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 In Consideration
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 The concert hall capacity has been reduced in order to allow distance between seated parties. Please be mindful of distancing.
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Ushers
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Accessibility
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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
DONNA AND MARVIN
SCHWARTZ ARTIST IN RESIDENCE Emory University Symphony Orchestra Paul Bhasin, conductor Featuring a World Premiere Composition by Brittany Green, Schwartz Artist in Residence
Emory University Chorus Eric Nelson, director Jonathan Easter and Greg Matteson, rehearsal pianists
Friday, April 22, 2022, 8:00 p.m. Saturday, April 23, 2022, 8:00 p.m. Emerson Concert Hall Schwartz Center for Performing Arts
Program Brittany Green (b. 1991)
In the Beginning World Premiere
The Emory University Symphony Orchestra (EUSO) BIPOC Composer Commission Project is a three-year commissioning project whose primary aim is to expand the canon of orchestral music by commissioning and premiering new works by three emerging composers from backgrounds currently underrepresented within American classical music. This project was designed to coincide with the celebration of the EUSO’s centennial anniversary in 2023. This project is a collaboration between the Schwartz Center for Performing Arts, the EUSO, and Emory composition faculty. It is supported by the Donna and Marvin Schwartz Foundation Artist-in-Residence Program. Totenfeier, Symphonic Poem for Large Orchestra
Requiem in D Minor, K. 626 (completed, Süssmayr) I. Introitus: Requiem II. Kyrie III. Sequenz No. 1 Dies irae No. 2 Tuba mirum No. 3 Rex tremendae No. 4 Recordare No. 5 Confutatis No. 6 Lacrimosa IV. Offertorium No. 1 Domine Jesu No. 2: Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna
Gustav Mahler (1860–1911)
Wolfgang Amadeus Mozart (1756–1791)
Samantha Frischling, soprano; Simone McGaw Evans , mezzo-soprano; Bradley Howard, tenor; Michael Dauterman, bass-baritone
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Texts and Translations I. Introitus: Requiem Requiem aeternam dona eis, Domine, Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam; ad te omnis caro veniet. Requiem aeternum dona eis, Domine, et lux perpetua luceat eis.
Grant them eternal rest, O Lord, Thou shalt have praise in Zion, oh God, and homage shall be paid to Thee in Jerusalem. Hear my prayer; to Thee all flesh shall come. Grant them eternal rest, O Lord, and may perpetual light shine upon them.
II. Kyrie Kyrie eleison! Christe eleison! Kyrie eleison!
Lord have mercy upon us! Christ have mercy upon us! Lord have mercy upon us!
III. Sequenz No. 1: Dies irae Dies irae, dies illa solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus cuncta stricte discussurus.
This day, this day of wrath shall consume the world in ashes, as prophesied by David and the Sibyl. What trembling there shall be, when the Judge shall come to weigh everything strictly.
No. 2: Tuba mirum Tuba mirum spargens sonum per sepulchra regionum coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura judicanti responsura.
The trumpet, scattering its awful sound across the graves of all lands, summons all before the throne. Death and nature shall stand amazed, when creation arises to answer to the Judge.
Liber scriptus proferetur in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit. Quid sum, miser tunc dicturus, quem patronem rogaturus cum vix justus sit securus?
A written book shall be brought forth that contains everything, whereby the world shall be judged. When the Judge takes his seat all that is hidden shall appear, nothing shall remain unavenged. What shall I, a wretch, say? To which protector shall I appeal when even the righteous is barely safe? 5
Texts and Translations No. 3: Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salve me, fons pietatis!
King of awful majesty, who freely saves the redeemed, save me, fount of pity!
No. 4: Recordare Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas illa die. Quaerens me sedisti lassus, redemisti crucem passus, tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis ante diem rationis!
Remember, gentle Jesus, that I am the reason for Thy time on earth, do not cast me out on that day. Seeking me, Thou didst sink down wearily, Thou didst redeem me by enduring the cross, such travail must not be in vain. Just judge of vengeance, give me the gift of redemption before the day of reckoning!
Ingemisco tanquam reus, culpa rubet vultus meus, supplicanti parce, Deus! Qui Mariam absolvisti et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae, sed tu bonus fac benigne, ne perenni cremer igne! Inter oves locum praesta et ab hoedis me sequestra, statuens in parte dextra.
I groan, like the sinner that I am, and my face reddens with guilt, spare the supplicant, O God! Thou, who pardoned Mary and heard the prayer of the thief, hast given me hope as well. My prayers are not worthy, but Thou, Good One, in pity let me not burn in the everlasting fire! Give me a place among the sheep and separate me from the goats, placing me on Thy right hand.
No. 5: Confutatis Confutatis maledictis, flammis acribus addictis, Voca me cum benedictis! Oro supplex et acclinis, cor contritum quasi cinis. Gere curam mei finis!
When the damned are cast away and consigned to the searing flames, call me with the blessed! Bowed down in supplication I beg Thee, my heart as contrite as ashes, take Thou my ending into Thy care!
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Texts and Translations No. 6: Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu, Domine! Dona eis requiem! Amen.
Oh this day full of weeping, when from the ashes arises the guilty man, to be judged. Have mercy upon him, O Lord, merciful Lord Jesus! Grant them rest! Amen.
IV. Offertorium No. 1: Domine Jesu Domine Jesu Christe, Rex gloriae! Libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu! Libera eas de ore leonis! Ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifier sanctus Michael repraesentet eas in lucem sanctum, quam olim Abrahae pomisisti et semini ejus.
Lord Jesus Christ, King of glory! Deliver the souls of the faithful departed from the pains of hell and the deep pit! Deliver them from the mouth of the lion! That hell may not engulf them, and that they not be plunged into darkness. But may the holy standard-bearer Michael lead them into the holy light, as Thou didst promise of old to Abraham and his seed.
No. 2: Hostias Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie, memoriam facimus: fac eas, Domine, de morte transire ad vitam; quam olim Abrahae promisisti et semini ejus.
In praise we offer to Thee, O Lord, sacrifices and prayers; do Thou receive them on behalf of souls of those, whom we remember this day: from death to life, allow them, O Lord, to pass as Thou didst promise of old to Abraham and his seed.
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Texts and Translations V. Sanctus Sanctus, sanctus, sanctus, Dominus, Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna in excelsis!
Holy, holy, holy, Lord God of hosts! Heaven and earth are full of Thy glory. Glory to God in the highest!
VI. Benedictus Benedictus, qui venit in nomine Domini. Osanna in excelsis!
Blessed is he who cometh in the name of the Lord. Glory to God in the highest!
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam!
Lamb of God, that taketh away the sins of the world, grant them rest. Lamb of God, that taketh away the sins of the world, grant them eternal rest!
VIII. Communio: Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.
May everlasting light shine upon them, O Lord, with Thy saints forever, for Thou art merciful.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis! Cum sanctis tuis in aeternum, quia pius es.
Lord, grant them eternal rest and let perpetual light shine upon them! With Thy Saints forever, for Thou art merciful. —English translation by Ken Meltzer
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Program Notes In the Beginning In the Beginning explores the excitement of new worlds forming, colliding, and shifting into place. Legato figures and florid gestures shift throughout the ensemble as soft woodwind and string features juxtapose stately brass and rambunctious percussion. In the Beginning was commissioned by the Emory University Symphony Orchestra under the direction of conductor Paul Bhasin during the 2021–2022 season. —Brittany Green
Totenfeier, Symphonic Poem for Large Orchestra (1888) In January 1888, Gustav Mahler began to sketch an orchestral movement he titled Totenfeier (Funeral Rites). Mahler had just conducted the successful Leipzig premiere of Carl Maria von Weber’s opera, Die drei Pintos. Flowers from various well-wishers bedecked Mahler’s room. His friend, Natalie Bauer-Lechner, recalled that while composing Totenfeier, Mahler (who always harbored a morbid preoccupation with mortality) had a vision in which he was “dead, laid out in state, beneath wreaths and flowers.” Mahler completed Totenfeier that August. It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony (Mahler completed his Symphony No. 1, “Titan,” in March 1888). The original score bears the work’s title, as well as the designations “Symphony in C Minor” (crossed out) and “Movement I” (not crossed out). In March 1891, Mahler was appointed conductor of the State Theater in Hamburg. That September, Mahler approached the eminent conductor and leader of the Hamburg Orchestra, Hans von Bülow. Mahler asked Bülow to hear Totenfeier, which had still not been performed. The meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. Although Bülow repeatedly covered his ears, he still urged the increasingly agitated composer to continue. Finally, as Mahler related to his friend, composer Josef Foerster: When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. Suddenly, he made an energetic gesture of rejection and said, “If that is still music then I do not understand a single thing about music.” 9
We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer. Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony. A month after the unhappy meeting with Bülow, Mahler sent a letter to his publisher, referring to Totenfeier as a “symphonic poem.” It was not until almost three years later, in June 1894, that Mahler completed the work known as his “Resurrection” Symphony. During the process of completing the work, Mahler made numerous revisions to Totenfeier, most notably in the orchestration, but also to some degree in the structure and flow of the music. The following is a description Mahler provided of Totenfeier for a 1901 Dresden performance of the “Resurrection” Symphony: I. Maestoso— We are standing beside the coffin of a man beloved. (Note: In a letter of March 26, 1896, Mahler informed Max Marschalk: “I have called the first movement Totenfeier, and if you would like to know, I am interring the hero of my D Major Symphony [No. 1, “Titan”], whose life I capture in a pure reflection from a higher vantage point.”) For the last time, his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this solemn and deeply stirring moment, when we are released from the paltry distractions of everyday life, our hearts are gripped by a voice of awe-inspiring solemnity, that we seldom or never hear above the deafening traffic of mundane affairs. What next? it says. What is life—and what is death? Have we any continuing existence? Is it all an empty dream, or has this life of ours, and our death, a meaning? If we are to go on living, we must answer this question. In the 1896 letter to Marschalk, Mahler concludes: “this answer I give in the last movement” (of the “Resurrection” Symphony).
Requiem in D Minor, K. 626 (1791) (completed, Süssmayr) In early summer 1791, Wolfgang Amadeus Mozart received a visit at his Vienna home from “an unknown messenger.” The individual, acting on behalf of another who wished to remain anonymous, requested Mozart to 10
compose a Requiem Mass. According to Mozart’s early biographer, Franz Xaver Niemetschek, the messenger cautioned the composer not to try “to find out who had given the order, as it would assuredly be in vain.” A few months later, Mozart received another visit from the messenger, who “appeared like a ghost,” and inquired about the status of the commission. As Mozart’s physical condition deteriorated, he desperately attempted to complete the Requiem. In fact, Mozart continued to work on the Requiem until almost the very moment of his death. The horrible irony of the situation was not lost upon the composer. On more than one occasion, Mozart remarked that he was writing his own Requiem. When Mozart died, just a few minutes before 1:00 a.m. on December 5, 1791, the Requiem was unfinished. Wolfgang Amadeus Mozart was 35 years old. Over time, much of the Requiem’s lore and mystery has been superseded by fact. For example, we now know that the “unknown messenger” was representing Count Franz Walsegg, a nobleman who resided in Lower Austria. Count Walsegg was an amateur musician who played both the flute and cello. One of the Count’s hobbies was to commission, anonymously, works by various prominent composers, and then try to pass the music off as his own. The Count’s wife died on February 14, 1791. It is quite possible that Walsegg commissioned the Requiem from Mozart with the intention of presenting it on the first anniversary of her passing. The image of Mozart—deathly ill, and racing against time to complete the Requiem—certainly makes for a compelling story. In the case of Peter Shaffer’s Amadeus (1979), it even makes for compelling theater. But in truth, during a considerable portion of the time Mozart was involved in the creation of the Requiem, he was in reasonably good health and spirits. However, by the middle or end of October, Mozart began to feel ill. Mozart was convinced that he had been poisoned. He told Constanze: “I know I must die . . . someone has given me acqua toffana and has calculated the precise time of my death—for which they have ordered a Requiem, it is for myself I am writing this.” Constanze, fearful that the Requiem was the cause of her husband’s morbid thoughts, convinced him to put the work aside. A few weeks later, Mozart told Constanze, “Yes I see I was ill to have had such an absurd idea of having taken poison, give me back the Requiem and I will go on with it.” But on November 20, Mozart became stricken with the illness (perhaps, rheumatic fever) that would kill him in a few weeks’ time. Nevertheless, Mozart continued his work on the Requiem. On the eve of his death, Mozart sang the music with his friends, Benedict Schack, Franz Xaver Gerl (the first Sarastro in Mozart’s opera, The Magic Flute) and 11
Josepha Weber Hofer. However, when the group arrived at the Lacrimosa (“On this day full of weeping”), Mozart “began to weep violently and the score was laid aside.” Shortly before his passing, Mozart spoke with his student, Franz Xaver Süssmayr, concerning the completion of the Requiem. Constanze’s younger sister, Sophie, recalled that when she rushed back to the house, she found Mozart speaking to Süssmayr, “explaining to him how he thought he should finish it after his death . . . the last thing he did was to try to mouth the sound of the timpani in his Requiem; I can still hear it now.” Constanze’s final conversation with her husband occurred when she tried to reassure him that his physician had offered an optimistic diagnosis. Mozart responded: “It isn’t true. I shall die, now when I am able to take care of you and the children. Ah, now I will leave you unprovided for.” And with those words, Mozart died. After Mozart’s death, Constanze entrusted Joseph Eybler with the task of completing the Requiem. Eybler began work on the Requiem, but ultimately found that he did not have sufficient time to devote to the project. Constanze then approached several other composers before deciding upon Süssmayr. Debate continues as to the specific contributions of Mozart and Süssmayr to the Requiem. But in any event, Süssmayr’s efforts allowed Constanze to receive the remainder of Count Walsegg’s commission fee. On December 14, 1793, Count Walsegg presented the Requiem in WienerNeustadt. The subsequent revelation of Mozart’s authorship of the work caused him no small embarrassment. By the very nature of its creation, Mozart’s Requiem has inspired considerable debate—not to mention several performing editions. And while it is fascinating to speculate on what Mozart might have accomplished with the Requiem had he been given more time on this earth, what remains is a work of haunting eloquence, beauty, and power. Perhaps it is only fitting that a sublime genius, taken far too soon, would bequeath as his valedictory statement a glorious work that, nonetheless, leaves us yearning for more. —Program notes by Ken Meltzer, unless otherwise indicated
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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.
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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.
Eric Nelson, director Eric Nelson is director of choral studies at Emory University and artistic director of Atlanta Master Chorale. Nelson’s choirs have performed throughout the world, including in London, Rome, Berlin, Moscow, Seoul, Carnegie Hall, the Meyerson Symphony Center in Dallas, and the Sydney Opera House. He has conducted choirs at eight American Choral Directors Association (ACDA) conventions, including Atlanta Master Chorale’s performance at Orchestra Hall in Minneapolis and Emory Concert Choir’s performances at Orchestra Hall in Chicago and Lincoln Center in New York City. Nelson’s ensembles are characterized by their variety of repertoire and for their ability to fuse technical precision with warmth of musical expression. He appears regularly as clinician, lecturer, and guest conductor for honor choirs, conventions, symposiums, workshops, and all-state choral festivals. He is also past president of the Georgia chapter of the ACDA. Nelson’s choral compositions and arrangements are sung regularly by ensembles throughout the United States. He is the editor of the Atlanta Master Chorale Choral Series, a division of Morningstar Music Publishers and EC Schirmer. His compositions are also published by Colla Voce and Augsburg Fortress. Nelson has degrees in voice and conducting from Houghton College, Westminster Choir College, and Indiana University.
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Samantha Frischling, soprano Praised for her voice of “terrific force” and “scene-stealing performances” (South Florida Classical Review), soprano Samantha Frischling is a Los Angeles native currently based in Atlanta. Her past roles include both Blanche and Madame Lidoine in Dialogues des Carmélites, Almera in Nico Muhly’s Dark Sisters, and Micaëla in Carmen, as well as selections from Fidelio as Leonore, Der Rosenkavalier as the Marschallin, and Don Carlo as Elisabetta. She has been a young artist with festivals around the country and abroad, including SongFest, the Savannah Voice Festival, Miami Music Festival, and IVAI New York. This summer, she will join Spoleto Festival USA as a vocal fellow. Passionate about art song and concert repertoire, Frischling has performed in recitals around the country and was the soprano soloist in Haydn’s Missa Brevis St. Joannis de Deo and Mozart’s Laudate Dominum with the Emory Mastersingers. She is also an active chorister, singing with the Atlanta Master Chorale and All Saints Episcopal Church in Atlanta, and will be a member of the inaugural Spoleto Festival USA Chorus this summer. Frischling is an alumna of Emory University, where she received a bachelor of arts degree in music and psychology. While at Emory, she was a recipient of the Excellence in Music Award, the Robert Shaw Outstanding Singer Award, the Lemonds Award for Music Study Abroad, an honorable mention at the Emory Concerto and Aria Competition, and the Charles E. Shepard Scholarship for Graduate Study. In May 2019, she received a master of music degree from the Mannes School of Music, where she was a recipient of the Provost’s Scholarship and studied with Beth Roberts. Offstage, Frischling is passionate about building bridges between her music and psychology studies by researching how vocal music education can help students develop self-efficacy and resilience, and teaches voice through the Galloway School and Atlanta International School, as well as privately. Additionally, she is the administrative assistant for the Emory University Chorus and an alumni relations liaison for the Emory Concert Choir, where she enjoys continuing to serve music and musicians from behind the scenes. 15
Simone McGaw Evans, mezzo-soprano Simone McGaw Evans, mezzo-soprano, has specialized in mostly “trouser” operatic roles and solo recitals, with the most recent performances including Mercedes in Carmen, “France Between the Wars (1918–1938),” and a lecture-recital on the songs of George Gershwin. Evans was the executive director (2017– 2020) of Peach State Opera, a touring opera company based in Georgia, where she spearheaded strategic planning that resulted in the organization’s most financially lucrative years. In addition to her teaching position as an artist affiliate at Emory University, she is also a voice instructor at Georgia State University’s Perimeter College–Clarkston Campus and a freelance grant writer. Originally from Jamaica, Evans completed a bachelor’s degree in voice performance at Georgia State University School of Music after transferring from Georgia Perimeter College. She has graduate degrees from the University of Cincinnati College-Conservatory of Music (CCM) in voice performance with concentrations in pedagogy and arts management.
Bradley Howard, tenor With a career spanning classical and modern choral works, solo recitals, and opera roles, tenor Bradley Howard has gained recognition as a multi-faceted vocalist, performing under the batons of renowned conductors Seiji Ozawa, William Fred Scott, Christian Badea, Riccardo Muti, Joesph Flummerfelt, Yoel Levi, John Mauceri, and Robert Spano. A passionate educator, he joined the faculty of Emory University as director of vocal studies in 2011. Howard began his career as a fellow at the Tanglewood Music Center. His operatic successes include Tamino in The Magic Flute, Ferrando in Così fan tutte, Rodolfo in La bohème, Beppe in I Pagliacci, Count Almaviva in Il barbiere di 16
Siviglia, and Peter Quint in Britten’s Turn of the Screw. He has participated in festivals including Spoleto, Chautauqua Opera, the Ohio Light Opera, Tanglewood Music Festival, and Breckenridge Music Institute. Howard brings depth and excitement of an expansive repertoire to his solo recitals, handling the florid style of Bach and fragmented tonalities of Britten and Menotti with equal aplomb. This season he will be touring with pianist Lee D. Thompson performing Robert Schumann’s Dichterliebe, Maurice Ravel’s Don Quichotte, and War Dreams by John David Earnest. Howard’s concert engagements include a long-time collaboration with the Atlanta Symphony Orchestra. Recording credits include the ACA Digital production of the Atlanta Opera’s Mozart Requiem and Telarc’s La bohème with the Atlanta Symphony Orchestra. Howard’s students attend undergraduate and graduate programs at the Julliard School, Manhattan School of Music, Oberlin, University of Cincinnati, the University of Michigan, Elon College, Carnegie Mellon, New York University, Roosevelt, Bard College, and many others. They participate in young artist programs such as Interlochen, Amalfi Coast Music Festival, Houston Grand Opera’s YAVA, and other local and international programs. Recently, Howard taught at the Amalfi Coast Music Festival in Maiori, Italy.
Michael Dauterman, bass-baritone Michael Dauterman is the director of music and worship arts at Glenn Memorial United Methodist Chruch. He has previously held this title at Grace UMC (midtown Atlanta), Holy Trinity Episcopal (Decatur), and First UMC Melrose (Melrose, Massachusetts). In addition to his church positions, Dauterman also taught in both private and public schools for seven years in Cincinnati and Atlanta. Dauterman has previously served as director of choral music at Riverwood International Charter School and the Westminster Schools where his ensembles have consistently received superior ratings at adjudicated festivals and competitions. He has taken his singers to such places as London, New York, Vienna, and Berlin in order to expand their cultural and musical literacy and appreciation. Dauterman has also sung 17
professionally as a member of such choral ensembles as Handel & Haydn Society (Boston), Kinnara Ensemble (Princeton, New Jersey), Atlanta Master Chorale, Skylark (Atlanta), Cecilia Ensemble (Augusta, Georgia), and Vocal Arts Ensemble (Cincinnati) and maintains an active performance schedule as a baritone soloist. He has appeared with the Emory University Chorus, Clayton State Masterworks Singers, Kennesaw State University, and the Summer Singers of Atlanta. Dauterman has degrees from the University of Cincinnati–College Conservatory of Music (bachelor’s in music education) and Boston University (master of sacred music). He is the proud dad of Nora and, in his limited spare time, you can catch him on the Beltline training for a marathon, on the golf course, or at one of Atlanta’s many amazing breweries.
Brittany Green, composer Brittany Green is a North Carolina-based composer, creative, and educator. Described as “cinematic in the best sense” and “searing” (Chicago Classical Review), Green’s music works to facilitate collaborative, intimate musical spaces that ignite visceral responses. Her music has been featured at concerts and festivals throughout North America, including the Boulanger Initiative’s WoCo Fest, the Society of Composers National Conference, and New York City Electronic Music Festival. Green’s music has been commissioned and performed by the International Contemporary Ensemble, JACK Quartet, and Transient Canvas, and awarded the American Academy of Arts and Letters’ Charles Ives Scholarship (2022), ASCAP Morton Gould Award (2021), and New Music USA’s Creator Development Grant (2021). Green has a bachelor of music degree in music education and a master of music degree in music composition and theory, and is currently a Dean’s Graduate Fellow at Duke University, pursuing a PhD in music composition.
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Emory University Chorus Open to all Emory students as well as to members of the Emory community, the University Chorus holds a unique place in Emory life. Music majors and nonmajors, undergraduate and graduate students, faculty and staff, parents and their children, workers and retirees, alumni and neighbors, all come together to rehearse each Monday evening, united by their common love of singing. The chorus regularly collaborates with the Emory University Symphony Orchestra to perform major works, including the requiems of Brahms and Fauré, Handel’s Messiah, and Orff’s Carmina Burana. Soprano Lucy Adelman Uma Alappan Barbara Antley Aliyah Auerbach Jordan Averett Lucky Bao Rachael Berkoff Anjali Borschel Trinitee Dahn Amélie de Roualle Ada Demling Jess Ferguson Greta Franke Rebecca Frischling Ariel Gale Candy Gao Melanie Green Julia Green Helena Haas Sarah Hooker Fiona Jones Dolly Katz Ariella Lee Julia Lega Elizabeth Leslie Elena Mavromatis Kylie Measimer
Katie Morgan Glass Anushka Nayak Lynn O’Neill Ellie Paek Elianna Paljug Zoë Pollock Anna Ree Ella Jane Reinhard Diana Ricketts Carolina Robinson Alex Rodgers Alexa Schwartz Evelyn Sload Andrea Snoddy Hannah Soloff Zoe Stephens Hannah Studdard Catherine Wang Rachel Warhaftig Annalise Weber Nikki Wyman Alto Carol Allums Sophia Bereaud Srinidhi Bharadwaj Hadley Bryant Darcy Caracciolo Emma Chatson 19
Emory University Chorus Alto (continued) Kelly Weirich Phyllis Weiss
Alto (continued) Gloria Coble Keirra Dodd Dylan Douglas-Brown Sharon Fisher Alexandra Fulford Amanda Gill Emily Griswold Sofia Hayes Rita Helfand Bryn Higdon Jackie Hubbard Savanah Jackle April Liao Karyn Lisker Alexa Lisenby Ally Mandell Liane Muir Katie Nabors Susan Nelson Isabel Packard Sol-be Park Aneeka Patel Livia Peng Madison Platt Lynn Rogers Faith Schofield Lulu Scully Emma K. Shibley Mary Slaughter Rosalind Staib Nichole Stettner Ellie Sulser Cathy Toren Katya van Anderlecht Catalina Varela Alex Vigder Claire Wei
Tenor Charlie Byrne Patrick Devins Sahrudh Dharanendra Michael Diebert Anthony Gacasan Chuck Hagel Zeaven Hoxie Davis Husk Andrew Johnson Hunter Kief Remi Levinson Gheric Lindberg Matthew Nails Jack Nickles David Rogers Lev Sheinfeld Davy Song Alan Stevenson Bill Stiefel Ammar Ul Haq David Wang Bass Eric Albanese Austin Beale Sam Blocker Justin Y.J. Burton Patrick Czabala Paul DeSandre Declan Edwards Sam Ellis George Evans Paul Frysh Ian Hogben
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Emory University Chorus Bass (continued) Christopher Hooker Samuel Hulsey David Hurtado Taral K. Jella Dennis Jones Joseph Kim Yvette Lapeza John Lilly Scott Matthews Jack Miklaucic Alex Moss Demarius Newsome
Bass (continued) Ruize Niu Cameron Obioha Peter Petrakis Avery Rose George Shingler Buddy Snipes Michael Sorkin James Steffen George Sustman David Travis Daniel Weiss Chip Wilmot Joey Woodall
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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. Master classes 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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Emory University Symphony Orchestra Violin I Caroline Sikuta s
Naples, FL
Business/Music
Kaito Mimura : s H
Pennington, NJ
Chemistry/Music
Christy Song : Carol Xu Eric Zhang Thomas Sarsfield Chloe Nelson : Doowon Kim • s Mirielle Ma : Rebecca Goodwin Alexander Koeppel Aritro Ray Alyssa Stegall Judy Oh Jonathan Park
Ringgold, GA Dallas, TX Knoxville, TN Lawrence, NJ RSM, CA Suwanee, GA Glastonbury, CT Marietta, GA New York, NY Dallas, TX Monterey, CA Auburn, AL Brentwood, NY
Biology/Music Human Health/Music Physics and Astronomy/Music Business/Music Chemistry/Music Business/Music Biology Chemistry/Music NBB Undecided Political Science/Music Music/Biology Biology
Violin II Yihoon Shin :
Waterloo, IA
Chemistry
Will Duan
Andover, MA
Mathematics/Music
Concertmaster, Joel M. Felner, MD, Chair Performing on the Giovanni Grancino violin, Milan, 1687 Assistant Concertmaster
Principal Second Violin, Edward Goodwin Scruggs Chair Performing on the Giuseppe Scarampella violin, Brescia, 1870 Assistant Principal
Seyon Kim : Santa Clara, CA Ruth Jao Clarksburg, MD Erin Yoon Dallas, TX Sangin Paik : Seoul, South Korea Natali Vera Pimentel • Tyrone, GA Katie Shin • s Auburn, GA Alyssa Chen Boston, MA Austin Park Las Vegas, NV Dan Kim Bettendorf, IA Sherry Rui Atlanta, GA Sophia Barthel : Billings, MT Kevin Sun Suwanee, GA Sasha Lessin-Burris Minneapolis, MN 23
NBB NBB Anthropology/ Human Biology Business NBB Engineering Sciences/Music Biology Biology Biology Undecided Chemistry Business NBB
Emory University Symphony Orchestra Viola Wilson Hsu :
Brookline, MA
Business Administration
Sihyun Jeon
San Jose, CA
Biology/Music
Siji Osunkoya • Jabin Sohng Rachel Lee • : Christian Chae s Andrew Chung Sewon Park Sirui Zhou Duncan Tam Michael Blankfein Julia Borthwick • Ulia Ahn : Ayusha Shrestha Emory Wilson Malhaar Nair
Lilburn, GA Las Vegas, NV Atlanta, GA Los Angeles, CA Edison, NJ Honolulu, HI Irvine, CA Hamden, CT Westport, CT Atlanta, GA McLean, VA Salt Lake City, UT Winston-Salem, NC Bethesda, MD
NBB/ Music Composition Biology Biology Business Biology Undecided Chemistry/English Music Anthropology Music/Psychology Spanish/Portuguese NBB/Political Science Chemistry Anthropology/Music
Principal
Assistant Principal
Cello Hwanwook Seong • Sugar Hill, GA
Biology/Music
Sean Parker s
Biology/Music
Principal
Assistant Principal
Baton Rouge, LA
Andrew Choi Carrollton, TX Tim Cho • Suwanee, GA : Claire Lee Suwanee, GA Alex Banul Dallas, TX Rachel Seong • Sugar Hill, GA Hannah Lu Austin, TX H Solomon Kim Tokyo, Japan Richard Jensen Pittsburgh, PA Harrison Helms Greensboro, NC Sophia Yoon Houston, TX
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Physics/Computer Science Quantitative Sciences Music/International Affairs Biology/Philosophy Biology/Music Business/Music Music/Economics Business/Quantitative Sciences History Philosophy, Politics, and Law
Emory University Symphony Orchestra Bass Hannah Perron s
Princeton Junction, NJ History
Alex Petralia • :
Atlanta, GA
Music/Philosophy
Max Heeden • Jinsun Yoo
Atlanta, GA Seoul, South Korea
Undecided Computer Science
Co-Principal Co-Principal
Flute and Piccolo (Listed alphabetically) Sarah Abraham Palm Beach Gardens, FL Biology u Robyn Jin Seattle, WA Biology Sara Ju u Dix Hills, NY Human Health Julia Nagel s Crozet, VA Environmental Science/ Music u Claudia Wahoski • Fayetteville, GA Biology Miyuka Yoshida Tokyo, Japan Biology/Music Oboe and English Horn (Listed alphabetically) Jane Farrell u Worthington, OH Linguistics/Music Helena Haas s Friendswood, TX Classics/Economics Samantha Lai Coppell, TX Biology Katie Liu Taiwan Biostatistics Clarinet (Listed alphabetically) Eli Parrish Bremen, GA Ben DiGennaro Dallas, TX Henry Mangalapalli s Chicago, IL Chunjin Park Duluth, GA Esther Ro • Sugar Hill, GA
Music Composition/ Environmental Science Computer Science/Business Biology/ African American Studies NBB Biology
Bass Clarinet Rodrigo Salinas :
Chemistry
Lakeland, FL
Bassoon and Contrabassoon (Listed alphabetically) Vishaal Kareti • Marietta, GA Undecided Nathan Muz Cambridge, MA Mathematics
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Emory University Symphony Orchestra Horn (Listed alphabetically) Michael Bian Buffalo Grove, IL Aidan Christensen • Marietta, GA Pulkit Gupta : Dallas, TX Lana Millman : Willowbrook, IL Jose Moreno Dallas, TX
NBB Undecided Physics/Biology Computer Science/Visual Arts Business
Trumpet (Listed alphabetically) Nathaniel Lechtzin Towson, MD Joseph Rosenbaum Los Angeles, CA Austin Watkinson s Great Falls, VA
Biophysics/Music Political Science/Music Music/Political Science/ Business
Trombone and Bass Trombone (Listed alphabetically) Graham Crain : Maryville, TN Business Ethan Feldman Minneapolis, MN Quantitative Sciences/ Public Policy s Max Inman Cary, NC Quantitative Sciences/Music Shiven Sinha Redmond, WA Business/Music Tuba Graham Wells
Atlanta, GA
Chemistry 07C
Percussion and Timpani (Listed alphabetically) Jason Goodman Los Angeles, CA Music/Political Science Ginger Lau s San Ramon, CA Physics Alexa Mohsenzadeh s Barrington, IL NBB/Ethics Peter Rubin Highland Park, IL Biology/ Environmental Sciences Zoe Zimmerman Ooltewah, TN Biology Harp Ariella Lee
Los Angeles, CA
Piano and Keyboard Vivian Zhao Phoenix, AZ
Mathematics 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 Scholarship Holder 26
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
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 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, the faculty and ensembles also welcome the participation of nonmajor 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 of the activities. To learn more, visit music. emory.edu or call 404.727.1401.
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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.
404.727.5050 music.emory.edu