Mr. Han’s performance this evening is presented in partial fulfillment of the degree Doctorate of Musical Arts in Orchestra Conducting
blue cathedral
Jennifer Higdon
blue cathedral (12’)
scored for: 2 flutes, 2 oboes with english horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, crotales, marimba, tam-tam, vibraphone, glockenspiel, bell tree, sizzle cymbal, Chinese bell, tuned water glasses, suspended cymbal, chimes, bass drum, tom-tom, 2 triangles, piano, celesta, and strings
Blue…like the sky. Where all possibilities soar. Cathedrals…a place of thought, growth, spiritual expression…serving as a symbolic doorway in to and out of this world. Blue represents all potential and the progression of journeys. Cathedrals represent a place of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind’s eye the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars moving in a contemplative stance. The stained glass windows’ figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving upward at first and then progressing at a quicker pace, rising towards an immense ceiling which would open to the sky…as this journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted to create the sensation of contemplation and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music.
These were my thoughts when The Curtis Institute of Music commissioned me to write a work to commemorate its 75th anniversary. Curtis is a house of knowledge--a place to reach towards that beautiful expression of the soul which comes through music. I began writing this piece at a unique juncture in my life and found myself pondering the question of what makes a life. The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way. This piece represents the expression of the individual and the group…our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey.
This is a story that commemorates living and passing through places of knowledge and of sharing and of that song called life.
Program notes by the Composer
PROGRAM NOTES
Symphony No. 2 in E Minor, op. 27 (60’)
scored for: 3 flutes with piccolo, 3 oboes with english horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, glockenspiel and strings
When Sergei Rachmaninoff completed his Symphony No. 2 in E minor in 1907, it was more than just a new work — it was an act of artistic resurrection. A decade earlier, the premiere of his First Symphony had been a notorious disaster. Poorly conducted and critically ridiculed, it left the young composer devastated and creatively paralyzed. He abandoned large-scale composition for several years, plagued by self-doubt. It wasn’t until a course of therapy — including hypnotherapy — that Rachmaninoff regained his confidence and began composing again. The Second Symphony, then, stands not only as a testament to his musical gifts, but also to his resilience. Fun fact, Eric Carmen’s song “All by Myself” uses the melody from the 3rd movement of the symphony. He was inspired by the beautiful, emotional tune and turned it into a popular love song.
Rachmaninoff’s Second Symphony unfolds over four movements with a breadth and emotional depth that reflect the full maturity of his compositional voice. From the outset, the symphony immerses the listener in a dark and expansive sound world. The opening is slow and ominous, with low strings introducing a brooding motto theme that will echo throughout the work. This Largo introduction creates a sense of spaciousness and weight before the Allegro moderato gently begins to stir. The first theme emerges—melancholic and noble, with long lyrical arcs that seem to breathe and expand across time. A second theme soon follows, more flowing and serene, providing contrast while maintaining the overall atmosphere of introspection. Rachmaninoff’s gift for thematic development is on full display in the central section, where fragments of both themes are woven into a richly contrapuntal tapestry. The movement builds gradually, emotionally and dynamically, to a climax of immense force before retreating into a quiet, enigmatic close—an ending that feels unresolved.
The second movement shifts dramatically in character. A spirited scherzo in all but name, it begins with a burst of energy and quicksilver rhythms give it a biting momentum. There’s a brightness here, but also a feeling of unease, created by syncopated accents and sudden shifts in texture. In the middle section, Rachmaninoff introduces a fugue—a surprisingly formal structure—but he infuses it with urgency and color, building it to a thunderous climax. Amid this turbulence, the familiar Dies Irae motif briefly surfaces, adding a touch of fatalism. Though brief, this moment anchors the movement within the broader emotional arc of the symphony. The scherzo’s main theme returns with renewed vigor, and the movement ends with a flourish that leaves no doubt about its virtuosic energy.
If the first two movements are shaped by tension and contrast, the third offers a vast expanse of lyrical reflection. Often cited as the emotional center of the symphony, this Adagio begins with an extended clarinet solo—intimate, arching, and heartbreakingly expressive. It unfolds over a quiet string background that seems suspended in time. This theme, among Rachmaninoff’s most beloved, speaks directly to the listener with a deeply personal voice. As the movement progresses, the melody is passed between instruments—sometimes rising into sweeping string lines, other times gently echoing in solo winds. There is a brief middle section of intensified passion, where the texture thickens and the harmony darkens, but the movement ultimately returns to the
original mood of quiet longing. The clarinet theme resurfaces near the end, now tinged with memory and fading gently into silence. This movement, perhaps more than any other in the symphony, reveals Rachmaninoff’s ability to sustain emotional intensity not through dramatic gesture, but through the sheer beauty of melodic line.
The finale bursts forth with renewed life and confidence, signaling a turn toward affirmation. Its main theme is bold and rhythmic, almost march-like, yet full of grace and buoyancy. Rachmaninoff’s orchestration here is vivid and colorful, everyone playing vital roles in driving the music forward. But the movement also has its lyrical side—there are moments of tenderness that recall themes from earlier in the symphony, particularly the slow movement. These references don’t interrupt the flow; rather, they enrich it, suggesting that the resolution we’re hearing now has been earned through the emotional journeys of the previous movements. As the music builds toward its final climax, earlier motifs return, transformed. The brooding theme from the opening now reappears, no longer dark, but radiant—fully resolved in the key of E major. The symphony ends with a triumphant, resounding conclusion: a powerful affirmation not only of artistic mastery, but of emotional catharsis and hard-won hope.
For Rachmaninoff, this symphony was more than a composition; it was a reclamation of his voice as a composer. Today, it stands among the most enduring and popular Romantic symphonies of the 20th century, beloved for its emotional depth, architectural grandeur, and melodic richness. In a world increasingly defined by fragmentation and experimentation, Rachmaninoff’s Second Symphony offers a powerful reminder of the enduring beauty of tradition, and of music’s capacity to heal.
Program notes by Nicholas Han
UNIVERSITY
VIOLIN I
Sarah Nienhiser, co-concertmaster
Alexis Boylan, concertmaster
Karla Mejias
Jhonni Campos
Jocelyne Andronache-Opris
Chelsea Afful
Ellis Kim
Sageiana Codispoti
Zeyu Yuan
Simms Murray
Ruhua Zhang
Kiera Johnson
VIOLIN II
Hyejun Kang, principal
Raunak Das
Abigail Kim
Vic Jeon
Mei Takuno
Han Yang
Briana Darden
Leo Jahn
Athziri Moreno-Martinez
Glona Bang
Sarah Wheeler
Mark Cedel, Conductor
Nicholas Han, Assistant Conductor
VIOLA
Jensi Perng, co-principal
Asha Baylor, co-principal
Rachel Liu, co-principal
Daniel Boscan
Mason Minutella
Devin Bennett
Marissa Evans
Caleb Paradis
Pedro Prudencio
Ashley Belcher
Zeb Tate
Dorothy Park
Benedict Nguyen
Glenn Jiles
Lily White
CELLO
Thomas LaMon, principal
Ryan Dater, assistant-principal
Joshua Nguyen
David Zoblisein
Ian Koontz
Tianbo Zhang
Benjamin Hackworth
Mary Allison Swaim
Katherine Lamback
Olivia Durrence
Joshua Aderhold
Kate Selby
BASS
Austin Carter, principal
FLUTE
Kimmie Bateman, co-principal
Madeline Shell, co-principal
Heesoo Jeong
OBOE
Xander Herman, principal
Brenna Sexton
Anisa Herbert
Ashlyn Long
CLARINET
Luis Umbelino, principal
Claudia Revè Romero, associate-principal
BASSOON
Tarryn Goldner, principal
Daniel Johnson
Hsin Cheng
HORN
Connor Parr, principal
Gibson Krolikowski, associate-principal
Joe Johnson
Peter Dixon
Antonio Peirano Acostay Lana
Ricardo Karelisky
Peyton Lightcap
Madeline Bower
TRUMPET
Victor Pires, principal
Will Tomaszewski
Adriano Estraiotto
Michael Mank
TROMBONE
Ben Novo, principal
Matthew Quach
Trip Drennan
TUBA
Hunter Kane
PERCUSSION
Rachel Martin, principal
Hsiao-Tsu Huang
Dane Warren
Drake Smith
PIANO
Eli Kenyon
LIBRARIAN
Alexis Boylan
PERSONNEL MANAGER
Thomas LaMon
PRODUCTION MANAGER
Ricardo Karelisky
Now in his 32nd year at UGA, Mark Cedel brings a wealth of professional experience to his position as Director of Orchestral Activities. Prior to his appointment at UGA, he was Associate Conductor of the Charlotte Symphony Orchestra. In his four seasons with that orchestra, he conducted over 200 performances; appearing on every series offered by the orchestra. Before joining the Charlotte Symphony, Cedel was Principal Viola and Assistant Conductor of the Charleston (SC) Symphony Orchestra for nine years. While in Charleston, he served for two seasons as that orchestra’s Acting Music Director. From 1986-1990, he was a member of the artist faculty at the Brevard Music Center and was principal conductor of the Brevard Repertory Training Program.
In addition to directing orchestral activities at UGA, Cedel served as professor of viola from 19942002. During that period he performed, toured, and recorded regularly as extra/substitue viola with the Atlanta Symphony Orchestra, including its northeast tour with concerts in Carnegie Hall. He returned to teaching viola for the 2009-2010 academic year, while a search was conducted to fill the position.
Cedel has been associated with many orchestras in the southeast. This includes Principal Viola of the South Carolina Chamber Orchestra and the Guest Principal Viola of the Savannah Symphony, and orchestras in Augusta, Macon, and Jacksonville. He has performed with many distinguished conductors such as Claudio Abbado, Leonard Bernstein, Riccardo Muti, Zubin Mehta, Eugene Ormancy, and Carlo Maria Giulini.
Born and raised in Seattle, Washington, Nicholas Han earned his Undergraduate degree in Violin Performance at Central Washington University in 2020, and his Masters in Orchestral Conducting at Oklahoma State University in 2023. He is currently pursuing his Doctoral of Music Arts degree at University of Georgia.
In 2022, Nicholas was named assistant conductor for the Oklahoma Chamber Symphony and was the Apprentice Conductor for the Oklahoma City Philharmonic in May 2023. He also is currently the Cover Conductor for the Gwinnett Symphony Orchestra. His recent conducting engagements include guest conducting LA Conducting Workshop and Competition Orchestra and Gwinnett Symphony Orchestra. During the summer of 2022, Nicholas was selected as one of 3 winners for the ICWC (International Conducting Workshop and Competition) in Atlanta, Georgia. He was also selected as a 1st place winner and received the Audience Prize in the LA Conducting Workshop and Competition in Garden Grove, California.
He has worked with Mark Gibson, Neil Thomson, Diane Wittery, and Philip Greenberg. His principal mentors include Nikolas Caoile, Thomas Dickey, Alexander Mickelthwate, and Mark Cedel.
HUGH HODGSON SCHOOL OF MUSIC FACULTY
Daniel Bara, Interim Director
Brandon Craswell, Associate Director, Director of Undergraduate Studies
Emily Gertsch, Associate Director, Director of Graduate Studies
Amy Pollard, Associate Director, Director of Performance Activities
PERFORMANCE FACULTY
Josh Bynum
Brandon Craswell
Jean Martin-Williams
James Naigus
*Matthew Shipes
Gilbert Villagrana
Kimberly Toscano Adams
*Timothy Adams
John Coble
Damon Denton
Scott Higgins
Grace Huang
Emely Phelps
Evgeny Rivkin
Anatoly Sheludyakov
*Liza Stepanova
Alan Woo
Levon Ambartsumian
Shakhida Azimkhodjaeva
*Daniel Bolshoy
Monica Hargrave
Michael Heald
James Kim
Edward Kreitman
Milton Masciadri
Maggie Snyder
Gregory Broughton
Jay Ivey
*Elizabeth Knight
Amy Petrongelli
Anne Slovin
Wanda Yang Temko
*Angela Jones-Reus
D. Ray McClellan
Reid Messich
Amy Pollard
Brandon Quarles
Shaun Baer
Levi Dean
Elizabeth Durusau
Heather Gozdan-Bynum
Tony Graves
Scott Higgins
trombone trumpet horn horn
tuba/euphonium trumpet percussion percussion organ piano piano piano piano piano piano piano piano violin violin guitar harp violin cello
Edith Hollander, Administrative Assistant to the Director
Director of Public Relations
Development Associate Music Library Manager
Undergraduate Academic Advisor
Piano Technician
Senior Piano Technician
Marcus Morris
Kathleen Powell
Rocky Raffle
James Sewell
Jared Tubbs
Marshall Williams
MUSIC THERAPY
*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
Joanna Smolko
OPERA
Daniel Ellis
Andrew Voelker
ORCHESTRA
Mark Cedel
RECORDING & STREAMING
Eric Dluzniewski
Paul Griffith
*Area Chair
Assistant Director of Athletic Bands
Graduate Program Administrator
Administrative Associate in Bands
Production & Events Manager
Sectioning Officer
Director of Admissions
HUGH HODGSON SCHOOL OF MUSIC STAFF
BE HEARD
AND WIN FREE TICKETS
1
HELP US CHOOSE THE MUSIC FOR THE ORCHESTRA!
We want to hear from you to help choose selections for the University of Georgia Symphony Orchestra “Fan Favorites” performance on March 26, 2026. Please fill out the brief survey by scanning the QR code below.
2
ENTER TO WIN TWO “SPRING ALL-EVENTS” PASSES
At the bottom of the survey, enter your name and email address and answer ONE survey question for a chance to win an all-events pass for all of our ticketed concerts at the Performing Arts Center. A value of over $300, all this takes is five minutes of your time to enter. Winners will be announced on social media Monday, December 1 and informed by email as well.
SUPPORT THE SCHOOL OF MUSIC
HOW TO GIVE
Under each of the available funds below is a QR code where you can scan and donate directly to that fund. However, if you would like to learn more about alternative ways to donate, scan the QR code now to visit our “How to Give” page with additional details and options.
Scholarships and Graduate assistantships funded by donations to the Thursday Scholarship Fund make it possible for students to learn and pursue their passions at the Hugh Hodgson School of Music. Please consider a taxdeductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible. Scan the QR code now or reach out to Melissa Roberts at roberts@uga.edu or 706-254-2111.
SUPPORT INDIVIDUAL AREAS OF THE SCHOOL OF MUSIC
In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our orchestra and choral programs, have support and scholarship funds you can contribute to directly. You can now learn more about all the ways and areas you can support the Hugh Hodgson School of Music. Scan the QR code or visit music.uga.edu/giving-and-alumni to the support the Hugh Hodgson School of Music area of your choice.
JOIN THE DIRECTOR’S CIRCLE
Gifts of all amounts are greatly appreciated. However, annual giving at the $1,500 level and higher provides membership in the Director’s Circle, our Hugh Hodgson School of Music Honor Roll. Director’s Circle members are invited to exclusive events and performances throughout the academic year.
For large gifts, please contact Melissa Roberts at roberts@uga.edu or 706-254-2111.
THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.
JOIN US FOR A FULL SEASON OF FINE AND PERFORMING ARTS AT UGA
On stage and in the gallery — over 100 performances, exhibitions and lectures await you this season at the Franklin College of Arts and Sciences. Enjoy a dazzling variety of free events plus explore our ticketed seasons in dance, theatre and music starting at just $15. Students, faculty and guests of UGA fine and performing arts offer Athens premier programming all year round.
THURS 10/16
FERE
7:30 p.m.
Hodgson Concert Hall
FREE CONCERT
MON 10/20
UNIVERSITY OF GEORGIA PHILHARMONIA
As one of the Hugh Hodgson School of Music’s large orchestral ensembles, the University Philharmonia offers an outlet for musical expression to all string players at the University of Georgia. The ensemble performs three times per academic year. The University Philharmonia is conducted by Nicholas Han.
7:30 p.m.
5:30 p.m.
Ramsey Concert Hall
FREE CONCERT
MON 10/20
FERE
7:30 p.m.
Ramsey Concert Hall
FREE CONCERT
UGA TROMBONE CHOIR & HODGSON TROMBONE ENSEMBLE
This event will feature the UGA Trombone Choir and the Hodgson Trombone Ensemble. Both ensembles are directed by Professor of Trombone, Josh Bynum.
A HALLOWEEN BASSOON SPOOKTACULAR!
Join the UGA bassoon studio for a night of famous songs by women of pop through the decades.
Costumes strongly encourgaed!
TUES 9/9
TUES 10/21
7:30 p.m.
7:30 p.m.
Hodgson Concert Hall
$15, Adult
$3, Student
Additional fees for online purchases apply.
MASTERWORKS FOR PIANO & STRINGS
The two works being performed are the A Major Piano Quartet by Johannes Brahms and the C Minor Piano Quintet by Ralph Vaughan Williams. The evening features four of the UGA string faculty: Michael Heald, violin; Maggie Snyder, viola; Milton Masciadri, double bass; and James Kim, cello. The pianist for the evening will be guest artist Timothy Lovelace, professor of collaborative piano at the University of Minnesota. While the Brahms may be rather more well-known to audiences, the Vaughan Williams is a masterful work full of tonal richness and romantic sweep, employing the same forces as Schubert’s famous “Trout” Quintet.
