04/22/2023, Emory University Symphony Orchestra and University Chorus

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

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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

Front Cover Photo: Zakiyah Caldwell Burroughs Title Page Photo: Zakiyah Caldwell Burroughs | Larrynx Photography Cover Design: Nick Surbey | Program Design: Times 3 Back 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 DONNA AND MARVIN

SCHWARTZ ARTIST IN RESIDENCE What Color Am I When the Sun and the Moon Hang Above Us? Carmina Burana Emory University Symphony Orchestra Paul Bhasin, conductor

Emory University Chorus Eric Nelson, conductor Jonathan Easter and Gregory Matteson, rehearsal pianists Wade Thomas, baritone | Abigail Raiford, soprano Saturday, April 22, 2023, 8:00 p.m.

Sunday, April 23, 2023, 4:00 p.m.

Emerson Concert Hall Schwartz Center for Performing Arts

Program What Color Am I When the Sun and the Moon Hang Above Us? World Premiere

Sofia Rocha (b. 1996)

Carmina Burana Carl Orff (1937) (1895–1982) Fortuna Imperatrix Mundi (Fortune, Empress of the World) 1. O Fortuna (O Fortune) 2. Fortuna plango vulnera (I bemoan the wounds of Fortune) I. Primo vere (In springtime) 3. Veris leta facies (The merry face of spring) 4. Omnia sol temperat (The sun warms everything) 5. Ecce gratum (Behold, the pleasant spring) Uf dem anger (On the lawn) 6. Tanz (Dance) 7. Floret silva nobilis (The woods are burgeoning) 8. Chramer, gip die varwe mir (Shopkeeper, give me color) 9. Reie (Round dance) 10. Were diu werlt alle min (Were all the world mine) II. In Taberna (In the tavern) 11. Estuans interius (Burning inside) 12. In taberna quando sumus (When we are in the tavern) III. Cour d’amours (The court of love) 13. Amor volat undique (Cupid flies everywhere) 14. Dies, nox et omnia (Day, night, and everything) 15. Stetit puella (A girl stood) 16. Circa mea pectora (In my heart) 17. Veni, veni, venias (Come, come, O come) 18. In truitina (In the balance) 19. Tempus est iocundum (This is the joyful time) 20. Dulcissime (Sweetest one) Blanziflor et Helena (Blanchefleur and Helen) 21. Ave formosissima (Hail, most beautiful one) Fortuna Imperatrix Mundi (Fortune, Empress of the world) 22. O Fortuna (O Fortune)

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Texts and Translations Fortuna Imperatrix Mundi

Fortune, Empress of the world

1. O Fortuna O Fortuna velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem.

1. O Fortune O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Fate, monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always fades to nothing, shadowed and veiled you plague me too; Now thanks to your wicked game I’ve lost my shirt.

Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Fate is against me in health and virtue, driven on and weighted down, always enslaved.

So at this hour without delay pluck the vibrating strings; since fate strikes down the strong man, everyone weep with me!

2. Fortune plango vulnera Fortune plango vulnera stillantibus ocellis quod sua michi munera subtrahit rebellis.

Verum est, quod legitur, fronte capillata, sed plerumque sequitur occasio calvata.

In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus.

Nunc a summo corrui gloria privatus.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam!

Nam sub axe legimus Hecubam Reginam.

2. I bemoan the wounds of Fortune I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away.

It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity she is bald.

On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory.

The wheel of Fortune turns: I go down demeaned; another is raised up; far too high up sits the king at the summit— let him fear ruin!

For under the axis is written Queen Hecuba.

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I. Primo Vere

I. In the springtime

3. Veris leta facies Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur; in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.

3. The merry face of spring The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!

Flore fusus gremio Phebus novo dat, hac vario iam stipate flore.

Zephyrus nectareo spirans in odore.

Certatim pro bravio curramus in amore.

Lying in Flora’s lap, Phoebus once more smiles, now covered in many-colored flowers.

Zephyr breathes nectar-scented breezes.

Let us rush to compete for love’s prize. Ah!

Cytharizat cantico dulcis philomena, Flore rident vario prata iam Serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah!

4. Omnia sol temperat (baritone) Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis, ad amorem propera animus herilis et iocundis imperat deus puerilis.

4. The sun warms everything The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.

Rerum tanta novitas in solemni vere et veris auctoritas jubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Ama me fideliter, fidem meam noto: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter volvitur in rota.

Love me faithfully! See how I am faithful: with all my heart and with all my soul, I am with you even when I am far away.

Whosoever loves this much turns on the wheel.

5. Ecce gratum Ecce gratum et ver reducit gaudia, purpuratum floret pratum, sol serenat omnia.

Iamiam cedant tristia!

Estas redit, nunc recedit hyemis sevitia.

5. Behold, the pleasant spring Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end!

Summer returns, now withdraw the rigors of winter. Ah!

Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit ver estatis ubera;

Now melts and disappears ice, snow, and the rest winter flees, and now spring sucks at summer’s breast; 6

illi mens est misera, qui nec vivit, nec lascivit sub estatis dextera.

a wretched soul is he who does not live or lust under summer’s rule. Ah!

Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.

They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; at Venus’ command let us glory and rejoice in being Paris’ equals. Ah!

Uf dem anger

On the lawn

6. Tanz (orchestra)

6. Dance

7. Floret silva nobilis Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus?

Hinc equitavit, eia, quis me amabit?

7. The woods are burgeoning The noble woods are burgeoning with flowers and leaves.

Where is the lover I knew? Ah! He is ridden off!

Oh! Who will love me? Ah!

Floret silva undique, nah min gesellen ist mir we.

Gruonet der walt allenthalben, wa ist min geselle alse lange?

Der ist geriten hinnen, o wi, wer sol mich minnen?

The woods are burgeoning all over, I am pining for my lover.

The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!

8. Chramer, gip die varwe mir Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete.

Seht mich an, jungen man!

Lat mich iu gevallen!

8. Shopkeeper, give me color Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will.

Look at me, young men!

Let me please you!

Minnet, tugentliche man, minnecliche frouwen!

Minne tuot iu hoch gemout unde lat iuch in hohen eren schouwen.

Seht mich an jungen man!

Lat mich iu gevallen!

Good men, love women worthy of love!

Love ennobles your spirit and gives you honor.

Look at me, young men!

Let me please you!

Wol dir, werit, daz du bist, also freudenriche!

Ich will dir sin undertan durch din liebe immer sicherliche.

Seht mich an, jungen man!

Lat mich iu gevallen!

Hail, world so rich in joys!

I will be so obedient to you because of the pleasures you afford.

Look at me, young men!

Let me please you!

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9. Reie Swaz hie gat umbe

9. Round dance Those who go round and round

Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan! Sla!

Those who go round and round are all maidens, they want to do without a man all summer long. Ah!

Chume, chum, geselle min

Come, come, my love

Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min.

Come, come, my love, I long for you, I long for you, come, come, my love.

Suzer rosenvarwer munt, chum un mache mich gesunt, chum un mache mich gesunt, suzer rosenvarwer munt.

Sweet rose-red lips, come and make me better, come and make me better, sweet rose-red lips.

Swaz hie gat umbe

Those who go round and round

Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan! Sla!

Those who go round and round are all maidens, they want to go without a man all summer long. Ah!

10. Were diu werlt alle min Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben daz diu chunegin von Engellant lege an minen armen.

10. Were all the world mine Were all the world mine from the sea to the Rhine, I would starve myself of it so that the queen of England might lie in my arms.

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II. In Taberna

II. In the Tavern

11. Estuans interius (baritone) Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.

11. Burning inside Burning inside with violent anger, bitterly I speak to my heart: created from matter, of the ashes of the elements, I am like a leaf played with by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis.

I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.

Mihi cordis gravitas res videtur gravis; iocis est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.

The heaviness of my heart seems like a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart.

Via lata gradior more inventutis inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.

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12. In taberna quando sumus In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus.

Quid agatur in taberna ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur.

12. When we are in the tavern When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat.

What happens in the tavern, where money is host, you may well ask, and hear what I say.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt.

Sed in ludo qui morantur, ex his quidam denudantur quidam ibi vestiuntur, quidam saccis induuntur.

Ibi nullus timet mortem sed pro Baccho mittunt sortem.

Some gamble, some drink, some behave loosely.

But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks.

Here no one fears death, but they throw the dice in the name of Bacchus.

Primo pro nummata vini Ex hac bibunt libertini; Semel bibunt pro captives, Post hec bibunt ter pro vivis, Quater pro Christianis cunctis Quinquies pro fidelibus defunctis, Sexies pro sororibus vanis, Septies pro militibus silvanis.

First of all it is to the wine-merchant The libertines drink, One for the prisoners, Three for the living, Four for all Christians, Five for the faithful dead, Six for the loose sisters, Seven for the footpads in the wood.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus undecies pro discordaniibus, duodecies pro penitentibus, tredecies pro iter agentibus.

Tam pro papa quam pro rege bibunt omnes sine lege.

Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers.

To the Pope as to the King they all drink without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servis cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus.

The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks.

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Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.

The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this woman drinks, that man drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta.

Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes.

Qui nos rodunt confundantur et cum iustis non scribantur.

Six hundred pennies would hardly suffice, if everyone drinks immoderately and without measure.

However much they cheerfully drink, we are the ones whom everyone scolds, and thus, we are destitute.

May those who slander us be cursed and may their names not be written (in the book of the righteous).

III. Cour d’amours

III. The court of love

13. Estuans interius (soprano) Amor volat undique, captus est libidine.

Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia; fit res amarissima.

13. Cupid flies everywhere Cupid flies everywhere seized by desire.

Young men and women are rightly coupled.

The girl without a lover misses out on all pleasures; she keeps the dark night hidden in the depth of her heart; it is a most bitter fate.

14. Dies, nox, et omnia (baritone) Dies, nox, et omnia michi sunt contraria; virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.

14. Day, night, and everything Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.

O sodales, ludite, vos qui scitis dicite michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.

Tua pulchra facies me fay planszer milies, pectus habet glacies.

A remender statim vivus fierem per un baser.

Your beautiful face, makes me weep a thousand times, your heart is of ice.

As a cure, I would be revived by a kiss.

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15. Stetit puella (soprano) Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit.

Eia! Stetit puella tamquam rosula; facie splenduit, os eius floruit.

Eia!

15. A girl stood A girl stood in a red tunic; If anyone touched it, the tunic rustled.

Eia! A girl stood like a little rose: her face was radiant and her mouth in bloom.

Eia!

16. Circa mea pectora (baritone/chorus) Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.

16. In my heart In my heart there are many sighs for your beauty, which wound me sorely. Ah!

Mandaliet, mandaliet min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.

Your eyes shine like the rays of the sun, like the flashing of lightning which brightens the darkness. Ah!

Mandaliet, mandaliet min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

Vellet deus, vallent dii quod mente proposui: ut eius virginea reserassem vincula.

May God grant, may the gods grant what I have in mind: that I may loose the chains of her virginity. Ah!

Mandaliet, mandaliet min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

17. Veni, veni, venias Veni, veni, venias veni, veni, venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivos!

Pulchra tibi facies oculorum acies, capillorum series, o quam clara species!

Rosa rubicundior, lilio candidior, omnibus formosior semper in te glorior!

17. Come, come, O come Come, come, O come come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos!

Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!

Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!

18. In trutina (soprano) In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia.

Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.

18. In the balance In the wavering balance of my feelings set against each other lascivious love and modesty.

But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.

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19. Tempus es iocundum Tempus es iocundum, o virgines, modo congaudete vos iuvenes!

19. This is the joyful time This is the joyful time, O maidens, rejoice with them, young men!

Oh! Oh! Oh! Totus floreo! iam amore virginali totus ardeo! novus, novus amor est, quo pereo!

Oh! Oh! Oh! I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Mea me confortat promissio, mea me deportat.

I am heartened by my promise, I am downcast by my refusal.

Oh! Oh! Oh! Totus floreo! iam amore virginali totus ardeo! novus, novus amor est, quo pereo!

Oh! Oh! Oh! I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Tempore brumali vir patiens, animo vernali lasciviens.

In the winter man is patient, the breath of spring makes him lust.

Oh! Oh! Oh! Totus floreo! iam amore virginali totus ardeo! novus, novus amor est, quo pereo!

Oh! Oh! Oh! I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Mea mecum ludit virginitas, mea me detrudit simplicitas.

My virginity makes me frisky, my simplicity holds me back.

Oh! Oh! Oh! Totus floreo! iam amore virginali totus ardeo! novus, novus amor est, quo pereo!

Oh! Oh! Oh! I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo!

Come, my mistress, with joy, come, come, my pretty, I am dying!

Oh! Oh! Oh! Totus floreo! iam amore virginali totus ardeo! novus, novus amor est, quo pereo!

Oh! Oh! Oh! I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

20. Dulcissime (soprano) Dulcissime, totam tibi subdo me!

20. Sweetest one Sweetest one! Ah! I give myself to you totally!

Blanziflor Et Helena

Blanchefleur and Helen

21. Ave formosissima Ave formosissima, gemma pretiosa, ave decus virginum virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa!

21. Hail, most beautiful one Hail, most beautiful one, precious jewel, hail, pride among virgins, glorious virgin, hail, light of the world, hail, rose of the world, Blanchefleur and Helen, noble Venus!

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Fortuna Imperatrix Mundi

Fortune, Empress of the World

22. O Fortuna O Fortuna velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem.

22. O Fortune O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Fate, monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always fades to nothing, shadowed and veiled you plague me, too; now thanks to your wicked game I’ve lost my shirt.

Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Fate is against me in health and virtue, driven on and weighted down, always enslaved.

So at this hour without delay pluck the vibrating strings; since fate strikes down the strong man, everyone weep with me!

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Program Notes What Color Am I When the Sun and the Moon Hang Above Us? Chlorinated bras, Face first in the bubbles, Gaslighting stares, Dead composers are dead, Three baked beans ago, These soiled onions, Desiccated soccer balls, Stab me in the eye (with your 3/4 tea-stir), The stoned rats, Cats (ltant1981ALWmbotbata)*, Wax memories, The pensive dog (sad), Byzantine etymology, No more bubble baths, The unwashed vegetables, Small pile of leaves (in a heart shape), Mangled muffin, Blendable winds, Not over my dry, bland noodles, The static constellations, Decapitating mandibles, Vibrating bees, Dry grass is a sin, Thomas Adès is a horse that lives in Colorado, Altered echo, Recursive side chaining, Bovine nightmares, Humans can have a little gasoline, as a treat**, Tell ‘em I hate ‘em, Trusting my past selves, Subtle clout, Traumatized radish, Jesus will rise again in Houston, Kinds of flow, Comforter by the eyes, My one thought, Cloud Debussy, I’m a BLT of sadness, Precarious chilling, The drama onions, Chaos is not the concern, The comedy onions, Illegal napping, Become Lattice, A stupid little French assignment, Enforced groove, Reframing the rain, Complimentary water, Nepotistic presence, Recursive box dream, The wet corn chips, Hidden in the legs, Pulverized potatoes, Cloister of deception, The sad onions, Gymnastic snails, Problems with saxophones, Semi-aquatic worms, Basket-less future, Basket-case-past-life-regression, Artificial tears * (like the animal, not the 1981 Andrew Lloyd Webber musical based on the book about the animal) ** Don’t drink gasoline.

—Note by the composer

Carmina Burana (1937) The 20th-century German composer Carl Orff was born into a family of army officers who demonstrated a keen interest in science, history, and music. Orff began his own music studies (piano, organ, and cello) at the age of five. While pursuing further studies in Munich, Orff became interested in the music of French Impressionist composer Claude Debussy, and the Austrian composer Arnold Schoenberg, a pioneer in atonal music expression.

Orff was drafted into the army in 1917. After being wounded at the front, he was discharged from service. Upon his return to Munich in 1919, Orff began an intensive study of music from the 16th and 17th centuries, and in particular, the works of the great Italian Baroque composer, Claudio Monteverdi. Orff also co-founded the Güntherschule, an educational center that explored the synthesis of body movement, poetry, and music.

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On June 8, 1937, Carl Orff’s “scenic cantata,” Carmina burana, premiered in Frankfurt Carmina burana (Songs of Beuren) is Orff’s setting of texts discovered in the monastery of Benediktbeuern, located south of Munich.

The texts are taken from the songs of the goliards—medieval students, monks, and seminarians who seem to have spent as much time carousing as they did studying. The songs of the goliards celebrate (sometimes in the most explicit terms) the pleasures of food, wine, and lovemaking.

Orff scored Carmina burana for soprano, tenor, and baritone soloists, as well as huge choral (large chorus, small chorus, and boy chorus) and orchestral forces. Orff also envisioned dance as an integral part of his “scenic cantata.”

In the early 20th century, many composers attempted to stretch, as far as possible, the traditional concepts of tonality. Some 20th-century composers, such as Schoenberg, even abandoned conventional tonality altogether. Their atonal compositions inspired heated reactions, both by critics and audiences. To this day, the subject of atonality is guaranteed to inspire lively exchanges among music lovers.

In that context, Carl Orff ’s Carmina burana represents a stunning departure from the course of much of the concert music of the time.

From the opening chorus, “O Fortuna”—a hymn to the inexorable power of Fate—it is clear that Orff’s Carmina burana marks an emphatic return to the forces of melody and rhythm in their most elemental form. 20th– century atonality is nowhere to be found. Instead, Orff’s infectious and unabashedly tonal melodies are repeated over and over, with variety supplied by contrasts in dynamics, and vocal and instrumental colors.

Throughout, Carmina burana’s raucous celebration of the philosophy of carpe diem creates an irresistible force of energy guaranteed to leave the audience breathless at the conclusion.

To this day, Orff’s Carmina burana remains one of the most popular of all classical works, a constant presence in the concert hall and on recordings.

Carmina burana may also be heard in numerous movies, television shows, and advertisements. More than 80 years after its premiere, Orff’s Carmina burana remains as irresistible as ever.

—Ken Meltzer

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Wade Thomas, baritone Wade Thomas, a native of Calhoun, Georgia, has performed with both regional and international opera companies throughout his career. Thomas’s vibrant vocal quality and compelling stage presence have garnered acclaim in performances including Marcello in La boheme, Guglielmo in Così fan tutte, Count Almaviva in Le Nozze di Figaro, Germont in La Traviata, Enrico in Lucia di Lammermoor, Tonio and Silvio in I Pagliacci, and Belcore in L’elisir d’amore. Thomas has performed with Capitol City Opera, Atlanta Opera, St. Petersburg Opera, Santa Fe Opera, Central City Opera, Lincoln Center, Tri-Cities Opera, Opera Omaha, Natchez Opera, Opera Theatre of Northern Virginia, Brevard Music Festival, Opera Columbus, Opera Birmingham, Ohio State Opera, and Samford Operaworks. Thomas’ extensive concert and oratorio work include Carmina burana, Mozart and Faure Requiem, Bach Magnificat, and Five Mystical Songs by VaughnWilliams. Thomas is a graduate of Samford University and The Ohio State University and currently a member of the Atlanta Master Chorale and is on music staff at First Presbyterian Church of Atlanta.

Abigail Railford, soprano Lyric coloratura soprano Abigail Raiford has been noted for her “powerful, luxurious soprano voice, as well as her wonderfully comic way of weeping as the woebegone Elvira” in Tulsa Opera’s 2022 production of Rossini’s L’Italiana in Algeri. In 2023 she was a District Winner of the Metropolitan Opera Laffont Competition for the Tulsa District, received an Incentive Award from the 2022 SAS Performing Arts Company Vocal Competition, and was a finalist in the Emerging Artist Division of the MI Opera Vocal Competition. That same season she joined Central City Opera as a Bonfils-Stanton Studio Artist, performing Krysia in Heggie’s Two Remain and Ida in Die Fledermaus. Railford was also awarded the prestigious Central City Opera Guild’s McGlone Award. A resident and apprentice Artist for multiple seasons with Sarasota Opera, highlights included Second Witch in their 2021 production of Dido & Aeneas and the role of Belinda for family audiences. A former Studio Artist with St. Petersburg Opera, she covered Despina in Così fan tutte and sang Olympia in Davies’ Pinocchio.

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Raiford has won numerous competitions: She won 2nd Prize in the 2021 SAS Performing Arts Company Vocal Competition, was a finalist in the NH Opera Idol Virtual Competition, received an Encouragement Award in the Student Division of the inaugural Camille Coloratura Awards, and won both the Mannes Concerto Competition and the University of Tulsa Concerto-Aria Competition. As a sister of Sigma Alpha Iota, she was awarded the 2022 Career Performance Grant, allowing her to travel to Rome, Italy and study with the incomparable soprano Mariella Devia.

A noted interpreter of the operas of Mozart, signature roles include the Queen of the Night and First Lady in Die Zauberflöte and Despina in Così fan tutte. Other credits are Rose Maurrant in Street Scene, Anicasia in La Dolorosa, and Yum-Yum in The Mikado. Her vocalism has thrilled audiences on the concert stage as well, especially in Milhaud’s Chansons de Ronsard with the Mannes Orchestra, and John Mackey’s Songs From the End of the World with the University of Tulsa Wind Ensemble. She earned a Master of Music degree from the Mannes School of Music as a student of Amy Burton, and received her Bachelor of Music degree from the University of Tulsa, under the tutelage of her mother, Judith Pannill Raiford.

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 the 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.

Emory University Chorus University Chorus is open to all Emory University students as well as to members of the Emory community! The group holds an important place in the wider Emory community. Undergraduates and graduate students, faculty and staff, parents and their children, workers and retirees, alumni and neighbors, all come together to rehearse each Monday night, united by their common love of singing.

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The chorus participates in the annual Festival of Nine Lessons and Carols, and regularly collaborates with the Department of Music’s instrumental ensembles, including the Emory Wind Ensemble and the Emory University Symphony Orchestra. Recently performed works include the Mozart Requiem, Beethoven’s Symphony No. 9, and the Haydn oratorio, The Creation.

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 both the DeKalb Symphony Orchestra and the Atlanta Chamber Music Festival and has recently led the Virginia Symphony Orchestra, “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 Conference. As a trumpeter, he performed and recorded with the Virginia Symphony and Opera; Columbus (Ohio) 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, Czech Republic), 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 praised by the New York Times and Chicago Tribune with recent performances by the San Francisco Symphony Orchestra, St. Louis Opera Theater, and the Grand Tetons Festival Orchestra. He received his musical training from Northwestern University, the University of Michigan, and the University of Wisconsin.

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Eric Nelson, conductor Eric Nelson is Director of Choral Studies at Emory University and Artistic Director of Atlanta Master Chorale. Nelson’s choirs have performed throughout the world, including London, Rome, Berlin, Moscow, Seoul, Carnegie Hall, the Meyerson Symphony Center in Dallas, and the Sydney Opera House. He has conducted choirs at eight American Choral Directors Association conventions, including Atlanta Master Chorale’s performance at Orchestra Hall in Minneapolis and Emory Concert Choir’s performances at Orchestra Hall in Chicago and Lincoln Center in New York City.

Nelson’s ensembles are characterized by their variety of repertoire and for their ability to fuse technical precision with warmth of musical expression. He appears regularly as clinician, lecturer, and guest conductor for honor choirs, conventions, symposiums, workshops, and all-state choral festivals. He is also past president of GA ACDA. Nelson’s choral compositions and arrangements are sung regularly by ensembles throughout the United States. He is the editor of the Atlanta Master Chorale Choral Series, a division of Morningstar Music Publishers and EC Schirmer. His compositions are also published by Colla Voce and Augsburg Fortress. He holds degrees in voice and conducting from Houghton College, Westminster Choir College, and Indiana University.

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 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 I Kaito Mimura H: Pennington, NJ Chemistry / Music Concertmaster, Joel M. Felner, MD, Chair Performing on the Giovanni Grancino violin, Milan, 1687 Christy Song : Ringgold, GA Co-Concertmaster, Assistant Concertmaster

Biology / Music

Chloe Nelson : Thomas Sarsfield Eric Zhang Seyon Kim : Harutoshi Okumura Ruth Jao Aritro Ray Alexander Koeppel Mirielle Ma : Louisa Ma Christopher Li Katherine Mao Alyssa Stegall Daniel Wu Peter Kim

Chemistry / Music Music and Business Physics / Music NBB Physics / GT Dual Degree NBB NBB / Chemistry NBB Sociology / Biology Business / Economics Biology Biology Political Science / Music Computer Science Undecided

Rancho Santa Margarita, CA Lawrenceville, NJ Knoxville, TN Santa Clara, CA Hong Kong / Nara, Japan Clarksburg, MD Dallas, TX New York, NY Glastonbury, CT Phoenix, AZ Holmdel, NJ Princeton, NJ Salinas, CA Buffalo Grove, IL Atlanta, GA

Violin II Yihoon Shin : Waterloo, IA Principal and Assistant Concertmaster Edward Goodwin Scruggs Principal Second Chair Carol Xu Assistant Principal

Chemistry

Dallas, TX Human Health / Economics /

Music

Jaemin Paik Fresno, CA Business Seongeun Lee Seoul, South Korea Economics Ryana Rajesh Wilmington, DE Biology / Economics (Pre-Med) Katie Shin •s Auburn, GA Engineering Sciences / Music Dan Kim Bettendorf, IA Biology David Chung Atlanta, GA Business Alyssa Chen Belmont, MA Biology Noah Kann Bethesda, MD Business / Music Rachel Fann Taipei, Taiwan Psychology Cheolmin Oh South Korea Marketing Izzy Hipple Beaufort, SC Biology (Pre-Med) Mark Arshavsky Atlanta, GA Economics Sasha Lessin-Burris Minneapolis, MN NBB / Women’s, Gender, and

Sexuality Studies

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Viola Sihyun Jeon Principal Rachel Lee •: Assistant Principal

San Jose, CA

Biology / Chemistry

Atlanta, GA

Biology / Music

Siji Osunkoya • Lilburn, GA NBB / Music Composition Christian Chae s Los Angeles, CA Business, Organization

& Management Andrew Chung Edison, NJ Business / CS Sewon Park Honolulu, HI Human Health Caroline Ma s Phoenix, AZ Business / Economics Victoria Kang Johns Creek, GA Business / Math Michael Blankfein Westport, CT Anthropology Sirui Zhou Foothill Ranch, CA NBB / Quantitative Sciences Jihwan Shin Suwanee, GA Psychology Malhaar Nair Bethesda, MD Linguistics / Music Emory Wilson Winston-Salem, NC Chemistry Ayusha Shrestha Salt Lake City, UT NBB / Political Science Cello Caleb Park s Principal

Columbia, MD

Chemistry / Music

Sean Parker s Assistant Principal

Baton Rouge, LA

Biology / Music

Tim Cho • Alex Banul Andrew Choi Alexander Moon

Suwanee, GA QSS / ECON Richardson, TX Biology / Philosophy Dallas, TX Computer Science / Physics Berkeley Heights, NJ Neuroscience / Healthcare

Innovation Extension Tokyo, Japan Music Composition /

Economics Sugar Hill, GA Biology / Music Greensboro, NC History Rye, NY Chemistry Atlanta, GA Business and Film Atlanta, GA Computer Science Pittsburgh, PA Business / Quantitative

Sciences Boston, MA Political Science / Business

Solomon Kim s Rachel Seong • Harrison Helms Chris Park Owen Zealey-Chen Sergey Blinov Richard Jensen Sophia Lin-David Bass Alex Petralia Principal Jinsun Yoo Charles Ascone s Max Heeden • Hannah Perron

Atlanta, GA

Music

Seoul, South Korea Manalapan, NJ

Atlanta, GA Atlanta, GA

Computer Science Mathematics / Computer Science – EC 2022

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Flute and Piccolo Robyn Jin Sara Ju Julia Nagel s

Bellevue, WA Long Island, NY Crozet, VA

Biology Chemistry Music / PPL

Oboe and English Horn Samantha Lai Dallas, TX Anthropology / Human

Biology Katie Liu Tainan, Taiwan Biostatistics Eric Xu Short Hills, NJ Applied Mathematics /

Chemistry Clarinet Isabelle Myers South Beloit, IL Joint History / Art History /

Chemistry Chunjin Park Duluth, GA Biology / Architectural Studies Eli Parrish Bremen, GA Music Composition / Environmental Sciences Bass Clarinet Rodrigo Salinas

Lakeland, FL

Chemistry

Bassoon and Contrabassoon Vishaal Kareti • Marietta, GA Nathan Muz Cambridge, MA

Computer Science / Math Applied Mathematics

Horn Noah Choe Dubai, UAE Biology BS Michael Bian Buffalo Grove, IL NBB / Ethics Jose Moreno Dallas, TX BBA / Strategy Management

Consulting & Finance Pulkit Gupta : Dallas, TX Physics / Biology Trumpet Joey Chen Beijing, China Music Natalie Park Decatur, GA Business Nathaniel Lechtzin Towson, MD Biophysics / Music Austin Watkinson s Great Falls, VA Music / Political Science / Business Joseph Rosenbaum Los Angeles, CA Music / Political Science Trombone and Bass Trombone Timothy Brewer s Mason, OH Christopher Park • Lilburn, GA Shiven Sinha Redmond, WA Joshua Peacock Elkhart, IN

Music Biology Business / Music Physics / CS minor

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Tuba Graham Wells

Atlanta, GA

BSc Chemistry, 2007

Percussion and Timpani Ginger Lau s San Ramon, CA Physics Alexa Mohsenzadeh s Barrington, IL NBB / Ethics Peter Rubin Highland Park, IL Biology / ENVS Emmy Shi Shanghai, China Psychology / Computer

Science Harp Brigid May s Holly Springs, NC Music / Classics / English Piano and Keyboard Vivian Zhao Athena Grasso

Phoenix, AZ Atlanta, GA

NBB / Music Music

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

Emory String, Wind, and Percussion Faculty Violin Jay Christy • Emily Daggett Smith H Jessica Wu H Viola Yinzi Kong H Paul Murphy • Cello Karen Freer • Roee Harran Guang Wang H Bass Michael Kurth • Flute Christina Smith • Jim Zellers s

Oboe Emily Brebach • Sasha Shatalova Prior

Trombone Ed Nicholson s Nathan Zgonc •

Clarinet Laura Ardan

Saxophone Gary Paulo

Bassoon Anthony Georgeson • Shelly Unger

Euphonium Adam Frey

Horn Jason Eklund s Trumpet Mark Maliniak • Michael Tiscione •

• Atlanta Symphony Orchestra s Atlanta Opera Orchestra

H Vega String Quartet 24

Tuba Michael Moore • Percussion Scott Pollard Mark Yancich • Harp Elisabeth Remy •

Emory University Chorus Chorus Administrator Samantha Frischling Soprano Barbara Antley Jordan Averett Abigail Balson Lucky Bao Anushka Basu Caroline Beasley Rachael Berkoff Katie Boice Trinitee Dahn Calisa Dampier Greta Franke Rebecca Frieden Rebecca Frischling Samantha Frischling Ariel Gale Candy Gao

Shayne Goldstein Grace Graszer Vivien Huang Audrey Isakov Fiona Jones Ariella Lee Elizabeth Leslie Alexa Lisenby Theresa Mayo Kylie Measimer Catherine Minyard Marian Moss Ashwini Narayanan Elise O’Hara-David Lynn O’Neill Ellie Paek

Elianna Paljug Divya Pereira Zoë Pollock Anna Ree Diana Ricketts Alex Rodgers Alexa Schwartz Lucienne “Lulu” Scully Evelyn Sload Hannah Soloff Katherine Springer Zoe Stephens Rachel Warhaftig Annalise Weber Sara Kathryn Wierwille Sarah Wiley

Alto Carol Allums Jada Anderson Alex Berman Srinidhi Bharadwaj Hadley Bryant Wittika Chaplet Emma Chatson Joyce Chen Gloria Coble Mozelle Cole Isabella Colindres Melanie Deville Sharon Fisher Rebecca Follman Kaley Frye Alexandra Fulford Emma Gile Kaela Goldstein Julia Green

Emily Griswold Sofia Hayes Rita Helfand Bryn Higdon Hannah Hoff Jacqueline Hubbard Yifei Li Karyn Lisker Ally Mandell Jenn Mathews Liane Muir Cade Nabors Susan Nelson Laura Otis Sol-be Park Aneeka Patel Lynn Rogers Abby Rollins Faith Schofield

Lillian Shaw Emma Shibley Mary Slaughter Olivia Smith Rosalind Staib Nichole Stettner Anusha Sthanunathan Ellie Sulser Cathy Toren Katya van Anderlecht Catalina Varela Dhwani Venkatarangan Claire Wei Kelly Weirich Phyllis Weiss Nikki Wyman Serena Ye

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Tenor Jamie Baker Charlie Byrne Aditya Chaturvedi Sahrudh Dharanendra Michael Diebert Pete Duys sJames Engstrom Ezra Greidinger Chuck Hagel

Thane Henschel Zeaven Hoxie Davis Husk Andy James Arun W. Jones Varun Karry Tyler Krug Gheric Lindberg Alex Moss

Matthew Nails Jack Nickles Jonathan Owen Alexander Panos David Rogers Davy Song Bill Stiefel David Wang

Bass Jonathan Ackleh-Tingle Eric Albanese Austin Beale Daniel Bell Eliza Blocker Terry Chorba Patrick Czabala Kushal Daruwala Paul DeSandre William Eaglesham Declan Edwards Sam Ellis George Evans Joe Follman

Jordan Friedman Paul Frysh Kalani Gela Santiago Gonzalez del Solar Steven Harmon Ian Hogben Dennis Jones Michael Lammons Yifan Liao John Lilly Jeffrey Lin George Lin Wu Scott Matthews Steven Mayo

Geoffrey Middleton Jack Miklaucic Ed Morris Ruize Niu Trey Peterson Charlie Rogers Avery Rose Michael Sorkin James Steffen Isaiah Swain Patan Tippitak Daniel Weiss Max Yost

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

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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, our 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 non-major students from across the Emory campus.

Become a part of Music at Emory by giving to the Friends of Music.

Your gift provides crucial support to all of our activities. To learn more, visit music. emory.edu or call 404.727.6280.

Upcoming Emory Music Concerts Many spring 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).

Friday, April 28, and Saturday, April 29, 8:00 p.m., High Lonesome Bluegrass Mass featuring the Chuck Nation Band, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $38/$10 all students, tickets required Wednesday, May 3, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Friday, May 5, noon, Timothy Miller, tenor; William Ransom, piano, ECMSA: Cooke Noontime Concert, Carlos Museum, free online registration required Sunday, May 7, 1:30 p.m., Emerson Memorial Alumni Concert, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free Saturday, May 13, 8:00 p.m., Vega Quartet, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free 27

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