MUSIC AT EMORY
2022–2023
This concert is presented by the Schwartz Center for Performing Arts.
404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu
Audience Information
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Health and Safety
The Schwartz Center follows the Emory University Visitor Policy with additional protocols outlined at schwartz.emory.edu/faq.
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 Design: Lisa Baron | Cover Photo: Mark Teague
Acknowledgment
This season, the Schwartz Center is celebrating 20 years of world-class performances and wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.
MUSIC AT EMORY
Emory University Symphony Orchestra
Members of the Vega Quartet
Elisabeth Remy Johnson, harp
Laura Schwendinger, guest composer
Paul Bhasin, conductor
Saturday, February 25, 2023, 8:00 p.m.
Emerson Concert Hall
Schwartz Center for Performing Arts
2022–2023
Introduction and Allegro, op. 47
Vega Quartet, soloists
Edward Elgar (1857–1934)
Jessica Shuang Wu and Emily Daggett Smith, violins
Yinzi Kong, viola
Guang Wang, cello
Second Sight
Laura Schwendinger
Concerto for Harp and Chamber Orchestra (b. 1962)
World Premiere
Elisabeth Remy Johnson, harp
Variations on an Original Theme, op. 36, “Enigma” Elgar Andante
I. (C.A.E.) L’istesso tempo
II. (H.D.S-P.) Allegro
III. (R.B.T.) Allegretto
IV. ( W.M.B.) Allegro di molto
V. (R.P.A.) Moderato
VI. ( Ysobel) Andantino
VII. (Troyte) Presto
VIII. ( W.N.) Allegretto
IX. (Nimrod) Adagio
X. (Dorabella) Intermezzo. Allegretto
XI. (G.R.S.) Allegro di molto
XII. (B.G.N.) Andante
XIII. (***) Romanza. Moderato
XIV. (E.D.U.) Finale. Allegro
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Program
Program Notes
Introduction and Allegro, op. 47 (1905)
Edward Elgar composed his Introduction and Allegro at the request of the London Symphony Orchestra. The newly formed ensemble invited the English composer to conduct a program of his works and to write a new piece for the occasion.
Elgar’s dear friend August Jaeger (the inspiration for Nimrod in the 1899 “Enigma” Variations) suggested: “Why not a brilliant quick String Scherzo or something for those fine strings only? A real bring-down-thehouse torrent of a thing such as Bach could write. . . . ” Elgar responded: “I’m doing that string thing . . . no working-out part but a devil of a fugue instead.” Elgar scored his Introduction and Allegro for string quartet and string orchestra, a nod to the Baroque concerto grosso and its juxtaposition of a small group of instruments (concertino) with the main body of the orchestra (ripieno). Elgar completed the work in February 1905 and led its first performance at London’s Queens Hall on March 8.
In program notes for the premiere, Elgar described the origin of a featured melody:
. . . in Cardiganshire (Wales), I thought of writing a brilliant piece for string orchestra. On the cliff, between the blue sea and blue sky, thinking out my theme, there came up to me the sound of singing. The songs were too far away to reach me distinctly, but one point common to all was impressed upon me, and led me to think, perhaps wrongly, that it was a real Welsh idiom—I mean the fall of a third—
The lack of adequate rehearsal time for the premiere of the Introduction and Allegro led to a subpar performance and a lukewarm reception. But in time, the composition established itself as one of the exemplary works for string orchestra.
The extended Introduction (Moderato) begins with a fortissimo statement by the quartet and orchestra. Later, the quartet’s viola sings the “Welsh” melody. The orchestra’s first violins launch the ensuing Allegro. Following the introduction of the principal thematic material, Elgar (as he explained to Jaeger) replaces their expected development (“workingout”) with a brilliant contrapuntal episode. A restatement of the themes leads to the final coda that includes a grand proclamation of the “Welsh” melody.
—Program note by Ken Meltzer
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Second Sight (World Premiere)
Second Sight is a dreamlike work that explores ethereal material that floats in and out, returns, and is transformed. The material once heard, is then repeated kaleidoscopically—except for a central dance section—to evoke a feeling of déjà vu, or musical “clairvoyance.” This dreamlike landscape features various colors and textural characteristics of the harp and seeks to feature the beauty of the instrument and more specifically, the great gifts of Elisabeth Remy Johnson as an artist and a soloist.
—Program note by Laura Schwendinger
Variations on an Original Theme, op. 36, “Enigma” (1899)
The premiere of Edward Elgar’s “Enigma” Variations took place at St. James’s Hall in London on June 19, 1899. After the performance, conductor Hans Richter called Elgar to the stage to acknowledge the audience’s enthusiastic reception. On June 23, Elgar’s mother proudly wrote to the composer’s wife: “What can I say to him, the dear one, I feel that he is some great historic person—I cannot claim a little bit of him—now he belongs to the big world.”
The word “Enigma” is found in the score above the introduction of the principal theme. In correspondence to Charles Barry, program annotator for the premiere, Elgar wrote:
It is true that I have sketched for their amusement and mine, the idiosyncrasies of 14 of my friends, not necessarily musicians; but this is a personal matter and need not have been mentioned publicly.
The Enigma I will not explain—its “dark saying” must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme “goes,” but is not played . . . So the principal Theme never appears, even as in some late dramas . . . the chief character is never on the stage.
These comments have inspired musical sleuths during the past century to try to uncover Elgar’s mystery “principal Theme.” In a 1911 commentary, Elgar suggested that the “Enigma” revolves not around some hidden melody, but the manipulation and development of the theme that is clearly presented at the opening of the piece: “This work, commenced in a spirit of humor and continued in deep seriousness, contains sketches of the composer’s friends. It may be understood that
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these personages comment or reflect upon the original theme and each one attempts a solution of the Enigma, for so the theme is called.”
All of this intrigue and conjecture have never obscured the status of the “Enigma” Variations as a brilliantly crafted and often moving work, a testament to Elgar’s considerable gifts at the service of the beloved friends who inspired him.
Andante—In the 17-bar introduction, the strings followed by the winds, present the various elements of the haunting principal theme.
I. (C.A.E.) L’istesso tempo—The composer’s loving tribute to his wife, Caroline Alice Elgar.
II. (H.D.S-P.) Allegro—Hew David Steuart-Powell was an amateur pianist who, according to Elgar, would begin each session with “a characteristic diatonic run over the keys.”
III. (R.B.T.) Allegretto—Richard Baxter Townshend was an author and amateur actor who regaled audiences with his ability to instantly shift his vocal range from the deepest basso profundo to the highest soprano.
IV. (W.M.B.) Allegro di molto—The briefest of the Variations depicts William Meath Baker informing his guests of arrangements he made for their transportation and then quickly leaving the room, “with a bang on the door.”
V. (R.P.A.) Moderato—Richard Penrose Arnold was the son of poet Matthew Arnold.
VI. (Ysobel) Andantino—Isabel Fitton studied viola with Elgar.
VII. (Troyte) Presto—Arthur Troyte Griffith was an architect and amateur painter.
VIII. (W.N.) Allegretto—Winifred Norbury served with Elgar as joint secretary of the Worcestershire Philharmonic Society.
IX. (Nimrod) Adagio—“Nimrod” is Elgar’s heartfelt depiction of his friend, August Jaeger (“jaeger” in German means “hunter,” thus the reference to Nimrod, the biblical hunter).
X. (Dorabella) Intermezzo. Allegretto—Dora Penny was W.M.B.’s step-niece whom Elgar nicknamed “Dorabella,” after a character in Mozart’s opera Così fan tutte.
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XI. (G.R.S.) Allegro di molto—According to Elgar, this section depicts George Robertson Sinclair’s bulldog, Dan, plunging into the river, vigorously swimming to shore and finally landing with a “rejoicing bark.”
XII. (B.G.N.) Andante—Basil G. Nevinson was an amateur cellist who often played chamber music with Elgar.
XIII. (***) Romanza. Moderato—The penultimate Variation is inspired by Lady Mary Lygon.
XIV. (E.D.U.) Finale. Allegro—The composer himself appears (“E.D.U.” is derived from “Edoo,” Lady Elgar’s nickname for her husband) in the stirring Finale.
—Program note by Ken Meltzer
The Vega Quartet
Emily Daggett Smith and Jessica Shuang Wu, violins; Yinzi Kong, viola; Guang Wang, cello
The Vega Quartet, quartet-in-residence at Emory University, is cultivating a new generation of chamber music lovers through dynamic performances and innovative community engagement. The New York Times raved that “[the quartet’s] playing had a kind of clean intoxication to it, pulling the listener along . . . the musicians took real risks in their music making” and the Los Angeles Times praised their “triumphant L.A. debut.” The musicians concertize both nationally and internationally, most recently in Baltimore, Chicago, Nashville, Berlin, San Miguel Mexico, the Concertgebouw in Amsterdam, and the Brahmssaal in Vienna’s
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Musikverein. The quartet’s major performing projects at Emory have included the complete cycle of Beethoven quartets, as well as pairing Bach’s complete works for solo violin, viola, and cello with the six Bartók quartets. The quartet has also developed a series of “Jazz Meets Classics” programs, bringing the two genres together.
One of the unique aspects of the quartet’s residency at Emory is to bring performance into the classroom, collaborating with academic professors to create interdisciplinary parallels and conversations. The members of the quartet also enrich the cultural life of their community, having founded the Emory Youth Chamber Music Program, which gives intensive training in small ensemble playing to advanced pre-college students. The quartet was appointed to the roster of the Woodruff Arts Center’s Young Audiences program, engaging thousands of students throughout the greater-Atlanta school system. It has also held residencies in Augusta, Jacksonville, and Juneau that combined traditional performances with educational outreach, performances in non-traditional venues, and master classes for area students.
The Vega Quartet has won numerous international awards, including at the Bordeaux String Quartet Competition, as well as top prizes from the Coleman Chamber Ensemble Competition, the Carmel Chamber Music Competition, and the National Society of Arts and Letters String Quartet Competition. The quartet tours throughout Asia, Europe, and North America, and has appeared at Weill Hall and Zankel Hall at Carnegie Hall, Bargemusic, and Duke Hall at the Royal Academy of Music, London. The members of the Vega Quartet collaborate with some of the world’s finest musicians including Andres Cardenes, Eliot Fisk, Christopher O’Riley, William Preucil, Richard Stoltzman, Mark O’Connor, Robert Spano, Charles Wadsworth, Peter Wiley, and the Eroica Trio. The musicians also commission, premier, and record works by leading composers. The quartet is a frequent guest at numerous music festivals including Amelia Island, Aspen, Brevard, Highlands-Cashiers, Juneau Jazz & Classics, Kingston, Mostly Mozart, Rockport, San Miguel de Allende, and SummerFest La Jolla.
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Laura Schwendinger, composer of Artemisia, which just won the 2023 American Academy of Arts and Letters Charles Ives Opera award, was the first composer to win the American Academy in Berlin Prize. A professor of music composition at the University of Wisconsin–Madison, Schwendinger’s works have been championed and premiered by artists including Dawn Upshaw, Arditti and JACK quartets, Jenny Koh, Janine Jansen, Matt Haimovitz, ICE, and Eighth Blackbird; and by organizations including Juilliard, the American Composers Orchestra, and the Franz Liszt Orchestra. Her music has been performed at such venues as Kennedy and Lincoln centers, the Berlin Philharmonic Kammermusiksaal, Wigmore and Carnegie halls, Miller Theater, and Théâtre Châtelet; and at festivals such as Tanglewood, Aspen, Ojai, Talis, and Bennington. Schwendinger’s honors are vast and varied including fellowships, awards, and commissions from the likes of Guggenheim, Fromm, Koussevitzky, the Radcliffe Institute, Copland Prize-Copland House, ALEA III First Prize, the American Academy of Arts and Letters, MacDowell Yaddo, Bogliasco, and Bellagio, among others. Her music has been called “captivating, artful . . . moving” and “music of infinite beauty” by the New York Times; and “the genuine article . . . onto the ‘season’s best list’” by the Boston Globe. The San Francisco Classical Voice said of her opera, “Artemisia is sumptuous on every level.” Music critic Colin Clarke wrote of her JACK Quartets CD, “the sheer intensity of the music is spellbinding . . . the passion shines through like . . . light.” Schwendinger’s second opera, Cabaret of Shadows (a second Fromm commission) was recently premiered by Musiqa at the Midtown Art and Theatre Center in Houston. Her music is published by Keiser/Southern Classical.
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Laura Schwendinger, guest composer
Elisabeth Remy Johnson, harp
Principal harpist of the Atlanta Symphony Orchestra since 1995, Elisabeth Remy Johnson performs nationally and internationally in solo and chamber music recitals. An avid recording artist, her recent solo album, Quest, spotlights works by women past and present, and has been acclaimed internationally, Gramophone calling it “an exquisite demonstration of the harpist’s art laid out in virtuoso swirls of color, pearls of elegant nuance, and audiophile sound.”
Remy Johnson also performs as principal harpist with the Grand Teton Music Festival and teaches at Emory University, Georgia State University, and Kennesaw State University.
Remy Johnson is a graduate of Harvard University, Phi Beta Kappa, where she majored in music and French. Winner of first-place awards in competitions of the American Harp Society and the American String Teachers Association, she was an NFAA/ARTS awardee.
In 2018, she founded the Merian Ensemble, a chamber group dedicated to performing and commissioning chamber music composed by women. The Merian Ensemble has received a travel grant from USArtists International–Mid Atlantic Arts Foundation and commissions have been funded by grants from the American Harp Society, the PRS Foundation, and Agnes Scott College’s Kirk Fund.
Remy Johnson recently published two volumes of transcriptions of works by female composers; additional transcriptions of works by Mel Bonis are published by Éditions Billaudot.
Remy Johnson is co-founder and served as artistic director (2000–2010) of the Urban Youth Harp Ensemble, teaching students from the Atlanta Public Schools. She has received Atlanta’s Channel 11 Community Service Award, the TBS Pathfinder’s Award, and the Atlanta Business Chronicle’s “Up and Comers Award.” She is a 2022 awardee of New Music USA’s Creator Development Fund for her project Estrelas with composer Clarice Assad and visual artist Xuan, exploring the roles of women in the fields of astronomy and astrophysics. In 2022, she was elected governor for the Recording Academy’s Atlanta chapter and serves as co-chair for the Education Committee.
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The 90-member Emory University Symphony Orchestra (EUSO) celebrates its 100th Anniversary this season. The orchestra performs repertoire spanning a variety of compositional genres from the Baroque through the present day. With concert programming featuring both classic and emerging literature, the EUSO has been celebrated in both tours (to New York City), recordings (on Atlanta’s NPR Affiliate), and collaborations with soloists and organizations including Janelle Monáe, 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 EUSO includes mostly music majors, many minors and non-majors participate each season as well. In fall 2022, the EUSO collaborated with professional archivist and photographer Sierra King (2022 Emory Arts and Social Justice fellow). The “re-imagined” class partnered the EUSO with King to explore how an archivist and an academic symphony orchestra can join forces to build community, arts access, and new audiences within the city of Atlanta. The work centered on the music of George Walker and combined archival, participatory, interpretive, photographic, and performative elements with documented activities taking place on campus and off.
Paul Bhasin, conductor
Paul Bhasin serves as director of orchestral studies at Emory University where he holds the Donna and Marvin Schwartz Professorship in Music. In this capacity, he conducts the Emory University Symphony Orchestra and the Emory Youth Symphony Orchestra, oversees music research programs, and teaches conducting. Praised for his “crisp, clear” conducting and “highly expressive” interpretations, Bhasin’s career began when he won the Yamaha Young Performing Artist Competition in 1998.
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Bhasin serves as music director and conductor of the DeKalb Symphony Orchestra and has recently led the Virginia Symphony Orchestra (including live radio broadcasts of subscription concerts), “President’s Own” United States Marine Band, American Youth Philharmonic, Williamsburg Symphony, performances at Interlochen, the Kennedy Center, and throughout the People’s Republic of China. He has also led performances as a guest conductor with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra, and with honor orchestras and bands (including at the all-state level). He has presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. An avid proponent of chamber music, Bhasin serves as music director of the Atlanta Chamber Music Festival, has performed as a chamber musician on WFMT in Chicago, Detroit PBS-TV, and developed residencies with the Chicago Symphony Orchestra’s Musicorps program and the Grammy-winning sextet Eighth Blackbird.
Bhasin has performed and recorded as a trumpeter with the Virginia Symphony and Opera; Columbus (Ohio) Symphony; New World Symphony; the Civic Orchestra of Chicago; and at the music festivals of Aspen, Tanglewood, and Ravinia; and as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, and at the International Dvořák Festival (Prague, Czech Republic). He has performed under the batons of Michael Tilson Thomas, James Conlon, James DePriest, Leonard Slatkin, Andreas Delfs, and Gustav Meier, and participated in the Aspen Conducting Academy orchestral program under David Zinman. His trumpet students have won first prize at major competitions including the National Trumpet Competition. Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels.
Bhasin’s compositions, transcriptions, and arrangements are published by Carl Fischer Music and have been performed and commissioned in the United States and abroad by the San Francisco Symphony Orchestra, St. Louis Opera Theater, and the Grand Tetons Festival Orchestra. In 2015, he composed and conducted the orchestral score to 9:23 Films’ motion picture, 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. He received his musical education from Northwestern University, the University of Michigan, and the University of Wisconsin-Madison.
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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
Christy Song, co-concertmaster : —Ringgold, GA—Biology and Music
Joel M. Felner MD Concertmaster Chair
Performing on the Giovanni Grancino violin, Milan, 1687
Kaito Mimura, co-concertmaster, H : —Pennington, NJ—Chemistry and Music
Aritro Ray—Dallas, TX—NBB and Chemistry
Seyon Kim : —Santa Clara, CA—NBB
Chloe Nelson : —Rancho Santa Margarita, CA—Chemistry and Music
Eric Zhang—Knoxville, TN—Physics/Astronomy and Music
Tommy Sarsfield—Lawrenceville, NJ—Music and Business
Louisa Ma—Phoenix, AZ—Business and Economics
Harutoshi Okumura—Hong Kong, China—Computer Science and Physics
Katie Shin • s —Auburn, GA—NBB and Music Research
Jaemin Paik—Fresno, CA—Business
Alyssa Stegall—Monterey, CA—Political Science and Music
Katherine Mao—Princeton, NJ—NBB and Music Composition
Peter Kim—Closter, NJ—Finance and Accounting
Judy Oh—Auburn, AL—Music and Biology
Daniel Wu—Buffalo Grove, IL—Computer Science
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Emory University Symphony Orchestra
Violin
II
Yihoon Shin, principal and co-concertmaster : —Waterloo, IA—Chemistry
Edward Goodwin Scruggs Principal Second Chair
Performing on the Giuseppe Scarampella violin, Brescia, 1870
Carol Xu—Dallas, TX— Economics and Human Health and Music
Ruth Jao—Clarksburg, MD—NBB
Christopher Li—Holmdel, NJ—Biology
Ashley Kim—Ridegwood, NJ—Economics and Human Health
Dan Kim— Bettendorf, IA—Biology
Alexander Koeppel—New York, NY—NBB
Alyssa Chen—Belmont, MA—Biology
David Chung—Atlanta, GA—Business
Noah Kann—Bethesda, MD—Business and Music
Izzy Hipple—Beaufort, SC—Biology
Ryana Rajesh—Wilmington, DE—Quantitative Sciences and Music
Rachel Fann—Taipei, Taiwan—Psychology and Business
Mark Arshavsky—Marietta, GA—Economics and Quantitative Sciences
Sasha Lessin-Burris—Minneapolis, MN—Biology and Women’s, Gender, and Sexuality Studies
Cheolmin Oh—Busan, South Korea—Finance
Viola
Sihyun Jeon, principal—San Jose, CA—Biology and Chemistry
Siji Osunkoya •—Lilburn, GA—NBB and Music Composition
Rachel Lee • : —Atlanta, GA—Biology
Andrew Chung—Edison NJ—Computer Science and Business
Caroline Ma s —Phoenix, AZ—Business and Economics
Christian Chae s —Los Angeles, CA—Business, Organization and Management
Michael Blankfein—Westport, CT—Anthropology
Sirui Zhou—Foothill Ranch, CA—NBB and Quantitative Sciences
Jihwan Shin—Suwanee, GA—Psychology
Malhaar Nair—Bethesda, MD—Linguistics and Music
Emory Wilson—Winston-Salem, NC—Chemistry
Ayusha Shrestha—Salt Lake City, UT—NBB and Political Science
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Emory University Symphony Orchestra
Cello
Caleb Park, co-principal s —Columbia, MD—Chemistry and Music
Sean Parker, co-principal s —Baton Rouge, LA—Biology and Music
Andrew Choi—Dallas, TX—Computer Science and Physics
Tim Cho •—Suwanee, GA—Quantitative Sciences
Rachel Seong •—Sugar Hill, GA—Biology and Music
Alex Banul—Richardson, TX—Biology and Philosophy
Solomon Kim s —Tokyo, Japan—Music Composition and Economics
Harrison Helms—Greensboro, NC—History
Owen Zealey-Chen—Atlanta, GA—Film and Business
Sergey Blinov—Durham, NC—Physics and Math
Peyton Turner—Plymouth Meeting, PA—NBB
Alexander Moon—Berkeley Heights, NJ—NBB
Chris Park—Rye, NY—Chemistry
Richard Jensen—Pittsburgh, PA—Business Administration and Analytics
Sophia Lin-David—Boston, MA—Political Science and Business
Bass
Alex Petralia, principal • : —Atlanta, GA—Music and Philosophy
Jinsun Yoo—Seoul, South Korea—Computer Science
Charles Ascone s —Englishtown, NJ—Undeclared
Max Heeden •—Atlanta, GA—Undeclared
Hannah Perron—Atlanta, GA—22C
Flute and Piccolo (Listed alphabetically)
Robyn Jin—Bellevue, WA—Biology
Sara Ju—Dix Hills, NY—Human Health
Julia Nagel s —Crozet, VA—Music and Philosophy, Politics, Law
Oboe and English Horn (Listed alphabetically)
Sophia Kim s —Princeton, NJ—Biology
Samantha Lai—Dallas, TX—Anthropology and Human Biology
Katie Liu—Tainan, Taiwan—Biostatistics
Eric Xu—Short Hills, NJ—Applied Mathematics and Chemistry
Clarinet (Listed alphabetically)
Isabelle Myers—South Beloit, IL—History, Art History, and Chemistry
Chunjin Park—Duluth, GA—Biology and Architectural Studies
Eli Parrish—Bremen, GA—Music Composition and Environmental Sciences
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Emory University Symphony Orchestra
Bass Clarinet
Rodrigo Salinas—Lakeland, FL—Chemistry
Bassoon and Contrabassoon (Listed alphabetically)
Vishaal Kareti •—Marietta, GA—Computer Science and Math
Nathan Muz—Cambridge, MA—Applied Mathematics
Horn (Listed alphabetically)
Noah Choe—Dubai, United Arab Emirates—Biology
Michael Bian—Buffalo Grove, IL—NBB and Ethics
Jose Moreno—Dallas, TX—Strategy Management Consulting and Finance
Pulkit Gupta : —Dallas, TX—Physics and Biology
Trumpet (Listed alphabetically)
Joey Chen—Beijing, China—Music
Nathaniel Lechtzin—Towson, MD—Biophysics, Music
Natalie Park—Decatur, GA—Business
Austin Watkinson s —Great Falls, VA—Music and Business
Trombone and Bass Trombone (Listed alphabetically)
Timothy Brewer s —Mason, OH—Music and Business
Christopher Park •—Lilburn, GA—Biology
Joshua Peacock—Elkhart, IN—Physics and Computer Science
Shiven Sinha—Redmond, WA—Music and Business
Tuba
Graham Wells—Atlanta, GA—BSc Chemistry, 2007
Percussion and Timpani (Listed alphabetically)
Ginger Lau s —San Ramon, CA—Physics
Alexa Mohsenzadeh s —Barrington, IL—NBB and Ethics
Peter Rubin—Highland Park, IL—Biology and Environmental Sciences
Emmy Shi—Shanghai, China—Psychology and Computer Science
Harp
Brigid May s —Holly Springs, NC—Music and English
Piano and Keyboard
Vivian Zhao—Phoenix, AZ—NBB and Music
NBB: Neuroscience and Behavioral Biology
• Emory Youth Symphony Orchestra Alumnus s Woodruff/Music Woodruff Scholar/Music LAS Award Recipient
H Dean’s Achievement Scholar
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: Edward Goodwin Scruggs Scholarship holder
Emory String, Wind, and Percussion Faculty
Laura Ardan, clarinet
Emily Brebach, oboe •
Jay Christy, violin •
Emily Daggett Smith, violin u
Jason Eklund, horn s :
Karen Freer, cello •
Adam Frey, euphonium
Anthony Georgeson, bassoon •
Marci Gurnow, clarinet •
Roee Harran, cello
Yinzi Kong, viola u
Michael Kurth, bass •
Mark Maliniak, trumpet •
Michael Moore, tuba •
Paul Murphy, viola •
Gary Paulo, saxophone
Scott Pollard, percussion
Elisabeth Remy Johnson, harp •
Sasha Shatalova Prior, oboe :
Jessica Shuang Wu, violin u
Christina Smith, flute •
Justin Stanley, clarinet
Michael Tiscione, trumpet •
Shelly Unger, bassoon
Guang Wang, cello u
Mark Yancich, percussion •
Jim Zellers, flute s
Nathan Zgonc, trombone •
• Atlanta Symphony Orchestra
s Atlanta Opera Orchestra
: Atlanta Ballet Orchestra
u Vega Quartet
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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
Simone McGaw Evans, program coordinator
Julia Hudgins, academic services 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, undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in the department earn a BA in music with a specialization in performance, composition, or research; many 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, faculty members 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. A gift provides crucial support to all music activities. To learn more, visit music.emory.edu or call 404.727.6280.
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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.
We hope you enjoy sampling an assortment of work from our student ensembles, community youth ensembles, artists in residence, professional faculty, up-and-coming prodigies, and virtuosos from around the world.
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