tchaikovsky’s score. In directions to the composer for Act I, Petipa specified: “Soft music 64 bars—The tree is lighted. Sparkling music, 8 bars—The children enter. Animated and joyous music, 24 bars—Moment of surprise and admiration, a few bars tremolo—A march 64 bars...” Tchaikovsky, ever the professional, completed his assignment, although he did request that the opening performance be moved to the following season.
On March 19, 1892, Tchaikovsky led the Russian Musical Society of St. Petersburg in a suite comprising excerpts from the complete ballet score. The concert was a triumph, with the audience demanding and receiving encores of five of the numbers. The premiere of the complete ballet on December 18, 1892 was far less successful. One critic noted, “. . . it is a pity that so much fine music is expended on nonsense unworthy of attention,
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but the music in general is excellent . . . Of Tchaikovsky’s three ballets . . . ‘Nutcracker’ is the best, . . .” Both the suite and complete ballet remain among Tchaikovsky’s most beloved works. This concert features excerpts from the ballet score.
The story of The Nutcracker takes place in early nineteenth-century Germany at Christmastime. The curtain rises on a grand Christmas party (No. 3. Children’s Galop and Arrival of the Guests). At the Christmas party, the young girl Clara receives a nutcracker as a present from her godfather, the mysterious Drosselmeyer. After nightfall, Clara comes downstairs to find the house magically transformed. The Nutcracker comes to life and battles an army of mice and their leader, the Mouse King. Clara rescues the Nutcracker by throwing her slipper at the Mouse King. The Nutcracker now becomes a handsome Prince. As Act II begins, the Prince and Clara arrive at the magic Land of Sweets, presided over by the Sugar Plum Fairy (No. 14a. Pas de Deux Dance of the Prince and the Sugar Plum Fairy). There, Clara is entertained by a series of character dances (No. 12d. Trepak).
—Program notes by Ken Meltzer
About the Emory Wind Ensemble
The Emory Wind Ensemble (EWE) is dedicated to performing wind band and chamber literature of the highest caliber while nurturing individual artistic excellence within an ensemble setting. Concert programming comprises a wide variety of styles, forms, and genres from several centuries of compositional practice, designed to provide a comprehensive exposure to the masterpieces for winds and percussion from the Renaissance period through the modern era.
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, Bruce Broughton, Jennifer Higdon, Libby Larsen, John Mackey, Jonathan Newman, Joseph Schwantner, and many others. 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 Chicago Symphony Orchestra; 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, among many others.
Recognized in 2017 as a “Top 10” program among its peers by CBDNA, the EWE has performed international concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece; at conferences throughout Georgia; and for various events on the Emory campus. The EWE is recorded on the NAXOS music label.
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Brianna Slone, conductor
Brianna Slone (she/her) currently serves as the conductor of the Emory Wind Ensemble and upper school faculty at the Westminster Schools. Previously, she was the assistant band director at Hillgrove High School in Cobb County, Georgia, and a music library assistant with the Atlanta Symphony Orchestra.
Slone is a sought-after guest conductor, clinician, woodwind specialist, and freelance flutist in the Atlanta area. She was recently appointed as a Music for All Band Clinician and in this capacity was selected as an instructor for the 2022 Music for All Tournament of Roses Honor Band. She has attended flute master classes with Marianne Gedigian, Ransom Wilson, Nicole Esposito, Michael Hasel, and Emmanuel Pahud. Slone has a bachelor of music education degree from the University of Georgia and a master of music degree in wind band conducting from Georgia State University.
Emory Wind Ensemble
Flute/Piccolo
Hannah Huang* Emily Cui Dorian Huang Oboe/English Horn Eric Xu* Zachary Kant Sophia Kim Bassoon
Brandon Yao Vishaal Kareti
Clarinet
Eli Parrish*
Chunjin Park
Joe Van Duyn Deston Lian Karthik Valeveti Nicole Bring Michelle Lee Sophia Rice
Alto Saxophone
Paulark Yan* Rishie Srivastava Katherine Wang Tenor Saxophone Dan Dan Baritone Saxophone Wenhui Lu
Horn
Amelia Young Kayla Beck Daniel Kim
Trumpet
Joey Chen* Natalie Park* Austin Watkinson Andrew Mahoney Joseph Rosenbaum Jeffrey Zheng
Trombone/ Bass Trombone Shiven Sinha* Timothy Brewer Josh Peacock
Euphonium Allen Zhang
Tuba Michael Amsel Percussion
Alexa Mohsenzadeh* Emmy Shi James Grant Kaylor Garamella Peter Rubin Alexander Wingo
*Denotes principal player
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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 is collaborating with professional archivist and photographer Sierra King (2022 Emory Arts & Social Justice Fellow). This “re-imagined” class partners 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 centers on the music of George Walker and combines archival, participatory, interpretive, photographic, and performative elements with documented activities taking place on campus and off.
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.
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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 AllState 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.
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; 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 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.
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“What I love about our students is they aren’t afraid to take risks. That makes them fantastic performers, but also allows them to be incredible in whatever discipline they choose.”
—Dr. Paul Bhasin
Colin Song, piano
Colin Song is a junior and a Robert W. Woodruff Music Scholar at Emory University. From Glenview, IL, Song attended Glenbrook South High School and was a scholarship fellow at the Music Institute of Chicago’s Academy—a training center for advanced pre-college musicians—where he studied piano with Ralph Neiweem. Song currently studies with Elena Cholakova and is pursuing a double major in chemistry and music
As a soloist, Song has received awards in the DePaul Concerto Competition, Emilio Del Rosario Concerto Competition, Sejong Music Competition, and MTNA Competition. As a chamber musician and previous member of Duo Appassionato, he is a first-prize winner of the 2017 Chicago National Youth Competition for Piano Duos and was featured on WFMT’s Introductions. In 2018, Song was invited to play at the Smith Center in Las Vegas and perform on NPR’s From the Top. Song was a finalist in the 2018 MTNA Senior Piano Duet Competition, held in Orlando, Florida; a quarterfinalist at the 2019 and 2020 Fischoff National Chamber Music Competition; and winner of the 2020 Rembrandt Chamber Musician Competition. In 2022, he performed Carnival of the Animals with the Grant Park Symphony Orchestra in Chicago.
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.
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Emory University Symphony Orchestra
Violin
Yihoon Shin ¥ Waterloo, IA Chemistry
Joel M. Felner, MD Concertmaster Chair
Performing on the Giovanni Grancino violin, Milan, 1687
Kaito Mimura ¥ § u Pennington, NJ Chemistry/Music
Assistant Concertmaster
Carol Xu Dallas, TX Human Health/Economics/ Music Performance
Chloe Nelson ¥ Rancho Santa Chemistry/Music Performance Margarita, CA
Eric Zhang Knoxville, TN Physics/Music
Doowon Kim ∞ • Suwanee, GA Business/Music
Erin Yoon Dallas, TX Human Health/Economics
Aritro Ray Dallas, TX NBB/Chemistry
Harutoshi Okumura Hong Kong/ Physics/GT Dual Degree Nara, Japan
Ruth Jao Clarksburg, MD NBB
Katie Shin ∞ • Auburn, GA Engineering Sciences/Music
Jaemin Paik Fresno, CA Business
Mirielle Ma ¥ Glastonbury, CT Sociology/Biology
Louisa Ma Phoenix, AZ Business/Economics
Katherine Mao Princeton, NJ Biology
Alyssa Stegall Salinas, CA Political Science/Music Performance Daniel Wu Buffalo Grove, IL Computer Science
Violin II
Christy Song ¥ Ringgold, GA Biology/Music
Edward Goodwin Scruggs Principal Second Chair
Performing on the Giuseppe Scarampella violin, Brescia, 1870 Thomas Sarsfield Lawrenceville, NJ Business/Music
Assistant Principal Seyon Kim ¥ Santa Clara, CA NBB
Alexander Koeppel New York, NY NBB
Christopher Li Holmdel, NJ Biology
Alyssa Chen Belmont, MA Biology
Seongeun Lee Seoul, South Korea Economics
Ryana Rajesh Wilmington, DE Biology/Economics (Pre-Med)
Noah Kann Bethesda, MD Business/Music
Dan Kim Bettendorf, IA Biology
David Chung Atlanta, GA Business
Rachel Fann Taipei, Taiwan Psychology
Mark Arshavsky Atlanta, GA Economics
Sasha Lessin-Burris Minneapolis, MN NBB/Women’s Gender, and Sexuality Studies
Izzy Hipple Beaufort, SC Biology (Pre-Med)
Cheolmin Oh South Korea Business
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Viola
Sihyun Jeon San Jose, CA Biology/Chemistry Principal
Siji Osunkoya • Lilburn, GA NBB/Music Composition Assistant Principal
Rachel Lee • ¥ Atlanta, GA Biology/Music
Christian Chae ∞ Los Angeles, CA
Andrew Chung Edison, NJ Business/Computer Science
Caroline Ma ∞ Phoenix, AZ Business/Economics
Sewon Park Honolulu, HI Human Health
Victoria Kang Johns Creek, GA Business/Math
Michael Blankfein Westport, CT Anthropology
Sirui Zhou
Jihwan Shin Suwanee, GA Psychology Malhaar Nair
Emory Wilson Winston-Salem, NC Chemistry
Ayusha Shrestha Salt Lake City, UT NBB /Political Science
Cello
Caleb Park ∞ Columbia, MD Chemistry/Music Performance Principal
Tim Cho • Suwanee, GA Quantitative Sciences/Economics Assistant Principal
Sean Parker ∞ Baton Rouge, LA Biology/Music Performance
Andrew Choi Carrollton, TX
Alex Banul Richardson, TX Biology/Philosophy
Solomon Kim ∞ Tokyo, Japan Music Composition/Economics
Alexander Moon Berkeley Heights, NJ Neuroscience/Healthcare Innovation Extension
Rachel Seong • Sugar Hill, GA Biology/Music Performance
Harrison Helms Greensboro, NC History
Chris Park Rye, NY
Richard Jensen Pittsburgh, PA Business /Quantitative Sciences
Owen Zealey-Chen Atlanta, GA Business/Film
David Liang Atlanta, GA
Sophia Lin-David Boston, MA Political Science /Business
Bass
Alex Petralia ¥ • Principal
Jinsun Yoo Seoul, South Korea Computer Science
Charles Ascone ∞ Manalapan, NJ Mathematics/Computer Science
Max Heeden • Atlanta, GA
Hannah Perron Princeton 22C, History Junction, NJ
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Flute and Piccolo (Listed alphabetically)
Robyn Jin u Bellevue, WA Biology
Sara Ju u Deer Park, NY Human Health
Julia Nagel ∞ u Crozet, VA Music/Philosophy, Politics, Law
Oboe and English Horn (Listed alphabetically)
Sophia Kim ∞ Princeton, NJ Biology
Samantha Lai Dallas, TX Anthropology/Human Biology
Katie Liu Tainan, Taiwan Biostatistics
Eric Xu Short Hills, NJ 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 u Lakeland, FL Chemistry
Bassoon and Contrabassoon (Listed alphabetically)
Vishaal Kareti • Marietta, GA Computer Science/Math
Nathan Muz Cambridge, MA Applied Mathematics
Horn (Listed alphabetically)
Noah Choe Dubai, UAE Biology
Michael Bian Buffalo Grove, IL NBB/Ethics
Jose Moreno Dallas, Tx Business
Pulkit Gupta ¥ u Dallas, TX Physics/Biology
Trumpet (Listed alphabetically)
Joey Chen
Natalie Park Decatur, GA Business
Nathaniel Lechtzin Towson, MD Biophysics/Music
Austin Watkinson ∞ Great Falls, VA Music Performance/BBA
Trombone and Bass Trombone (Listed alphabetically)
Timothy Brewer ∞ Mason, OH
Christopher Park • Lilburn, GA Biology
Shiven Sinha Redmond, WA Business/Music
Joshua Peacock Elkhart, IN Physics
Tuba
Graham Wells Atlanta, GA 07C, Chemistry
Percussion and Timpani (Listed alphabetically)
Ginger Lau ∞ San Ramon, CA Physics
Alexa Mohsenzadeh ∞
Peter Rubin Highland Park, IL Biology/Environmental Science
Emmy Shi Shanghai, China Psychology/Computer Science
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Harp
(Listed alphabetically)
Ruby Ladd Atlanta, GA MD Candidate
Brigid May ∞ Holly Springs, NC Music Performance/Classics
Piano and Keyboard
Vivian Zhao Phoenix, AZ
NBB /Music Performance
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
Emory String, Wind, and Percussion Faculty
Laura Ardan, clarinet • Emily Brebach, oboe • Jay Christy, violin • Emily Daggett Smith, violin H Jason Eklund, horn s u Karen Freer, cello • Adam Frey, euphonium Anthony Georgeson, bassoon • Marci Gurnow, clarinet • Roee Harran, cello Yinzi Kong, viola H Michael Kurth, bass • Mark Maliniak, trumpet • Michael Moore, tuba •
Paul Murphy, viola • Ed Nicholson, trombone Gary Paulo, saxophone Scott Pollard, percussion Elisabeth Remy Johnson, harp • Sasha Shatalova Prior, oboe u Jessica Shuang Wu, violin H Christina Smith, flute • Michael Tiscione, trumpet • Shelly Unger, bassoon Guang Wang, cello H Mark Yancich, percussion • Jim Zellers, flute s Nathan Zgonc, trombone • • Atlanta Symphony Orchestra s Atlanta Opera Orchestra u Atlanta Ballet Orchestra H Vega String Quartet
Department of Music Administration
Stephen Crist, Chair
Bradley Howard, Director of Undergraduate Studies
Paul Bhasin, Director of Undergraduate Research
Martha Shockey, Administrative Assistant
Kathy Summers, Academic Department Administrator
Simone McGaw Evans, Program Coordinator
Julia Hudgins, Academic Services Coordinator
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Schwartz Center Staff
Rachael Brightwell, Managing Director
Terry Adams, Box Office Coordinator
Lisa Baron, Communications Specialist
Carrie Christie, Program Coordinator
Kathryn Colegrove, Associate Director for Programming and Outreach
Lewis Fuller, Associate Director for Production and Operations
Jennifer Kimball, Assistant Stage Manager
Jeffrey Lenhard, Operations Assistant
Alan Strange, Box Office Manager
Nicholas Surbey, Senior Graphic Designer
Alexandria Sweatt, Marketing Assistant
Mark Teague, Stage Manager
Nina Vestal, House Manager
Matt Williamson, Multimedia Specialist
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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Upcoming Emory Music Concerts
Many fall music events at Emory are free to attend. Visit music.emory. edu or schwartz.emory.edu to view descriptions and information for upcoming music events. If an event requires a ticket for attendance, prices are indicated in the listings below in the following order: Full price/Emory student price (unless otherwise noted as the price for all students).
Tuesday, November 29, 8:00 p.m., Emory Jazz Ensembles, Schwartz Center, Emerson Concert Hall, free
Wednesday, November 30, 8:00 p.m., Fall Composition Showcase, Performing Arts Studio, free
Friday, December 2, noon, Kyung and Michael Kim, duo pianists, ECMSA: Cooke Noontime Concert, Carlos Museum, free online registration required
Friday, December 2, 8:00 pm; Saturday, December 3, 4:00 p.m. and 8:00 p.m., A Festival of Nine Lessons and Carols, Glenn Auditorium, $20/$10, tickets required
Friday, December 9 and Saturday, December 10, 8:00 p.m., and Sunday, December 11, 4:00 p.m., Christmas with Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $38/$10 all students, tickets required
Sunday, December 11, 4:00 p.m., Santa’s Favorite Chamber Music, ECMSA: Family Series, Carlos Museum, free
Thursday, January 19, 8:00 p.m., An Evening with Fred Hersch and esperanza spalding, Schwartz Artist-in-Residence Program, Schwartz Center, Emerson Concert Hall, $55/$10, tickets required
Saturday, January 21, 8:00 p.m., David Shifrin, clarinet, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free
Sunday, January 22, 4:00 p.m., Chinese New Year Celebration, ECMSA: Family Series, Carlos Museum, free
Friday, January 27, noon, Itamar Zorman, violin; Liza Stepanova, piano, ECMSA: Cooke Noontime Concert, Carlos Museum, free online registration required
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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
