03/07/2024, Emory University Symphony Orchestra featuring Eighth Blackbird by Schwartz Center for Performing Arts

EMORY UNIVERSITY SYMPHONY ORCHESTRA

featuring EIGHTH BLACKBIRD

Thursday, March 7, 2024 | 8 p.m.

SCHWARTZ ARTIST-IN-RESIDENCE PROGRAM

This concert is presented by the Schwartz Center for Performing Arts and is made possible by the Donna and Marvin Schwartz Foundation Artist-in-Residence program. 404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu

Please turn off all electronic devices. Photography, recording, or digital capture of this concert is not permitted. Audience Information The Schwartz Center welcomes members of Mu Phi Epsilon and a volunteer usher corps of about 40 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities. 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. The Schwartz Center wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.

Design and Photography Credits Eighth Blackbird: Photos by Freddie Collier Cover Design: Nick Surbey | Program Design: Lisa Baron

MUSIC 2023 | 2024

Emory University Symphony Orchestra

Featuring Eighth Blackbird

Paul Bhasin, conductor

Thursday, March 7, 2024, 8:00 p.m. Emerson Concert Hall Schwartz Center for Performing Arts

Program Viet Cuong (b. 1990)

Vital Sines Concerto for Eighth Blackbird and Orchestra Southeastern Premiere (Orchestral Version)

—Intermission— Symphony No. 1 in D Major, “Titan” Gustav Mahler I. Langsam. Schleppend. (“Wie ein Naturlaut”)— (1860–1911) Im Anfang sehr gemächlich II. Kräftig bewegt, doch nicht zu schnell—Trio. Recht gemächlich III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt

The 90-member Emory University Symphony Orchestra (EUSO) celebrated its 100th Anniversary in 2023. 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 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 non-majors participate each season as well. The EUSO is recorded on the Centaur Record label, with a 2023 release (iTunes, Spotify) of works for Atlanta and Dallas symphony wind soloists and orchestra.

Program Notes Vital Sines It would be difficult to overstate just how important the wind ensemble has been in my life. Band was where I found community and identity during a time in my youth when I feared that there was nothing out there for me. In fact, it was one of the only places during those teenage years where I felt confident in who I was. And it was ultimately this confidence that gave me the nerve to believe that I could one day make it as a composer. But my life in the wind ensemble world almost never was. I very nearly gave up my musical pursuits in a fit of childhood frustration at age 11. My father, though he had no musical ability himself, saw in it something important. Always one to look after my creativity, he steadied me and encouraged me to give it more time. It was not long before he was proven right, and music had become something vital to me. I find myself thinking of that crucial moment more and more since my father’s passing last year, and how music was and remains my vital connection to him. In the last weeks of his life—spent in the disorienting whir of the ICU—I often struggled to speak. But when I could not, I would play him the pieces of mine that I knew were his favorites, hoping that the sounds, the sine waves, could find their way to his consciousness. Since his death, I have come to understand that my love for music is inseparable from the love I have for him. I still catch myself wanting to call him and play him my latest efforts. This one, Vital Sines, is dedicated to my father’s memory as the guardian of my musical life, as well as the many moments during my life when I found sanctuary in music. The creation of this particular piece, though challenging, was a way of finding solace when I needed it most. Throughout the piece, I employ several musical sequences and chaconne forms, all of which use repetition as a means of development. The overarching structure of the piece thus bears a resemblance to the visual depiction of the sine wave, rising and falling like the tracing of breaths and heartbeats. There is of course comfort in the familiarity of continued repetition. But I also followed memories back to my teenage years in band, when that community had the extraordinary ability to not just bring me comfort but heal my heart. What I realized was that all the other musical communities I have become a part of since then, band or not, hold this same healing power. 5

With this concerto for Eighth Blackbird and the US Navy Band, I am tremendously honored to bring together the wind band and new music communities, both vital to me and so many others. Thank you to Eighth Blackbird and the US Navy Band for giving me an opportunity that I dreamed of for many years, as well as for your patience as I navigated this time in my life. Finally, thank you to my father for helping me find my way all those years ago. This one’s for you. —Notes by the composer

Called “alluring” and “wildly inventive” by the New York Times, the music of American composer Viet Cuong has been performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, and Dallas Winds, among many others. Cuong’s music has been featured in venues such as Carnegie Hall, Lincoln Center, and the Kennedy Center, and his works for wind ensemble have amassed several hundred performances worldwide. Passionate about bringing these different facets of the contemporary music community together, his recent projects include a concerto for Eighth Blackbird with the US Navy Band. Cuong also enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His works thus include a snare drum solo, percussion quartet concerto, and double oboe concerto. He is currently the Pacific Symphony’s composer-in-residence and serves as assistant professor of music composition at the University of Nevada, Las Vegas. Cuong has degrees from Princeton University (MFA/PhD), the Curtis Institute of Music (AD), and Peabody Conservatory (BM/MM).

Symphony No. 1 in D Major, “Titan” (1888, Rev. 1893–1896) Toward the close of March 1888, Gustav Mahler informed his parents of the completion of his First Symphony: “There! I have today finished my work and can say thank God that it has turned out well. I hope that I have taken a big step forward with it.” The first performance took place on November 20, 1889, with the composer leading the Budapest Philharmonic. For the premiere, Mahler designated the work not as a symphony, but as a “Symphonic Poem in Two Parts.” In January 1893, Mahler revised his “Symphonic Poem,” and now referred to it as a symphony. He added the nickname “Titan”—after a novel by Jean Paul—and also assigned titles to each of the Symphony’s movements. 6

“My time will come,” Mahler predicted—and indeed, it has. Mahler’s nine completed symphonies have become staples of the orchestral repertoire. The “Titan” is perhaps the most popular, and certainly, the most accessible. Today’s audiences might then wonder what so perplexed (and even angered) those who attended the work’s premiere. However, it is important to bear in mind that the first performance of “Titan” took place only four years after the premiere of Johannes Brahms’s Fourth Symphony. Those accustomed to the mainstream German repertoire, exemplified by Brahms and his predecessors, may perhaps be excused for having failed to appreciate Mahler’s bold new symphonic language. “Titan” strives for an epic mode of expression. And the work’s abrupt shifts in emotion and tone can be disconcerting for some, even frightening. As in the case of Beethoven’s First Symphony, Mahler’s “Titan,” while at times paying homage to the past, clearly points the way to the revolutionary path that would soon follow. Mahler’s 1893 program for his “Titan” Symphony is reproduced below in italics and bold type. Titan—A tone poem in the form of a symphony First Part “From the days of youth,” flower, fruit and thorn pieces. “Endless Spring” (Introduction and Allegro comodo—The introduction depicts the awakening of nature from its long winter sleep.) I. Langsam. Schleppend. (Slow. Dragging.) (“Wie ein Naturlaut”) [“Like a Nature Sound”]—Im Anfang sehr gemächlich (In the beginning very leisurely)—The slow-tempo introduction presents the Symphony’s central motif, a descending fourth, as well as bird calls and distant fanfares. The cuckoo’s song develops into the principal melody of the opening movement, introduced by the lower strings, and based upon the second of Mahler’s 1885 Songs of a Wayfarer—“Ging heut’ morgen übers Feld” (“This morning I went through the field”). “Under full sail” (Scherzo) II. Kräftig bewegt, doch nicht zu schnell (Forceful, animated, but not too fast)—Trio. Recht gemächlich (Restrained)—The second-movement scherzo is in the spirit of the ländler, a popular Austrian folk dance. After a raucous outburst, a brief passage for solo horn serves as a bridge to the genial Trio section. The ländler returns to conclude the movement. 7

Second Part “Commedia humana” (“Human Comedy”) “Stranded!” (A funeral march in Callot’s manner) For this movement, the following explanation will help: the basic inspiration for it was found by the author in a humorous engraving, well known to all Austrian children: “The Huntsman’s Funeral,” from an old book of fairy tales. The forest animals accompany the dead hunter’s coffin to the grave. Hares carry the banner, in front of them marches a group of Bohemian musicians, accompanied by singing cats, toads, crows, etc. Stags, deer, foxes, and other four-legged and feathered animals follow the procession in all kinds of farcical positions. III. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, but not dragging)—Over the insistent beat of the timpani, a solo muted bass softly chants a macabre variation of the children’s nursery song, Frère Jacques (Are you sleeping, Brother John?). A village band episode, and a quotation of Mahler’s beautiful song, The Two Blue Eyes, also play important roles. The mood expressed is sometimes ironic and merry, sometimes gloomy and uncanny, then suddenly . . . Dall’Inferno (“From the Inferno”) (Allegro furioso), follows, like the last despairing cry of a deeply wounded heart. IV. Stürmisch bewegt (Stormy, animated)—A cymbal crash and orchestral explosion devastate the troubled repose of the previous movement. This introduction offers hints of what soon becomes the ascending principal theme, played by the brass and winds. The violence of the opening finally subsides, leading to an episode in which the violins introduce a lyrical melody. Echoes of the first movement and the opening of the finale lead to an impassioned development section. There are two presentations (the second more forceful) of a heroic variant of the finale’s principal theme that will make a triumphant return at the Symphony’s conclusion. Hints of the opening movement’s slow-tempo introduction and principal melody appear, as well as a varied reprise of the finale’s central themes. Fanfares from the opening movement return to launch the Symphony’s glorious D-Major apotheosis. —Program note by Ken Meltzer

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 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. As a conductor, composer/arranger, and instrumentalist, Bhasin has collaborated with diverse institutions including the San Francisco Symphony, Virginia Symphony, “President’s Own” US Marine Band, the International Computer Music Conference, St. Louis Opera, New World Symphony, Interlochen Arts Academy, International Dvořák Festival (Prague, CZ), and Chicago Civic Orchestra. Bhasin has performed on National Public Radio and Detroit PBS-TV, and at the Aspen, Tanglewood, Grand Teton, and Ravinia music festivals. He has recorded as trumpeter and conductor for the Centaur, ACA, and Interscope record labels. Bhasin also serves as music director and conductor of the DeKalb Symphony Orchestra and Atlanta Chamber Music Festival. An avid educator, Bhasin has collaborated with the Chicago Symphony Orchestra’s Musicorps program, the Grammy-winning sextet Eighth Blackbird, led honor orchestras and bands (including at the All-State level), and has presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. Bhasin’s trumpet students have won first prize at major competitions including the National Trumpet Competition. Bhasin composed and conducted orchestral scores to the motion pictures Sister Carrie (recently premiered at the Gene Siskel Center in Chicago) and Hogtown (award-winner at the Berlin, Los Angeles, and Nashville International Black film festivals) which was named a “Critic’s Pick” and one of the “Top 10 Films of 2016” by the New York Times (both films stream on Amazon Prime Video). Bhasin received his musical education from Northwestern University, the University of Michigan, and the University of Wisconsin-Madison. 9

Lina Andonovska, flutes Zachary Good, clarinets Christopher Whitley, violin Laura Metcalf, cello Matthew Duvall, percussion Lisa Kaplan, piano Eighth Blackbird moves music forward through innovative performance, advocacy for music by living composers, and its legacy of guiding an emerging generation of musicians. Hailed as “one of the smartest, most dynamic ensembles on the planet” (Chicago Tribune), Eighth Blackbird (8BB) has been operating for 27 years, beginning in 1996 as a group of six undergraduates and continuing under the leadership of two founding members, Lisa Kaplan, pianist and executive director, and Matthew Duvall, percussionist and artistic director. Eighth Blackbird is firmly entrenched in the fabric of creative music, cited as “a brand-name defined by adventure, vibrancy, and quality” (Detroit Free Press). Accolades include four Grammy Awards for Best Small Ensemble/Chamber Music Performance, the MacArthur Award for Creative and Effective Institutions, the Concert Artists Guild Competition Grand Prize, the Musical America Ensemble of the Year, the Chamber Music America Visionary Award, and the APRA AMCOS Art Music Awards Performance of the Year. In addition to chamber music performance, the members of 8BB value their roles as curators, educators, and mentors. Beginning exclusively as a chamber music ensemble, 8BB has expanded in recent years to represent numerous mission-driven initiatives. In 2017, 8BB inaugurated its boldest initiative yet: the Blackbird Creative Lab. The Blackbird Creative Lab (the Lab) is an inclusive two-week professional development immersion for performers and composers, and an ongoing community of practice for contemporary classical musicians and composers. The Lab fosters expansive artistic vision, collaboration, mentorship, and building a viable life as an artist. It continues its mission beyond the two-week immersion to find opportunities for its network of alumni to present in professional engagements. The Lab’s next iteration 10

will be hosted in late May/early June 2024 at Yerkes Observatory in Lake Geneva, Wisconsin. In 2020, 8BB introduced the Chicago Artists Workshop (CAW). CAW was conceived with the purpose of creating work for artists during a time when the performance industry was enormously threatened by the COVID-19 pandemic. When work for artists disappeared, CAW created paying livestream engagements for artists during the stoppage of 2020–2021. CAW continues as a presenting series in both live venues and livestream platforms. It is a determinedly cross-genre series defined not by genre or discipline, but by extraordinary caliber and creativity. The name Eighth Blackbird derives from the eighth stanza of Wallace Stevens’s evocative, imagistic poem, Thirteen Ways of Looking at a Blackbird: “I know noble accents / And lucid, inescapable rhythms; But I know, too, / That the blackbird is involved / In what I know.” Eighth Blackbird is managed by Epstein Fox Performances LLC. Lisa Kaplan is a Steinway Artist.

Matthew Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories. Additional Accolades Include: Commissions and world premieres of hundreds of works by established and emerging composers. In addition to traditional chamber music commissioning successes, 8BB has pioneered two particularly noteworthy genres in the classical chamber music field: • Fully Produced Theatrical Chamber Music Productions—David Lang, Composition As Explanation | Amy Beth Kirsten, Columbine’s Paradise Theater | Arnold Schoenberg, Pierrot Lunaire | David Lang, Michael Gordon, and Julia Wolff, Singing in the Dead of Night | Dan Truman, Olagon | Steve Mackey, Slide • Chamber Ensemble Concertos—Jennifer Higdon, On A Wire | Kinds of Kings, Nine Mothers | Viet Cuong, Vital Sines | David Schober, Concerto for Sextet and Orchestra

An Extensive Recording Catalog: Round Nut Tool, Thirteen Ways, Divinum Mysterium, Strange Imaginary Animals, Lonely Motel, Meanwhile, Filament, Hand Eye, Olagón, When We Are Inhuman, Double Sextet, On A Wire, Singing in the Dead of Night Recent World Premieres:

2023, Into the Night, by Joan Tower

2022, Composition As Explanation, fully staged theatrical production. Composed by David Lang, with stage direction by Anne Bogart, and featuring text by Gertrude Stein. 2022, Nine Mothers, concerto for 8BB and orchestra. Commissioned by and premiered with the Cincinnati Symphony Orchestra. Composed by Kinds of Kings, a collective of composers including Gemma Peacocke, Shelley Washington, and Maria Kaoutzani.

2022, Vital Sines, concerto for 8BB and Wind Ensemble. Commissioned by and premiered with the U.S. Navy Band. Composed by Blackbird Creative Lab alum, Viet Cuong. 2022, Metamold, composed by Bekah Simms. Commissioned by the Barlow Foundation.

Long-Term Institutional Partnerships: The Museum of Contemporary Art Chicago, the University of Chicago, Northwestern University, the University of Cincinnati, the Curtis Institute of Music, the Interlochen Center for the Arts, the University of Richmond, the Ojai Music Festival 11

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. Violin I Carol Xu | Dallas, TX | Human Health | Economics and Music Performance Joel M. Felner MD Concertmaster Chair Performing on the Giovanni Grancino violin, Milan, 1687 Doowon Kim, assistant concertmaster | Suwanee, GA | Business and Music Chloe Nelson | Rancho Santa Margarita, CA | Chemistry and Music Performance Kaitlyn Kaminuma | Chulmsford, MA | Music and Human Health Ruth Jao | Clarksburg, MD | NBB Christopher Li | Holmdel, NJ | Biology Seungchan Min | Chandler, AZ | Mathematics and Computer Science Louisa Ma | Phoenix, AZ | Business and Economics Brandon Lee | Duluth, GA | Chemistry Isabella Lin | Alpharetta, GA | Music and Biology Alex Zhu | Wilmington, MA | Undecided Katie Shin | Auburn, GA | Engineering Sciences and Music Ashley Kim | South Salem, NY | Business and Sociology Noah Kann | Bethesda, MD | Business and Music Christy Song | Ringgold, GA | 23C, Biology and Music Jennifer Kim | Cupertino, CA | NBB Judy Oh | Atlanta, GA | 19C

Bass Clarinet Rodrigo Salinas | Lakeland, FL | Chemistry

Tuba Graham Wells | Atlanta, GA | 07C, Chemistry

Piano and Keyboard Vivian Zhao | Phoenix, AZ | NBB and Music Performance NBB: Neuroscience and Behavioral Biology PPL: Philosophy, Politics, Law

Emory String, Wind, and Percussion Faculty Violin

Oboe

Tuba

Justin Bruns • Jay Christy • Emily Daggett Smith H Jessica Wu H

Emily Brebach • Sasha Shatalova Prior

Michael Moore •

Clarinet

Gary Paulo

Viola Yinzi Kong H Paul Murphy •

Cello Karen Freer • Roee Harran Guang Wang H

Bass Michael Kurth •

Flute Christina Smith • Jim Zellers s

Marci Gurnow • Justin Stanley

Saxophone Euphonium Adam Frey

Bassoon Anthony Georgeson • Shelly Unger

Horn Jason Eklund s

Percussion Scott Pollard Mark Yancich •

Harp Elisabeth Remy •

Trumpet Mark Maliniak • Michael Tiscione •

Trombone

• Atlanta Symphony Orchestra

Ed Nicholson s Nathan Zgonc •

H Vega Quartet

s Atlanta Opera Orchestra

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

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 our 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, our 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 our website at music.emory.edu or call 404.727.6280.

Upcoming Emory Music Concerts Many concerts at Emory are free to attend. Visit music.emory.edu or schwartz.emory.edu to view complete event information. If a ticket is required 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, March 15 and Saturday, March 16, 8:00 p.m., Same Light, Different Lanterns, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $38/$10, tickets required Friday, March 22, 3:00 p.m., Karyn Lisker, soprano, student honors recital, Performing Arts Studio, free Friday, March 22, 8:00 p.m., Turtle Island Quartet: Island Prayers, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $45/$10, tickets required Saturday, March 23, noon, Jessie Zhu, piano, student recital, Performing Arts Studio, free Saturday, March 23, 2:00 p.m., Athena Grasso, piano, student honors recital, Schwartz Center, Emerson Concert Hall, free Saturday, March 23, 3:30 p.m., Chloe Nelson, violin, student recital, Performing Arts Studio, free Saturday, March 23, 5:00 p.m., Colin Song, piano, student honors recital, Schwartz Center, Emerson Concert Hall, free Sunday, March 24, 3:30 p.m., Jordan Averett, soprano/Greta Franke, soprano, student recitals, Performing Arts Studio, free Sunday, March 24, 7:00 p.m., Collaborative Piano, Performing Arts Studio, free Tuesday, March 26, 8:00 p.m., Emory Jazz Combos, Schwartz Center, Emerson Concert Hall, free Saturday, March 30, noon, Lucy Bright, soprano/Ellie S. Paek, soprano, student recitals, Performing Arts Studio, free 18

Schwartz Center Staff Rachael Brightwell, Managing Director Terry Adams, Box Office Coordinator Lisa Baron, Communications Specialist Kathryn Colegrove, Associate Director for Programming and Outreach Lewis Fuller, Associate Director for Production and Operations Jennifer Kimball, Assistant Stage Manager Jeffrey Lenhard, Operations Assistant Brenda Porter, House Manager Caroline Renner, Program Coordinator Alan Strange, Box Office Manager Nicholas Surbey, Senior Graphic Designer Alexandria Sweatt, Marketing Assistant Mark Teague, Stage Manager Matt Williamson, Senior Multimedia Developer

The Schwartz Center for Performing Arts offers a variety of jazz, classical, and crossover music each season. Visit schwartz.emory.edu for the latest event details.

Next Schwartz Artist-in-Residence Series Event

2024 Composer Commission Project Emory University Symphony Orchestra

Friday, April 26 and Saturday, April 27, 8:00 pm Schwartz Center, Emerson Concert Hall

This project—now in its third year—is a collaboration between the Schwartz Artistin-Residence program, EUSO, and Emory composition faculty to invite emerging composers from underrepresented backgrounds within American classical music to Emory’s campus. In addition to EUSO and Emory Choirs performing Verdi’s Requiem, EUSO premieres a new orchestral work by Johanny Navarro, the winner of the 2024 “Call for Compositions.” 19

Announcing the 2024–2025 Season Sarah Chang, violin Friday, September 20, 2024 at 8 p.m. Zee Zee, piano Friday, October 18, 2024 at 8 p.m. PUBLIQuartet—Rhythm Nation Schwartz Artist-in-Residence Program Friday, November 1, 2024 at 8 p.m. Silkroad Ensemble featuring Rhiannon Giddens American Railroad Saturday, November 16, 2024 at 8 p.m. Emmanuel Pahud, flute Friday, January 24, 2025 at 8 p.m. Emory Jazz Fest Schwartz Artist-in-Residence Program Friday, February 14, 2025 at 8 p.m. Zurich Chamber Orchestra with Daniel Hope, violin Friday, February 28, 2025 at 8 p.m. New York Voices Friday, March 21, 2025 at 8 p.m. Imani Winds and Boston Brass Friday, April 11, 2025 at 8 p.m.