2021–2022
MUSIC@ EMORY
This concert is presented by the Schwartz Center for Performing Arts. 404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu
Audience Information Please turn off all electronic devices. Proof of vaccination or a negative COVID-19 test result is required for all patrons attending this event. Full details are available at schwartz.emory.edu/FAQ Face masks covering the nose and mouth are required at all times in the Schwartz Center. The concert hall capacity has been reduced in order to allow distance between seated parties. Please be mindful of distancing.
Photographs and Recordings
Digital capture or recording of this concert is not permitted.
Ushers
The Schwartz Center welcomes a volunteer usher corps of approximately 60 members each year. Visit schwartz.emory.edu/volunteer or call 404.727.6640 for ushering opportunities.
Accessibility
The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@emory.edu.
Design and Photography Credits
Cover and Program Design: Lisa Baron | Cover Photo: Mark Teague
Acknowledgment
The Schwartz Center gratefully acknowledges the generous ongoing support of Donna and Marvin Schwartz.
2021–2022
MUSIC@ EMORY Emory Wind Ensemble Tyler Ehrlich, conductor
Emory University Symphony Orchestra Paul Bhasin, conductor
Saturday, November 20, 2021, 8:00 p.m.
Emerson Concert Hall Schwartz Center for Performing Arts
Emory Wind Ensemble Program Petite Symphonie Adagio–Allegro Andante cantabile (quasi adagio) attacca Finale. Allegretto
Charles Gounod (1818–1893)
Commando March
Samuel Barber (1910–1981) ed. Collinsworth
reflections
Carlos Simon (b. 1985)
Chorale and Shaker Dance
John Zdechlik (1937–2020)
Emory University Symphony Orchestra Program Romeo and Juliet, Suite No. 2, op. 64 I. The Montagues and Capulets II. The Young Juliet III. Friar Laurence IV. Dance V. Romeo and Juliet Before Parting VI. Dance of the Girls With Lilies VII. Romeo at Juliet’s Grave
Sergei Prokofiev (1891–1953)
To encourage physical distancing and avoid crowding in the lobbies and restrooms, you may exit the concert hall as needed between pieces. An usher will assist in returning you to your seat at an appropriate time.
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Program Notes Petite Symphonie French composer Charles Gounod is perhaps best known for his opera Faust and his Ave Maria. He was a life-long Parisian, excepting a four-year stay in Rome after winning the prestigious Prix de Rome in 1839. Gounod came from an artistic family, including an artist father and pianist mother who was his first teacher. He went on to study with Anton Reicha and later at the Paris Conservatoire. As a lifelong church devotee who almost entered the priesthood, Gounod was a prolific composer of sacred vocal and choral works. Gounod wrote Petite Symphonie in 1885—well into his career— for flutist/impresario Paul Taffanel and his Societé de Musique de Chambre pour Instruments a Vent (Chamber Music Society for Wind Instruments), which premiered it in Paris on April 30 of the same year. Its instrumentation is simply harmonie ensemble plus a single flute. It reflects both the somewhat backward-looking philosophy of the Societé and the importance of Taffanel, using the standard symphonic form from 100 years prior. The first movement has a slow introduction followed by an allegro in sonata form. The second is a gorgeous andante cantabile, almost an aria for flute. The finale is another allegro that sparkles with lightness and energy. While the piece does show several Romantic-era tendencies, including long melodic lines and some surprising harmonic motion in development sections, at its heart it is a throwback to a simpler time when form and harmony were clear as day.
Commando March Pennsylvania native Samuel Barber was noted for the lyricism and romanticism of his music and is regarded as one of the great American composers of the 20th century. A child prodigy who trained at the Curtis Institute as a teenager, Barber went on to win numerous awards for his compositions, including the Prix de Rome, two Pulitzer Prizes, a Guggenheim Fellowship, and membership to the American Academy of Arts and Letters. He is best known for his Adagio for Strings, his soprano and orchestra piece Knoxville: Summer of 1915, and many other orchestral and operatic works. Barber met the Italian American composer Gian Carlo Menotti during his Curtis days, and the two forged a lifelong professional and personal partnership, living together in Mt. Kisco, New York, for several decades.
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Commando March, composed in 1943, was not only Barber’s first work for wind band, but his first work subsequent to entering the Army. With no extant documentation of a formal commission or a direct military order, it appears that Barber was inspired to compose by his exposure to military bands during basic training. Despite its large instrumentation, Barber often referred to the work as his “little march.” Barber at one time described the music as representing “a new kind of soldier, one who did not march in straight lines,” but “struck in stealth with speed, disappearing as quickly as he came.” The premiere performance was given by the Army Air Forces Technical Command Training Band, with Warrant Officer Robert L. Landers conducting, on May 23, 1943, in Atlantic City. As was the case with many of Barber’s earlier works, Commando March was immediately well-received by audiences. Following its premiere, Barber himself led the Goldman Band in several performances in July 1943. He even adapted the work for orchestra at the request of Serge Koussevitzky, who led this score’s first performance with the Boston Symphony Orchestra on October 29, 1943.
reflections Carlos Simon is an Atlanta native whose repertoire ranges from concert music for large and small ensembles to film scores with influences of jazz, gospel, and neo-romanticism. Simon was named a recipient of the 2021 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization, recognizing extraordinary classical Black and Latinx musicians. Simon has been commissioned by ensembles such as the New York Philharmonic, Los Angeles Philharmonic, Los Angles Opera, Philadelphia Orchestra, Washington National Opera, Reno Philharmonic, the American Composers Orchestra, Arizona State University Symphony Orchestra, Irving Klein String Competition, Morehouse College (celebrating its 150th founding anniversary), and the University of Michigan Symphony Band (celebrating its 200th anniversary). reflections was commissioned by current and former members of the Georgia State University Graduate Wind Conducting Studio and Symphonic Wind Ensemble for Robert J. Ambrose in celebration of his 20 years as director of bands at Georgia State University. This piece is inspired by the following words penned by Courtney D. Ware: be still and know
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don’t move don’t doubt be quiet be sure sit down believe slow down make no sound worry free quiet trust confident freedom acceptance knowing is eternal still is internal believe within your being stop long enough to see let silence speak
Chorale and Shaker Dance John Zdechlik earned a PhD in music theory and composition from the University of Minnesota, where he studied with Paul Fetler and Frank Bencriscutto. Zdechlik has written numerous commissioned and published works for high school and college concert bands. His works are frequently performed in the United States and around the world. Chorale and Shaker Dance was commissioned by the Bloomington (Minnesota) Jefferson High School Band. The work combines an original chorale tune and the traditional Shaker song Simple Gifts. Zdechlik transforms, varies, and juxtaposes both themes throughout the entire composition, incorporating intricate counterpoint and jazz-influenced syncopated rhythms. The Shaker melody does not appear in its entirety until near the end when the trumpet section plays the tune over a flurry of activity 7
in the upper woodwinds and a sonorous low-brass accompaniment. A short allegro section follows and the work draws to a close with several dissonant whole notes that resolve into a brilliant D major chord. —Program notes by Tyler Ehrlich
Romeo and Juliet, Suite No. 2, op. 64 The Russian premiere of Sergei Prokofiev’s ballet, Romeo and Juliet, took place on January 11, 1940, more than four and a half years after the Russian composer completed his magnificent score. At a reception following the performance, the great ballerina Galina Ulanova—who danced the part of Juliet, and was to become indelibly associated with the role—offered the following toast, a play on the concluding lines of the Shakespeare original: Never was a story of more woe Than this of Prokofiev’s music for Romeo. According to Ulanova, Prokofiev enjoyed the little joke as much as anyone. By this point, he must have savored the triumphant conclusion of an odyssey wracked with trials and frustrations at every turn. In the latter part of 1934, the Kirov Theater approached Prokofiev with a proposal to stage a new ballet. Prokofiev decided upon an adaptation of Shakespeare’s Romeo and Juliet. The Kirov later negated the contract. Prokofiev then reached an agreement with the Moscow Bolshoi Theater to produce the new work. A premiere was scheduled for the end of 1935. Prokofiev worked at a feverish pace, completing his Romeo and Juliet score in fewer than five months. However, as he related in his autobiography, “the Bolshoi Theater declared (the ballet) impossible to dance to and the contract was broken.” The eventual premiere of Prokofiev’s Romeo and Juliet took place at the Brno Opera in Czechoslovakia on December 30, 1938. Prior to the 1938 Brno premiere, yet another contract had been broken—this time by the Leningrad Ballet School. Prokofiev adapted music from his Romeo and Juliet ballet for two orchestral suites (premiered, respectively, in Moscow in 1936, and Leningrad in 1937) as well as a collection of Ten Pieces for Solo Piano, op. 75 (1937). Prokofiev completed a third orchestral suite in 1946. At long last, the Kirov Theater agreed to stage the Russian premiere. Despite the success of the January 1940 opening, it too was preceded by a period of storm and strife worthy of the Montagues and Capulets. Prokofiev’s score so intimidated the performers that they threatened a boycott just a few weeks before the scheduled premiere. But the genius of Prokofiev’s masterpiece gained the troupe’s confidence. Ulanova recalled: 8
The more we listened to it, the more we worked, experimented, and searched, the more clearly emerged the images that the music created. And gradually as we came to understand the music, we no longer found it difficult to dance to; it became clear both choreographically and psychologically. And now if I were to be asked what the music of Romeo and Juliet should be like, I would say without hesitation: like Prokofiev’s, for I cannot now conceive of any other music. I. The Montagues and Capulets—The brief, fierce introduction is derived from an interlude that follows the Prince of Verona’s warning to the battling Montague and Capulet families. After the introduction, the forceful Dance of the Knights begins. II. The Young Juliet—Juliet’s playful nature is magically depicted by the spiccato violin figures, but there is also more reflective music that suggests the blossoming young woman. III. Friar Laurence—A sympathetic and noble musical portrait of the kindly Friar who secretly marries Romeo and Juliet. IV. Dance—An excerpt from the Carnival scene of Act II, featuring the lively Dance of the Five Couples. V. Romeo and Juliet Before Parting—Romeo has slain Juliet’s cousin Tybalt and the Duke has permanently banished the young man from Verona. Romeo defies the order to spend the night with his bride Juliet. As the sun rises, the lovers realize that they must part and bid farewell. The music is a masterful evocation of daybreak, Romeo and Juliet’s ardor, and their pain upon separation. VI. Dance of the Girls With Lilies—Juliet is forced by her parents to marry Count Paris. On the day of Juliet’s wedding, handmaidens surround her, bearing lilies. The music is of the utmost delicacy. VII. Romeo at Juliet’s Grave—Juliet, hoping to escape with Romeo, drinks a potion that places her in a deep sleep, simulating the appearance of death. The Capulet family carries Juliet’s lifeless body to the family tomb. Romeo has learned of Juliet’s supposed passing, and has rushed to the Capulet tomb. The music depicting the funeral procession—and Romeo’s despair—embodies a shattering momentum and intensity. After the climax, the music subsides to a pianissimo whisper. —Program note by Ken Meltzer
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Emory Wind Ensemble The Emory Wind Ensemble (EWE) is dedicated to performing wind band and chamber literature of the highest caliber while nurturing individual artistic excellence within an ensemble setting. Concert programming comprises a wide variety of styles, forms, and genres from several centuries of compositional practice, designed to provide a comprehensive exposure to the masterpieces for winds and percussion from the Renaissance period through the modern era. The EWE performs two concerts each semester, regularly participates in world premieres of new music, tours the United States and abroad, and is a national leader in the commissioning of new music, including works by Warren Benson, Bruce Broughton, Jennifer Higdon, Libby Larsen, John Mackey, Jonathan Newman, Joseph Schwantner, and many others. The EWE’s recent collaborations include performances with the Emory University Chorus; the Emory Dance Company; Emory’s Mary Emerson Professor of Piano William Ransom; Chris Martin, principal trumpet of the Chicago Symphony Orchestra; Stuart Stephenson, principal trumpet of the Atlanta Symphony Orchestra; Joe Alessi, principal trombone of the New York Philharmonic; Adam Frey, international euphonium solo artist; and Grammy Award–winning solo clarinetist Richard Stoltzman, among many others. The Emory Wind Ensemble has performed concert tours of Munich, Salzburg, Innsbruck, Lucerne, Graz, Prague, Vienna, and Greece. Additionally, the EWE has performed at the Georgia Music Educators Association (GMEA) State Convention in Savannah, Georgia; the Southern Division College Band Directors National Association Conference (CBDNA); and for various events on the Emory campus, including the inauguration of James Wagner as president of Emory University. The EWE was recognized in 2017 as a “Top 10” program among its peers by CBDNA and featured at the 2017 CBDNA National Conference “Small Band Showcase.” The EWE is recorded on the NAXOS music label.
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Tyler Ehrlich, conductor Tyler Ehrlich (he/him) is an educator, musician, and conductor based in Atlanta, Georgia. Ehrlich serves as director of bands at Decatur High School, where he conducts three concert bands, directs the marching band, and teaches an International Baccalaureate music course. In addition to teaching at the secondary level, Ehrlich conducts the Emory University Wind Ensemble and serves as associate conductor of the Atlanta Wind Symphony. Prior to joining the faculty at Decatur High School, Ehrlich taught band and music technology, and served as the fine arts department chair at Centennial High School (Georgia). While teaching at Centennial, all three concert bands received superior ratings for the first time in the school’s 20-year history. Additionally, the program received its first national performance invitation as a guest ensemble for the 2020 Music For All National Chamber Music Festival. Ehrlich has received the National Band Association Citation of Excellence for his work with the Atlanta Wind Symphony. He has conducted the group at its performance at the 2020 Georgia Music Educators In-Service Conference, and he will serve as a conductor of the ensemble at the 75th annual Midwest Band and Orchestra Clinic in December 2021. Ehrlich has presented on music technology and pedagogy at the Midwest Clinic, the World Association of Symphonic Bands and Ensembles International Conference, the College Band Directors National Association National Conference, and the Georgia Music Educators In-Service Conference. He has served as a guest conductor, clinician, and adjudicator throughout the state of Georgia. Ehrlich has a master of music degree from the University of Georgia, and a bachelor of arts degree summa cum laude from Cornell University. His undergraduate thesis involved developing music software for Google Glass, the now defunct wearable technology. Ehrlich lives with his partner, Brent Allman, a PhD student at Emory University, and their dog, Milo.
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Emory Wind Ensemble Flute/Piccolo Sarah Abraham Hannah Huang Tabitha Watson Ava Lewandowski Miyuka Yoshida
Palm Beach Gardens,FL Johns Creek, GA Birmingham, AL Little Rock, AR Tokyo, Japan
Biology/Chemistry Biology International Studies Chemistry/Philosophy Biology/Music
Aldie, VA Short Hills, NJ Kings Park, NY
Business Chemistry/Biology Undecided
Cambridge, MA Saratoga, CA
Mathematics NBB/Human Health
Oboe Sophia Seo Eric Xu Zachary Kant
Bassoon Nathan Muz Trisha Sengupta
Clarinet Henry Mangalapalli Chicago, IL Eli Parrish Bremen, GA Isabelle Myers South Beloit, IL Aaron Wei Johns Creek, GA Deston Lian Johns Creek, GA Andrew Mijacika New York City, NY Sophia Rice Fairfax, VA Rodrigo Salinas Lakeland, FL Kimmie Burlamaqui Powder Springs GA
Biology/African American Studies Music Composition/ Environmental Sciences History/Art History Chemistry/Biology Human Health Biology Biology Chemistry Biology
Saxophone Rohan Ramdeholl Rishie Srivastava Alec Haulotte Wenhui Lu
Suwanee, GA Cary, NC Austin, TX Shanghai, China
NBB Computer Science/Linguistics Environmental Sciences NBB/English
Buffalo Grove, IL Decatur, GA Palm City, FL
NBB Decatur High School NBB/Chemistry
Great Falls, VA Los Angeles, CA Collegeville, PA Norfolk, VA
Music/Political Science/Business Political Science/Music Graduate Student Undecided
Horn Michael Bian Sophie Phillips Sophie West
Trumpet Austin Watkinson Joseph Rosenbaum Andrew Mahoney Nolan Baxendell
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Emory Wind Ensemble Trombone Graham Crain Max Inman Beili Chou Josh Peacock
Maryville, TN Cary, NC Brooklyn, NY South Bend, IN
Business Quantitative Sciences/Music Quantitative Sciences/Philosophy Physics/Computer Science
Euphonium Christopher Labaza Kerry Zhu
Cary, NC Omaha, NE
Creative Writing Computer Science
Tuba Kendall Hauerwas
North Attleboro, MA
Economics/Math/History
Percussion Alexa Mohsenzadeh Zoe Zimmerman Peter Rubin Emmy Shi
Barrington, IL Ooltewah, TN Highland Park, IL Shanghai,China
NBB/Ethics Biology Biology/Environmental Sciences Psychology/Computer Science
String Bass Hannah Perron
Princeton Junction, NJ
History
Department of Music Administration Stephen Crist, Chair Bradley Howard, Director of Undergraduate Studies Paul Bhasin, Director of Undergraduate Research Martha Shockey, Senior Secretary Kathy Summers, Academic Department Administrator Sasha Shatalova Prior, Program Coordinator Julia Hudgins, Academic Services Coordinator
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Emory University Symphony Orchestra The nationally recognized Emory University Symphony Orchestra (EUSO) presents an annual season of dynamic performances with major works from the established orchestral repertoire such as Brahms’s Symphony No. 2, Mahler’s Symphony No. 1, Copland’s Appalachian Spring, and Beethoven’s Symphony No. 9, and new works of the 21st century. The EUSO also combines forces annually with Emory’s celebrated University Chorus to feature masterworks of the rich symphonic-choral tradition including Orff’s Carmina Burana, and the requiems of Brahms and Duruflé. EUSO students bring a variety of experiences to the ensemble, with many members having participated in the National Youth Orchestra, Interlochen, Brevard, Tanglewood Institute, Verbier Chamber Orchestra, and the Eastern Music Festival, in addition to prominent youth symphony and wind ensemble programs from around the United States and abroad. In addition to collaborations with faculty and other distinguished guest artists, students have the opportunity to appear as soloists with the orchestra as winners of the annual Emory Concerto and Aria Competition. The EUSO’s current project is a full-length CD Recording (under contract with Centaur Records) featuring concerti performed by Atlanta Symphony Orchestra principals and Emory faculty. Masterclasses with renowned artists are also a regular opportunity for EUSO students. Recent guests include Ray Chen, Daniel Hope, Zuill Bailey, and Roberto Diaz, among others. True to the spirit of the liberal arts environment, the large scale symphony orchestra draws its membership from not only the Department of Music but from all disciplines across the campus. Largely populated by music double majors, the orchestra warmly welcomes the participation of qualified non-majors and graduate students with appropriate backgrounds.
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Paul Bhasin, conductor Paul Bhasin serves on the faculty of Emory as director of orchestral studies. He conducts the Emory University Symphony Orchestra (EUSO) and the Emory Youth Symphony Orchestra (EYSO), and he teaches conducting. Praised for his crisp, clear conducting and highly expressive interpretations, Bhasin has led a variety of university, youth, and professional ensembles throughout North America and abroad, including performances at the Kennedy Center in Washington, D.C., throughout the People’s Republic of China, and later this year in Vienna, Austria, with the EUSO and vocal studies program. Bhasin has made guest appearances with the Virginia Symphony Orchestra, American Youth Philharmonic, Williamsburg Symphony Orchestra, and at Interlochen Arts Academy, and performed with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra. He has served as a guest orchestral clinician throughout the United States, and presented at national conferences, including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. Bhasin serves as music director of the Atlanta Chamber Music Festival. He has performed as a chamber musician on WFMT in Chicago and Detroit PBS-TV, at festivals nationwide, and with members of the Metropolitan Opera Orchestra in New York. Bhasin’s compositions, transcripts, and arrangements are published by Carl Fischer Music and have been performed and commissioned in the United States and abroad by the St. Louis Opera Theater, Grand Tetons Festival Orchestra, La Unió Musical l’Horta de Sant Marcel·lí (Valencia, Spain), and the Washington (DC) Symphonic Brass. Bhasin’s score to 9/23 Films’ motion picture HOGTOWN (award-winner at the Berlin, Los Angeles, and Nashville International Black film festivals) was praised by the Chicago Sun-Times as “ . . . scored beautifully by composer Paul Bhasin . . . better than the entirety of the last few features I’ve seen, period.” In 2016, reviewer Ben Kenigsberg of the New York Times named the film a Critic’s Pick and one of the Top 10 Films of 2016. Bhasin’s previous appointments include positions at the University of Wisconsin-Green Bay, Triton College, and the College of William & Mary. He received his musical education from the University of WisconsinMadison, Northwestern University, and the University of Michigan. 15
Emory University Symphony Orchestra Violin I Caroline Sikuta s Naples, FL Business/Music Concertmaster, Joel M. Felner, MD, Chair Performing on the Giovanni Grancino violin, Milan, 1687 Christy Song : Ringgold, GA Assistant Concertmaster
Biology/Music
Kaito Mimura : s H Will Duan Eric Zhang Carol Xu Doowon Kim s• Alyssa Stegall Victoria Gendron : Mirielle Ma : Ken Xiao Alexander Koeppel Chloe Nelson : Erin Yoon Rebecca Goodwin Cameron White : Judy Oh Jonathan Park
Chemistry/Music Mathematics/Music Physics and Astronomy/Music Human Health/Music Business/Music Political Science/Music Business/Music Biology Business NBB
Pennington, NJ Andover, MA Knoxville, TN Dallas, TX Suwanee, GA Monterey, CA Naples, FL Glastonbury, CT Houston, TX New York, NY RSM, CA Dallas, TX Marietta, GA Chicago, IL Auburn, AL Brentwood, NY
Anthropology/Human Biology Chemistry/Music Music Music/Biology Biology
Violin II Yihoon Shin : Waterloo, IA Chemistry Principal Second Violin, Edward Goodwin Scruggs Chair Performing on the Giuseppe Scarampella violin, Brescia, 1870 Thomas Sarsfield Assistant Principal
Lawrence, NJ
Business/Music
Ruth Jao Seyon Kim : Aritro Ray Katie Shin s• Sangin Paik Austin Park Dan Kim Natali Vera Pimentel • Sophia Barthel : Alyssa Chen
Clarksburg, MD Santa Clara, CA Dallas, TX Auburn, GA Seoul, South Korea Las Vegas, NV Bettendorf, IA Tyrone, GA Billings, MT Boston, MA
NBB NBB Undecided Engineering Sciences/Music Business Biology Biology NBB Chemistry Biology
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Emory University Symphony Orchestra Violin II (continued) Sherry Rui Kevin Sun Carl Dutton Rizky Lubis Sasha Lessin Burris Harry Jing Thomas Czick
Atlanta, GA Suwanee, GA Seattle, WA Teaneck, NJ Minneapolis, MN Vancouver, BC, Canada Wilton, CT
Undecided Business Mathematics Chemistry/Mathematics NBB/Mathematics NBB Chemistry/Classics
Wilson Hsu : Principal
Brookline, MA
Business Administration
Siji Osunkoya • Assistant Principal
Lilburn, GA
NBB/ Music Composition
Sihyun Jeon Christian Chae s Andrew Chung Rachel Lee • : Sirui Zhou Duncan Tam Julia Borthwick • Michael Blankfein Emory Wilson Ayusha Shrestha Lily Short Malhaar Nair
San Jose, CA Los Angeles, CA Edison, NJ Atlanta, GA Irvine, CA Hamden, CT Atlanta, GA Westport, CT Winston-Salem, NC Salt Lake City, UT Dallas, TX Atlanta, GA
Biology/Music Business Biology Biology Chemistry/English Music Music/Psychology Anthropology Chemistry NBB/Political Science Philosophy Undecided
Hwanwook Seong :• Principal
Sugar Hill, GA
Biology/Music
Caleb Park s Assistant Principal
Columbia, MD
Music/Chemistry
Sean Parker s Assistant Principal
Baton Rouge, LA
Biology/Music
Ahanu Banerjee Alex Banul Rachel Seong • Andrew Choi Tim Cho • Claire Lee : Jordan Leslie
Atlanta, GA Dallas, TX Sugar Hill, GA Carrollton, TX Suwanee, GA Suwanee, GA Atlanta, GA
Nursing Biology/Philosophy Biology/Music Physics/Computer Science Quantitative Sciences Music/International Affairs Undecided
Viola
Cello
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Emory University Symphony Orchestra Cello (continued) Hannah Lu : Edmund Wong Solomon Kim Richard Jensen Austin Chuang Harrison Helms
Austin, TX San Gabriel, CA Tokyo, Japan Pittsburgh, PA Charlotte, NC Greensboro, NC
Business/Music Human Health Music/Economics Business/Quantitative Sciences NBB History
Hannah Perron s Principal
Princeton Junction, NJ
History
Alex Petralia :• Assistant Principal
Atlanta, GA
Music/Undecided
Max Heeden
Atlanta, GA
Undecided
Bass
Flute and Piccolo (Listed alphabetically) Robyn Jin : Sara Ju : Julia Nagel s Claudia Wahoski • u
Seattle, WA Dix Hills, NY Crozet, VA Fayetteville, GA
Biology Human Health Environmental Science/Music Biology
Oboe and English Horn (Listed alphabetically) Jane Farrell u Helena Haas s Katie Liu
Worthington, OH Friendswood, TX Taiwan
Clarinet (Listed alphabetically) Eli Parrish Bremen, GA Benjamin DiGennaro Dallas, TX Henry Mangalapalli s Chicago, IL Chunjin Park Duluth, GA
Linguistics/Music NBB/Music Biostatistics Music Composition/ Environmental Science Computer Science/Business Biology/African American Studies NBB
Bass Clarinet Rodrigo Salinas
Lakeland, FL
Chemistry
Bassoon and Contrabassoon (Listed alphabetically) Vishaal Kareti • Nathan Muz Ashley Zhu
Marietta, GA Cambridge, MA Dallas, TX
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Undecided Mathematics Biology/Philosophy
Emory University Symphony Orchestra Horn (Listed alphabetically) Kayla Beck Highland Park, IL Michael Bian Buffalo Grove, IL Pulkit Gupta : Dallas, TX Lana Millman Clarendon Hills, IL
NBB NBB Physics/Biology Quantitative Sciences/Economics
Trumpet (Listed alphabetically) Will Hudson Nathaniel Lechtzin Joseph Rosenbaum Austin Watkinson s
Atlanta, GA Towson, MD Los Angeles, CA Great Falls, VA
Business Biophysics/Music Political Science/Music Music/Political Science/Business
Trombone and Bass Trombone (Listed alphabetically) Graham Crain u Ethan Feldman Max Inman s Shiven Sinha
Maryville, TN Minneapolis, MN Cary, NC Redmond, WA
Business Quantitative Sciences/Public Policy Quantitative Sciences/Music Business/Music
Atlanta, GA
Emory Artist Affiliate
Tuba Adam Frey
Percussion and Timpani (Listed alphabetically) Ginger Lau s Alexa Mohsenzadeh s Zoe Zimmerman Jason Goodman
San Ramon, CA Barrington, IL Ooltewah, TN Los Angeles, CA
Quantitative Sciences, Physics NBB/Ethics Biology Music/Political Science
Los Angeles, CA
Mathematics
Harp Ariella Lee
Piano and Keyboard Vivian Zhao
Phoenix, AZ
Music/NBB
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 u Emory Friends of Music Scholarchip Holder
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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. As you explore Music at Emory, we hope you enjoy this variety by 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.
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