Classical Performers Concert 3.18.25 by Belmont University

Belmont University School of Music

Concerto no. 3 in B minor, op. 61

Leonard Bernstein (1918-1990)

Camille Saint-Saëns III. Molto moderato e maestoso (1835-1921)

Rocco Greco, violin

Tornami a Vagheggiar

George Frideric Handel from Alcina (1685-1759)

Nicole McColley, soprano

Concerto No. 1 in E minor, Op. 11

Frederic Chopin II. Larghetto (1810-1849)

Nick Benefield, piano

Klänge der Heimat (Csárdás)

Johann Strauss II from Die Fledermaus (1825-1899)

Bridgett Baker, soprano

15 Minute Intermission



Fall of the Mad Kings

TUESDAY, MARCH 18, 2025

7:30 P.M. MCAFEE CONCERT HALL

Sam W. Wood (b. 2001)

Ich bin der Welt abhanden gekommen

Gustav Mahler from Rückert Lieder, no. 3 (1860-1911)

Claire Tole, mezzo-soprano

Concerto in A major, Op. 129

Robert Schumann I. Nicht zu schnell (1810-1856)

Madelyn Duncan, cello

Concerto for Marimba & Orchestra

Emmanuel Séjourné III. Rythmique, énergique (b. 1961)

Matthew Love, marimba

 Recognition of the Class of 2025 

España: Rhapsody for Orchestra

Emmanuel Chabrier (1841-1894)

Tonight’s soloists were chosen by a panel of adjudicators from the Nashville music community, not affiliated with Belmont University.

The audience is invited to a reception in the lobby hosted by honoring the evening’s soloists following the concert.

Program Notes

Overture to Candide: Completed and premiered on Broadway in 1956, the comic operetta Candide proved too intellectually complex for its audience and closed after only seventy-three performances, despite the critics affirmation of the wonderfully crafted score. With each revival, Candide gained notoriety and popularity to where it is now part of the standard repertory. The music is quintessentially American, exhibiting characteristics of jazz and popular styles of the time. There was not a work that Bernstein poured himself into more than Candide, as he continued to make revisions throughout his life and completed a concert version the year before he died.

Unlike the tepid reaction to the operetta, the Overture established itself as a concert opener for professional orchestras internationally. Following its rapid success in the concert hall, Bernstein expanded the instrumentation for full orchestra, creating separate parts for piccolo, an additional flute, Eb clarinet, two Bb clarinets, bass clarinet, an additional bassoon, contrabassoon, two additional horns, a third trombone, and enlarged percussion section.

Written in sonata form without a development section, the Overture contains song themes from the operetta that include “The Best of All Possible Worlds”, “Battle Music”, “Oh, Happy We”, and “Glitter and Be Gay” as well themes composed only for the Overture. Brilliantly orchestrated, changes of timbre, color, and character abound in this energetic and entertaining overture.

Program notes by Dr. Christopher Fashun, School of Music Faculty

Concerto no. 3 in B minor: In 1871, composer, pianist, organist, and conductor Camille Saint-Saëns, along with vocal teacher Romain Bussine, founded the Société Nationale de Musique in Paris. After France’s loss of the Franco-Prussian war, the Society’s goal was to bring French art back to prominence in an era of Western music that seemed dominated by German works and operas. In opposition to the Romantic Wagnerian approach of exceedingly complex harmonies and structures that was common for the time, Saint-Saëns wanted to promote works of a style that harkened back to the simple, organized, and clear structures of traditional French music and Classical era composers like Mozart and Haydn. Composed in 1880, Saint-Saëns’ third violin concerto in B minor was one such piece. However, despite its clear “neoclassical” form and simple harmonies, it was by no means a

carbon copy of the music of the Classical era. Written for virtuoso Spanish violinist Pablo de Sarasate, the concerto has no shortage of technical demands, utilizing the full range of the instrument. It also contains an abundance of powerful melodies, made clearer by its large orchestration. Through these characteristics, Saint-Saëns’ finds a way to combine the simple craftsmanship of the Classical era with the virtuosity and emotion of the Romantic era. The third movement, marked “Molto moderato e maestoso” (very moderate and majestic), begins with an exclamatory recitative-like intro containing alternating passages between solo violin and orchestra. This is followed by a theme that resembles a march, with a Spanish sound that slightly echoes Sarasate’s own compositions. The second theme, now in a major key, enters triumphantly and builds to a short cadenza to close out the exposition. The developmental material of the movement is unique in that it begins with an entirely new theme in G major, peaceful and lyrical compared to the exposition’s explosiveness. After dissecting earlier material and a return to the opening theme, Saint-Saëns prepares the listener for the finale with a more reflective iteration on the second theme. From here on out, the movement is a relentless, high-energy build to two triumphant B major chords to finish out the concerto.

Program notes by Rocco Greco, School of Music Student

Tornami a vagheggiar: Handel’s Alcina was written for the composer’s first season at the Convent Garden in London’s West End during the Baroque period (1600-1750). Based on a poem by Ludovico Ariosto, Alcina tells the story of a brave knight, Ruggiero, who encounters two sorceresses–sisters Alcina and Morgana–on Alcina’s enchanted island. Alcina has a long history of seducing heroes who visit her island, turning them into rocks, plants, or wild animals when she gets bored of them. She falls for Ruggiero and tricks him into loving her, but his fiancée, Bradamante, arrives in search of him, dressed as her brother, Ricciardo. Morgana falls in love with “Ricciardo” and sings this florid aria, “Tornami a vagheggiar,” expressing her feelings in an exuberant fashion.

Tornami a vagheggiar

Tornami a vagheggiar te solo vuole amar quest’anima fedel, caro mio bene.

Già ti donai il mio cor: fido sarà’l mio amor, mai ti saró crudele, Cara mia speme.

Return to me to languish

Return to me to languish, to love you alone desires this faithful soul, my dear beloved.

Already have I given you my heart, loyal my love shall be, never shall I be cruel towards you, my dear hope.

Concerto No. 1 in E minor: The Romance-Larghetto of Frédéric Chopin's Piano Concerto No. 1 in E minor, Op. 11, is a familiar and beloved movement to many; it has made its way onto playlists of “classical piano music for studying” and into films like The Truman Show and It’s Such A Beautiful Day. With a delicate, romantic nature, the Romance allows the piano to stand in the limelight while the orchestra provides both a luscious, muted backdrop and an intimate dialogue. Chopin was a child prodigy, sought after by rich aristocrats to play in their salons. While developing as a musician, Chopin was exposed to the works of Bach and Viennese Classical composers which led to a mixture of his improvisatory, romantic nature with his use of more precise forms of the Classical era. Additionally, the influence of bel canto opera soaring melodies, florid vocal-like ornamentation, and parallel thirds and sixths in pseudo-operatic duets permeate his music. Chopin’s influences provided a clarity with which he painted elegant melodies, complex harmonies, and true romanticism. Composed in 1830 when Chopin was nineteen years old, this piano concerto was written along with the second piano concerto in F minor. Despite having

Program notes by Nicole McColley, School of Music Student

a distaste for public concerts, Chopin premiered both of these concertos that year at the National Theatre in Warsaw, Poland.

In contrast to the energizing and virtuosic first movement, the delicate and gorgeous second movement, Romanze, brings a calming and rhapsodic character. About the movement, Chopin wrote to his friend, Titus Woyciechowski, “It is not meant to create a powerful effect: it is rather a Romance, calm and melancholy giving the impression of someone looking gently towards a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.” With muted strings and a small wind section, the strings begin with a warm introduction before the horns signal the piano in. Once the piano enters, it becomes the sole focus of the movement. Set as a theme and variations, the movement develops and grows as it modulates and changes keys. For the last statement of the main theme, the orchestra takes over as the piano bursts into cascading arpeggios and sparkles above the elegant theme. Slowly dying down, the piano inches and inches to the end–holding to the calmness and melancholy for as long as it can. Aptly titled, this Romance evokes the spirit of romanticism with rich harmonies and rubato that deepen a sense of longing and introspection.

Program notes by Nick Benefield, School of Music Student

Klänge der Heimat (Csàrdàs) is an aria from Die Fledermaus, a comedic operetta written by Johann Strauss II (1825-1899) which premiered in 1874. Strauss was a Viennese composer in the Romantic period who was nicknamed “The Waltz King” as he was best known for his dance music (waltzes, polkas, quadrilles); he was also well known for his operettas. Die Fledermaus takes place in Vienna on New Year’s Eve in 1899. Gabriel von Einstein, sentenced to eight days in jail, is persuaded by his friend Falke to delay his sentence to attend the ball. Falke reveals the truth to Einstein’s wife, Rosalinde, urging her to attend the ball in disguise and witness her husband flirting with other women. Rosalinde, dressed as a Hungarian countess, becomes furious when she sees Einstein flirting with her maid Adele, leading her to sing this impassioned aria about her homeland. This lyrical aria is full of expression and drama through its frequent use of ornaments and expansive range. The second half of the aria is a Czárdás, a Hungarian dance that begins with a slow tempo and increases speed as the song progresses. As Rosalinde is pretending to be Hungarian, the Czárdás adds a convincing cultural tie to her story. The beautiful, legato beginning juxtaposed with the energetic and lively Czárdás adds another layer of drama as every phrase is sung with conviction and passion.

Klänge der Heimat

Klänge der Heimat, ihr weckt mir das Sehnen, rufet die Tränen ins Auge mir!

Wenn ich euch höre, ihr heimischen Lieder, zieht mich's wieder, mein Ungarland, zu dir!

O Heimat so wunderbar, wie strahlt dort die Sonne so klar, wie grün deine Wälder, wie lachend die Felder, o Land wo so glücklich ich war!

Ja, dein geliebtes Bild

Meine Seele so ganz erfüllt, dein geliebtes Bild!

Und bin ich auch von dir weit, ach weit,

Sounds of my home country

Sounds of my home country, you revive the yearning, let the tears brim in my eyes! Hearing the old-time songs, draws me back, my Hungary, to you!

Oh homeland so beautiful, With the sun gleaming so bright, how green are your forests, how lush your fields, Oh countryside where I once was happily at home! Yes, those cherished memories Fill my heart to bursting, Those cherished memories!

But though I am far from you now, so far,

ach, dir bleibt in Ewigkeit doch mein Sinn immerdar ganz allein geweiht!

Feuer, Lebenslust, schwellt echte Ungarbrust, hei! Zum Tanze schnell!

Czárdás tönt so hell!

Braunes Mägdelein, musst meine Tänz'rin sein; Reich den Arm geschwind, dunkeläugig Kind!

Durst'ge Zecher greift zum Becher, lasst ihn kreisen, lasst ihn kreisen schnell von Hand zu Hand!

Schlürft das Feuer im Tokayer!

Bringt ein Hoch aus dem Vaterland!

Feuer, Lebenslust schwellt echte Ungarbrust, hei! Zum Tanze schnell!

Czárdás tönt so hell!

La, la, la, la…

Program notes by Bridgett Baker, School of Music Graduate Student

ah, eternally consecrated to you is the yearning of my heart!

Fire, zest for life, fills the real Hungarians breast, hay! Hurry to the dance floor! Czárdàs can be heard!

Suntaned maiden, come and dance with me; Take my arm, you dark eyed child!

Thirsty customers reach for tankards, let them go round faster and faster from hand to hand!

Relish the fire in the Tokay wine!

Ha! A toast to our nation! Hay! Fire, zest for life, fills the real Hungarians breast, Hay! Hurry to the dance floor!

Czárdàs can be heard!

La, la, la, la…

Fall of the Mad Kings is a programmatic orchestral piece based on the narrative from the sci-fi board game Twilight Imperium. It depicts the downfall of the Mahact Gene-Sorcerers, tyrannical kings whose empire crumbled as the rising Lazax waged a final campaign against them. Defeated, the Mahact fled to their distant homeworld, only to be sealed away, their power reduced to myth and their cruelty forgotten. Fall of the Mad Kings traces the chaotic descent of the Mahact kings from malevolence to exile, shifting through dissonant turmoil, fleeting mystery, and tragic finality. Ethereal woodwinds, swirling string textures, and powerful brass shape the narrative, gradually building to a powerful climax as the Mahact reign ends and the mad kings are sealed away. The original thematic material, which Wood composed at the piano in 2023, is based on the minor pentatonic scale. Wood aimed to present this theme in highly contrasting moods and utilizes several compositional techniques to accomplish this. Some of these include having the strings play a whole tone figure as fast as they possibly can, sounding all twelve pitches through an entire section of the piece, and fragmenting and inverting the main theme constantly before it finally appears in its original form during the brass climax at the end of the piece.

Program notes by Sam W. Wood, School of Music Student

Ich bin der Welt abhanden gekommen is the third song in Mahler’s orchestral song cycle Rückert-Lieder. This cycle consists of five settings of poems by the German poet Friedrich Rückert (1788-1866), which was composed in 1901. Premiering in Vienna in 1905 with members of the Vienna Philharmonic, the song reflects themes of isolation and transcendence. The speaker describes having withdrawn from the world and feeling forgotten by everyone. Yet, this withdrawal brings sorrow, peace, and fulfillment in the inner world of heaven, love, and song. By the poem's conclusion, the speaker declares that, while they may be "dead to the world," they continue to persevere to live fully within the serenity of their existence.

Mahler's setting mirrors this introspective journey through delicate and spacious orchestration. The piece opens with an extended orchestral introduction featuring the English horn, which plays an arch-shaped melody

symbolizing the speaker's emotional state. The vocal line enters with long, flowing phrases that reflect the speaker's contemplative tone. The central theme initially causes the singer to say, Ich bin der Welt abhanden gekommen (I am lost to the world). Later, the same melodic idea returns to the climax, as the singer delivers the poignant line Ich bin gestorben dem Welt getümmel ("I am dead to the world’s chaos"), marking the emotional peak. With such an intense emotional shift within one song, Mahler uses the orchestra to guide the singer through that emotional journey. Mahler's subtle shifts in orchestral color and pacing enhance the reflective nature of the text. At the same time, the intimate interplay between the voice and the orchestra underscores the emotional depth of the piece.

Ich bin der Welt abhanden gekommen

Ich bin der Welt abhanden gekommen, mit der ich sonst viele Zeit verdorben; sie hat so lange nichts von mir vernommen, sie mag wohl glauben ich sei gestorben! Es ist mir auch gar nichts daran gelegen, ob sie mich für gestorben hält.

Ich kann auch gar nichts sagen dagegen, denn wirklich bin ich gestorben, gestorben der Welt. Ich bin gestorben dem Welt getümmel und ruh' in einem, stillen Gebiet. Ich leb' allein in meinem Himmel, in meinem Lieben, in meinem Lieben, in meinem Lied.

Program notes

Claire Tole, School of Music Student

I am to the world lost

I am to the world lost, where I once much time used to waste; she has heard nothing from me for so long, she may well believe that I am dead! It is, to me, also nothing to be concerned about, if she thinks I am dead.

I cannot really say anything against it, because I am absolutely dead, dead to the world.

I am dead to the world's chaos and rest in a quiet place!

I live alone in my heaven, in my love, in my love, in my song.

Cello Concerto in A minor: Schumann’s cello concerto stands as one of the most beloved and controversial works within cello literature. Schumann wrote this piece in a two-week period of inspiration in October of 1850 while in Düsseldorf working as Municipal Music Director. He completed revisions in 1854 just before his notorious suicide attempt that led to his hospitalization. From letters written expressing his love for his wife, Clara Schumann, music historians attribute her as the inspiration for the cello concerto and led to some unorthodox ideas within the composition. Schumann wrote, “When I fantasize at the piano only chorales come forth, and when I write, there are no thoughts. All I want is to paint ‘Clara’ all over the place in big letters and chords.” One theory about this concerto is that Schumann utilized cryptograms to spell out his wife’s name with the main theme, which begins in the cello solo at the start of the first movement and is repeated in different voices throughout the entire concerto. The cello line begins E-A-C, landing and lingering on the C, representing Clara. This is a common theme throughout the first movement. There are several aspects of this concerto that differ from the traditional form. One aspect is that the concerto is to be played continuously from one movement to another. As mentioned above, Clara was the love of his life, which was demonstrated in the now published love letters that he often wrote to and about her. The melody, which begins in the cello solo at the start of the first movement, is repeated in different voices throughout the entire concerto and represents his wife and his love for her. His mental state during this time period influenced his musical decisions as well, creating a range of emotions to be felt by the performers as well as audience members. While some regard the concerto as disorganized and incoherent, the impact of Schumann’s mental struggles creates an expressive story of emotions. Throughout the first movement, one can hear how different instruments in the orchestra interact with the solo cello line which reflect the turmoil of his mental turmoil and instability.

Program notes by Madelyn Duncan, School of Music Student

Concerto for Marimba and String Orchestra: Emmanuel Séjourné is a teacher, percussionist, and composer who has won numerous awards for his exciting compositions, ranging from incidental music and film music to percussion solos and duets. Séjourné’s music is rhythmic and romantic, blending popular modern musical styles with Western

classical music. His Concerto for Marimba and String Orchestra was commissioned by Bogdan Bacanu, an international marimba soloist, and has become a staple of marimba repertoire, being performed over 800 times. It was initially released as a two-movement work in 2005 and was later revised in 2015 to add a new first movement to round out the traditional three-movement concerto form.

The third movement, marked with the words "rythmique, énergique," begins by alternating between orchestral declarations and flashy marimba passages inspired by flamenco music. This material then transitions to an 11/8 section centered around a repeated rhythmic idea in the marimba, which begins dynamically subdued compared to the prior section but is always brimming with energy. After a brief return to some of the introductory material, there is another 11/8 section, this time with more prominent orchestral accompaniment while the marimba floats on top of the orchestra with long rubato lines. There is a recapitulation of the opening followed by a brief orchestra interlude that leads to the short and spirited coda that closes out the work.

Program notes by Matthew Love, School of Music Graduate Student

España, Rhapsody for Orchestra: Like many composers of the nineteenth century, composition became a second career for Chabrier after succumbing to the wishes of his family to become a lawyer. Although music was his passion, he worked as a lawyer for the Ministry of the Interior for eighteen years, composing minor works as time permitted. Resigning from his post in 1880, Chabrier pursued music as a profession, and his trip to Spain in 1882 became the inspiration for a rhapsody for orchestra. Fascinated by the dance rhythms and music of the Iberian peninsula, he returned to Paris and promised conductor Charles Lamoreux a Spanish inspired work that would cause the audience members to leap up and embrace each other. España, Rhapsody for Orchestra was completed and premiered in 1883 at the “Societé des nouveaux concerts” and established Chabrier as a composer of serious works.

The long withstanding French tradition of colorful orchestration is displayed throughout the work. Written in sonata form, España introduces two themes, each with its own Spanish dance rhythm. The first theme utilizes the playfully shifting Spanish jota, and the second theme contrasts with the lyrical and flowing malagueña. In the development section, Chabrier introduces a new theme given to the trombones, which is combined with exchanges from the jota dance rhythm of the primary theme. Following a conventional recapitulation, the coda amalgamates the three themes in a dialogue that leads to a scintillating end.

Program notes by Dr. Christopher Fashun, School of Music Faculty

About the Performers

Rocco Greco (New Lenox, Illinois) is a junior at Belmont University pursuing a major in Commercial Music with an emphasis in Music Technology. Though classically trained in his teenage years, he has always enjoyed performing and experimenting with many genres. At Belmont, he is currently a member of the Symphony Orchestra, Classical String Quartet, and Jazz String Quartet. He has previously been a member of World Fiddle Ensemble and Jazz String Septet. Outside of performing, Greco enjoys writing and producing his own music in pop punk and EDM styles. After graduation, he hopes to find as many unique performance opportunities as possible and would love to do studio work with pop and rock artists. In his free time, Greco enjoys hanging out with his friends and riding rollercoasters.

Nicole McColley, soprano, is a senior Music Education major from Toms River, New Jersey. McColley studies voice with Dr. Mark Whatley and currently sings with the Belmont Chamber Singers. Her diverse experience in the arts spans opera, musical theatre, and music direction. She is thrilled to perform in the 2025 Classical Performers Concert. Previously, McColley has appeared in Belmont’s Classical Singers Recital in 2023 and 2024. She is an

active member of Belmont’s chapter of NAfME (National Association for Music Education) and ACDA (American Choral Directors Association).

Nick Benefield (Lakewood, California) is a senior Music Composition (piano principal) major at Belmont University. Passionate about musical theatre, he primarily composes, plays piano, and music directs for musical theatre. He is currently working on putting together his own musical for his senior recital, and is looking forward to performing keys for All Shook Up in the Fisher Center! Beyond musical theatre, he has enjoyed playing piano with Mass Orchestra and Choir, University Singers, and New Music Ensemble. Apart from music, Benefield likes to drink espresso shots, go to Barry’s workout classes, cook, and pester his friends. He would like to thank his parents for letting him take lessons when he begged, Dr. Marler for honing in and developing his musicianship to a professional level, and everyone who has taught him a little more about music and how to tell use it to tell stories.

Bridgett Baker is a second year Vocal Performance Masters student at Belmont University. She received the Bachelors in Choral/General Music Education from the University of Delaware in 2023. In her first year at Belmont, she was selected to perform at the Graduate Honors Recital and made her Belmont opera debut as the title role in The Merry Widow. Baker has spent the last two fall semesters as a graduate assistant for Fundamentals of Music Theory and thoroughly enjoys tutoring theory when she isn’t teaching. This spring, she will debut her role as Mother in Hansel and Gretel with Belmont Opera and will spend two weeks this summer in Vipiteno, Italy as a performer in the Orfeo Music Festival. Baker is thrilled to graduate in May, after which she plans to teach voice lessons full time while pursuing a career in opera.

Sam W. Wood (Temple, Texas) is a senior at Belmont University pursuing a degree in Music Composition. He began his music journey at the age of six when his mother signed him up for piano lessons against his will. Throughout his childhood, he studied with seven different piano teachers. He moved to College Station, Texas in 2019 to pursue a degree in Applied Mathematics with a Computational Science Emphasis at Texas A&M University. In 2022, he returned to music, composed his first two pieces for his audition portfolio, and transferred to Belmont University to finish his undergraduate studies as a music major. He was a recipient of the inaugural Bill Pursell Memorial Scholarship Award in 2024. After graduation, Wood will stay in Nashville to continue his passion for music and storytelling. When he is not composing, Wood enjoys playing board games, hiking, solving Rubik’s cubes, and longboarding around Belmont’s beautiful campus.

Claire Tole, mezzo-soprano, is a senior Classical Voice Performance major from Dripping Springs, Texas. Tole studies voice with Dr. Mark Whatley and is coached and accompanied by Alessandra Volpi. In April she will be portraying Hansel in Hansel and Gretel with Belmont Opera Theatre, and in July she will take on the role of Mercédès in Carmen at the Vienna Opera Academy. In October Tole had the honor of being selected as the mezzo -soprano soloist for the annual Nashville Bel Canto Foundation Gala. This past summer, Tole was a young artist at the Prague Summer Night's Young Artists Festival, where she played Marcellina in Le Nozze di Figaro. Tole is involved with several on-campus organizations, such as Bruin Recruiters and Towering Traditions, and is a member of Phi Mu. She has been on the Dean's List for seven semesters. As she approaches the end of her undergraduate studies, Tole has been diligently auditioning for graduate programs both national and international to further her training in classical singing.

Madelyn Duncan is a third-year student at Belmont University, studying Classical Performance on cello under the expertise of Dr. Carmine Miranda. Duncan began her journey in learning the cello at the age of ten in her Indiana hometown. She received second place in the St. Cecelia International Vocal and Instrumental Music Competition. In addition to performing in the Belmont University Symphony Orchestra, Duncan plays in a string quartet and serves as aa Resident Assistant. In her free time, she enjoys spending time outdoors and loves exploring with her family and friends. After graduation, Duncan plans to attend graduate school to continue her study of the instrument.

Matthew Love (Nashville, Tennessee) is a graduate student at Belmont University pursuing Classical Percussion Performance. His interest in classical percussion truly began in high school after playing a marimba solo called Strive To Be Happy. The poem that the work was based on, Desiderata by Max Ehrmann, ends with the words, “With all its sham, drudgery and broken dreams, it is still a beautiful world . . . strive to be happy.” Some of this sentiment would become a core piece of Love’s aspirations, as one of his biggest dreams is to be able to brighten the days of others through the joy of music.

Symphony Orchestra Personnel

Violin 1

Dani Alexander* , concertmaster

Kinsey Overdeer*

Rocco Greco

Emma Buckner

Violin 2

Kara Schlenk* , principal

Sam Lehe

Hannah Adams

Nadia Foote

Viola

George Graefen, principal

Karissa Szarek

Cello

Grant Brown, principal

Graham DeHaan*

Hannah Silverman

EJ Carson

Bass

Cameron Bertolet* , principal

Claire Walker

Carter Bohman

Piccolo

Hannah Steele

Flute

Brendan Wilson, principal

Oboe

Lily Chantler, principal

English Horn

Lily Chantler

E♭ Clarinet

McKensey Malin*

Mads Anderson*

Heather Sherman*

Luke Baxley

Sam Lock

Jade LaGore

Macahila Hinnenkamp

Zachary Hardin

Natalie Piedra

Bella Kinard

Nathaniel Eulentrop*

Kay Deitrich*

Tessa Dalton

Florence Schumann

Kimmie Rauscher

Ben Greene*

Shelby Fuller

Dakota Terhaar

Kate Borosky Mackenzie Combs

Madelyn Duncan

Angie Jackson

Ingrid Bakeman

Ari Stoker

Micah Lundberg

JéNai O’Connor

Owen Siller

Davis Arens

Will Wirth

Carter Ferris

Dillon Wright*

Briana Crowder*

Hannah Steele

Clarinet

McKensey Malin* , principal

Bass Clarinet

Michelle Babyak

Bassoon

Harrison Sampson, principal

Contrabassoon

Cayman Hogue

Horn

Jacob Andrews* , principal

Holden Cessna

Trumpet

James Ownby* , principal

Duncan Blackstock

Trombone

Joshua Walz* , principal

Tuba

Hudson Butler* , principal

Harp

Audrey Smith

Piano

Aliyah Wenneker

Percussion

Matthew Love* , principal

Tommy Steele

Michelle Babyak

Emily Okamura

Cayman Hogue

Grace Helton

Caroline Holmes

Biruke Woldeyohannes

Luke Myers

Joseph Assiryani

Luke Woody

Brooke Garrett

Aliyah Wenneker

Gramm Raedeke

Cole Counihan *Class of 2025

Miriam Marks

Classical Performers Concert 3.18.25

The Belmont University Symphony Orchestra

The 39th Annual