11/19/2022,Emory University Symphony Orchestra and Emory Wind Ensemble

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 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

Emory Wind Ensemble Program Percy Grainger (1882-1961)

Irish Tune from County Derry Emory Wind Ensemble Clarinets

John Philip Sousa (1854-1932)

Hands Across the Sea

arr. Christopher M. Nelson (b. 1987)

Wayfaring Stranger

Folk Song Suite Ralph Vaughan Williams March, Seventeen Come Sunday (1872-1958) Intermezzo, My Bonny Boy March, Folk Songs from Somerset John Mackey (b. 1973)

Strange Humors 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 note by Frederick Fennell

Wayfaring Stranger (2015) 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 5

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, 8

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

Trombone/ Bass Trombone Shiven Sinha* Timothy Brewer Josh Peacock

Euphonium

Baritone Saxophone Wenhui Lu

Allen Zhang

Tuba

Michael Amsel

Horn

Amelia Young Kayla Beck Daniel Kim

Trumpet

Joey Chen* Natalie Park* Austin Watkinson Andrew Mahoney Joseph Rosenbaum Jeffrey Zheng 10

Percussion

Alexa Mohsenzadeh* Emmy Shi James Grant Kaylor Garamella Peter Rubin Alexander Wingo

*Denotes principal player

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.

“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 12

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 14

Viola

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

San Jose, CA

Biology/Chemistry

Lilburn, GA

NBB/Music Composition

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

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

Suwanee, GA

Psychology

Winston-Salem, NC Chemistry 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 Charles Ascone ∞ Manalapan, NJ Max Heeden • Atlanta, GA Hannah Perron Princeton Junction, NJ

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Computer Science Mathematics/Computer Science 22C, History

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

Bellevue, WA Deer Park, NY Crozet, VA

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 u

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 ¥ u

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

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 Redmond, WA Elkhart, IN

Biology Business/Music 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

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Harp (Listed alphabetically) Ruby Ladd Brigid May ∞

Piano and Keyboard Vivian Zhao

Atlanta, GA Holly Springs, NC

MD Candidate Music Performance/Classics

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 19

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