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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Ushers
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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
Front Cover Photo: Zakiyah Caldwell Burroughs
Title Page Photo: Zakiyah Caldwell Burroughs | Larrynx Photography
Cover Design: Nick Surbey | Program Design: Times 3
Back 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.
DONNA AND MARVIN SCHWARTZ ARTIST IN RESIDENCE
What Color Am I When the Sun and the Moon Hang Above Us?
Carmina Burana
Emory University Symphony Orchestra
Paul Bhasin, conductor
Emory University Chorus
Eric Nelson, conductor
Jonathan Easter and Gregory Matteson, rehearsal pianists
Wade Thomas, baritone | Abigail Raiford, soprano
Saturday, April 22, 2023, 8:00 p.m.
Sunday, April 23, 2023, 4:00 p.m.
Emerson Concert Hall
Schwartz Center for Performing Arts
2022–2023
Program
What Color Am I When the Sun and the Moon Hang Above Us? Sofia Rocha World Premiere (b. 1996)
Carmina Burana Carl
Orff
(1937) (1895–1982)
Fortuna Imperatrix Mundi (Fortune, Empress of the World)
1. O Fortuna (O Fortune)
2. Fortuna plango vulnera (I bemoan the wounds of Fortune)
I. Primo vere (In springtime)
3. Veris leta facies (The merry face of spring)
4. Omnia sol temperat (The sun warms everything)
5. Ecce gratum (Behold, the pleasant spring)
Uf dem anger (On the lawn)
6. Tanz (Dance)
7. Floret silva nobilis (The woods are burgeoning)
8. Chramer, gip die varwe mir (Shopkeeper, give me color)
9. Reie (Round dance)
10. Were diu werlt alle min (Were all the world mine)
II. In Taberna (In the tavern)
11. Estuans interius (Burning inside)
12. In taberna quando sumus (When we are in the tavern)
III. Cour d’amours (The court of love)
13. Amor volat undique (Cupid flies everywhere)
14. Dies, nox et omnia (Day, night, and everything)
15. Stetit puella (A girl stood)
16. Circa mea pectora (In my heart)
17. Veni, veni, venias (Come, come, O come)
18. In truitina (In the balance)
19. Tempus est iocundum (This is the joyful time)
20. Dulcissime (Sweetest one)
Blanziflor et Helena (Blanchefleur and Helen)
21. Ave formosissima (Hail, most beautiful one)
Fortuna Imperatrix Mundi (Fortune, Empress of the world)
22. O Fortuna (O Fortune)
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Texts and Translations
Fortuna Imperatrix Mundi
1. O Fortuna
O Fortuna velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem.
Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.
Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!
2. Fortune plango vulnera Fortune plango vulnera stillantibus ocellis quod sua michi munera subtrahit rebellis. Verum est, quod legitur, fronte capillata, sed plerumque sequitur occasio calvata.
In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus.
Nunc a summo corrui gloria privatus. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam!
Nam sub axe legimus Hecubam Reginam.
Fortune, Empress of the world
1. O Fortune
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice.
Fate, monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always fades to nothing, shadowed and veiled you plague me too; Now thanks to your wicked game I’ve lost my shirt. Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since fate strikes down the strong man, everyone weep with me!
2. I bemoan the wounds of Fortune I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away. It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity she is bald. On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory. The wheel of Fortune turns: I go down demeaned; another is raised up; far too high up sits the king at the summit— let him fear ruin! For under the axis is written Queen Hecuba.
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I. Primo Vere
3. Veris leta facies
Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur; in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur.
Flore fusus gremio Phebus novo dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore. Certatim pro bravio curramus in amore.
Cytharizat cantico dulcis philomena, Flore rident vario prata iam
Serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.
4. Omnia sol temperat (baritone)
Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis, ad amorem propera animus herilis et iocundis imperat deus puerilis.
Rerum tanta novitas in solemni vere et veris auctoritas jubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.
Ama me fideliter, fidem meam noto: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter volvitur in rota.
5. Ecce gratum
Ecce gratum et ver reducit gaudia, purpuratum floret pratum, sol serenat omnia.
Iamiam cedant tristia!
Estas redit, nunc recedit hyemis sevitia.
Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit ver estatis ubera;
I. In the springtime
3. The merry face of spring
The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!
Lying in Flora’s lap, Phoebus once more smiles, now covered in many-colored flowers. Zephyr breathes nectar-scented breezes. Let us rush to compete for love’s prize. Ah!
In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah!
4. The sun warms everything
The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.
All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.
Love me faithfully! See how I am faithful: with all my heart and with all my soul, I am with you even when I am far away. Whosoever loves this much turns on the wheel.
5. Behold, the pleasant spring
Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end!
Summer returns, now withdraw the rigors of winter. Ah!
Now melts and disappears ice, snow, and the rest winter flees, and now spring sucks at summer’s breast;
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illi mens est misera, qui nec vivit, nec lascivit sub estatis dextera.
Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.
Uf dem anger
6. Tanz (orchestra)
7. Floret silva nobilis Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit?
Floret silva undique, nah min gesellen ist mir we. Gruonet der walt allenthalben, wa ist min geselle alse lange? Der ist geriten hinnen, o wi, wer sol mich minnen?
8. Chramer, gip die varwe mir Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen!
Minnet, tugentliche man, minnecliche frouwen!
Minne tuot iu hoch gemout unde lat iuch in hohen eren schouwen.
Seht mich an jungen man! Lat mich iu gevallen!
Wol dir, werit, daz du bist, also freudenriche! Ich will dir sin undertan durch din liebe immer sicherliche.
Seht mich an, jungen man! Lat mich iu gevallen!
a wretched soul is he who does not live or lust under summer’s rule. Ah!
They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; at Venus’ command let us glory and rejoice in being Paris’ equals. Ah!
On the lawn
6. Dance
7. The woods are burgeoning The noble woods are burgeoning with flowers and leaves. Where is the lover I knew? Ah! He is ridden off! Oh! Who will love me? Ah!
The woods are burgeoning all over, I am pining for my lover. The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!
8. Shopkeeper, give me color Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will. Look at me, young men! Let me please you!
Good men, love women worthy of love! Love ennobles your spirit and gives you honor. Look at me, young men! Let me please you!
Hail, world so rich in joys! I will be so obedient to you because of the pleasures you afford. Look at me, young men! Let me please you!
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9. Reie
Swaz hie gat umbe
Swaz hie gat umbe, daz sint alles megede, die wellent an man
allen disen sumer gan! Sla!
Chume, chum, geselle min
Chume, chum, geselle min, ih enbite harte din, ih enbite harte din, chume, chum, geselle min.
Suzer rosenvarwer munt, chum un mache mich gesunt, chum un mache mich gesunt, suzer rosenvarwer munt.
Swaz hie gat umbe
Swaz hie gat umbe, daz sint alles megede, die wellent an man
allen disen sumer gan! Sla!
10. Were diu werlt alle min Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben daz diu chunegin von Engellant lege an minen armen.
9. Round dance
Those who go round and round
Those who go round and round are all maidens, they want to do without a man all summer long. Ah!
Come, come, my love
Come, come, my love, I long for you, I long for you, come, come, my love.
Sweet rose-red lips, come and make me better, come and make me better, sweet rose-red lips.
Those who go round and round
Those who go round and round are all maidens, they want to go without a man all summer long. Ah!
10. Were all the world mine Were all the world mine from the sea to the Rhine, I would starve myself of it so that the queen of England might lie in my arms.
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II. In Taberna
11. Estuans interius (baritone)
Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.
Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.
Feror ego veluti
sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis.
Mihi cordis gravitas res videtur gravis; iocis est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.
Via lata gradior more inventutis inplicor et vitiis
immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.
II. In the Tavern
11. Burning inside
Burning inside with violent anger, bitterly I speak to my heart: created from matter, of the ashes of the elements, I am like a leaf played with by the winds. If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.
I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.
The heaviness of my heart seems like a burden to me; it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart.
I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.
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12. In taberna quando sumus
In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur.
Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem sed pro Baccho mittunt sortem.
Primo pro nummata vini Ex hac bibunt libertini; Semel bibunt pro captives, Post hec bibunt ter pro vivis, Quater pro Christianis cunctis Quinquies pro fidelibus defunctis, Sexies pro sororibus vanis, Septies pro militibus silvanis.
Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus undecies pro discordaniibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege.
Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servis cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus.
12. When we are in the tavern When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat. What happens in the tavern, where money is host, you may well ask, and hear what I say. Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks. Here no one fears death, but they throw the dice in the name of Bacchus.
First of all it is to the wine-merchant The libertines drink, One for the prisoners, Three for the living, Four for all Christians, Five for the faithful dead, Six for the loose sisters, Seven for the footpads in the wood. Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers. To the Pope as to the King they all drink without restraint. The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks.
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Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.
Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta.
Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.
III. Cour d’amours
13. Estuans interius (soprano)
Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia; fit res amarissima.
14. Dies, nox, et omnia (baritone)
Dies, nox, et omnia michi sunt contraria; virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.
O sodales, ludite, vos qui scitis dicite michi mesto parcite, grand ey dolur, attamen consulite per voster honur.
Tua pulchra facies me fay planszer milies, pectus habet glacies. A remender statim vivus fierem per un baser.
The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this woman drinks, that man drinks, a hundred drink, a thousand drink. Six hundred pennies would hardly suffice, if everyone drinks immoderately and without measure. However much they cheerfully drink, we are the ones whom everyone scolds, and thus, we are destitute. May those who slander us be cursed and may their names not be written (in the book of the righteous).
III. The court of love
13. Cupid flies everywhere Cupid flies everywhere seized by desire. Young men and women are rightly coupled. The girl without a lover misses out on all pleasures; she keeps the dark night hidden in the depth of her heart; it is a most bitter fate.
14. Day, night, and everything Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.
O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.
Your beautiful face, makes me weep a thousand times, your heart is of ice. As a cure, I would be revived by a kiss.
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15. Stetit puella (soprano)
Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit.
Eia!
Stetit puella tamquam rosula; facie splenduit, os eius floruit.
Eia!
16. Circa mea pectora (baritone/chorus) Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.
Mandaliet, mandaliet min geselle chumet niet.
Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.
Mandaliet, mandaliet min geselle chumet niet.
Vellet deus, vallent dii quod mente proposui: ut eius virginea reserassem vincula.
Mandaliet, mandaliet min geselle chumet niet.
17. Veni, veni, venias
Veni, veni, venias veni, veni, venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivos!
Pulchra tibi facies oculorum acies, capillorum series, o quam clara species!
Rosa rubicundior, lilio candidior, omnibus formosior semper in te glorior!
18. In trutina (soprano)
In trutina mentis dubia fluctuant contraria
lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.
15. A girl stood
A girl stood in a red tunic; If anyone touched it, the tunic rustled. Eia!
A girl stood like a little rose: her face was radiant and her mouth in bloom. Eia!
16. In my heart
In my heart there are many sighs for your beauty, which wound me sorely. Ah! Mandaliet, mandaliet, my lover does not come.
Your eyes shine like the rays of the sun, like the flashing of lightning which brightens the darkness. Ah!
Mandaliet, mandaliet, my lover does not come.
May God grant, may the gods grant what I have in mind: that I may loose the chains of her virginity. Ah!
Mandaliet, mandaliet, my lover does not come.
17. Come, come, O come Come, come, O come come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos! Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!
Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!
18. In the balance
In the wavering balance of my feelings set against each other lascivious love and modesty. But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.
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19. Tempus es iocundum
Tempus es iocundum, o virgines, modo congaudete vos iuvenes!
Oh! Oh! Oh! Totus floreo!
iam amore virginali totus ardeo! novus, novus amor est, quo pereo!
Mea me confortat promissio, mea me deportat.
Oh! Oh! Oh! Totus floreo!
iam amore virginali totus ardeo! novus, novus amor est, quo pereo!
Tempore brumali vir patiens, animo vernali lasciviens.
Oh! Oh! Oh! Totus floreo!
iam amore virginali totus ardeo! novus, novus amor est, quo pereo!
Mea mecum ludit virginitas, mea me detrudit simplicitas.
Oh! Oh! Oh! Totus floreo!
iam amore virginali totus ardeo! novus, novus amor est, quo pereo!
Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo!
Oh! Oh! Oh! Totus floreo!
iam amore virginali totus ardeo! novus, novus amor est, quo pereo!
20. Dulcissime (soprano)
Dulcissime, totam tibi subdo me!
Blanziflor Et Helena
21. Ave formosissima
Ave formosissima, gemma pretiosa, ave decus virginum virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa!
19. This is the joyful time This is the joyful time, O maidens, rejoice with them, young men!
Oh! Oh! Oh! I am bursting out all over!
I am burning all over with first love! New, new love is what I am dying of!
I am heartened by my promise, I am downcast by my refusal.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of!
In the winter man is patient, the breath of spring makes him lust.
Oh! Oh! Oh! I am bursting out all over!
I am burning all over with first love! New, new love is what I am dying of!
My virginity makes me frisky, my simplicity holds me back.
Oh! Oh! Oh! I am bursting out all over! I am burning all over with first love! New, new love is what I am dying of!
Come, my mistress, with joy, come, come, my pretty, I am dying!
Oh! Oh! Oh! I am bursting out all over!
I am burning all over with first love! New, new love is what I am dying of!
20. Sweetest one Sweetest one! Ah! I give myself to you totally!
Blanchefleur and Helen
21. Hail, most beautiful one
Hail, most beautiful one, precious jewel, hail, pride among virgins, glorious virgin, hail, light of the world, hail, rose of the world, Blanchefleur and Helen, noble Venus!
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Fortuna Imperatrix Mundi
22. O Fortuna
O Fortuna velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem; egestatem, potestatem, dissolvit ut glaciem.
Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.
Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!
Fortune, Empress of the World
22. O Fortune
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice.
Fate, monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always fades to nothing, shadowed and veiled you plague me, too; now thanks to your wicked game I’ve lost my shirt.
Fate is against me in health and virtue, driven on and weighted down, always enslaved. So at this hour without delay pluck the vibrating strings; since fate strikes down the strong man, everyone weep with me!
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Program Notes
What Color Am I When the Sun and the Moon Hang Above Us?
Chlorinated bras, Face first in the bubbles, Gaslighting stares, Dead composers are dead, Three baked beans ago, These soiled onions, Desiccated soccer balls, Stab me in the eye (with your 3/4 tea-stir), The stoned rats, Cats (ltant1981ALWmbotbata)*, Wax memories, The pensive dog (sad), Byzantine etymology, No more bubble baths, The unwashed vegetables, Small pile of leaves (in a heart shape), Mangled muffin, Blendable winds, Not over my dry, bland noodles, The static constellations, Decapitating mandibles, Vibrating bees, Dry grass is a sin, Thomas Adès is a horse that lives in Colorado, Altered echo, Recursive side chaining, Bovine nightmares, Humans can have a little gasoline, as a treat**, Tell ‘em I hate ‘em, Trusting my past selves, Subtle clout, Traumatized radish, Jesus will rise again in Houston, Kinds of flow, Comforter by the eyes, My one thought, Cloud Debussy, I’m a BLT of sadness, Precarious chilling, The drama onions, Chaos is not the concern, The comedy onions, Illegal napping, Become Lattice, A stupid little French assignment, Enforced groove, Reframing the rain, Complimentary water, Nepotistic presence, Recursive box dream, The wet corn chips, Hidden in the legs, Pulverized potatoes, Cloister of deception, The sad onions, Gymnastic snails, Problems with saxophones, Semi-aquatic worms, Basket-less future, Basket-case-past-life-regression, Artificial tears
* (like the animal, not the 1981 Andrew Lloyd Webber musical based on the book about the animal) ** Don’t drink gasoline.
—Note by the composer
Carmina Burana (1937)
The 20th-century German composer Carl Orff was born into a family of army officers who demonstrated a keen interest in science, history, and music. Orff began his own music studies (piano, organ, and cello) at the age of five. While pursuing further studies in Munich, Orff became interested in the music of French Impressionist composer Claude Debussy, and the Austrian composer Arnold Schoenberg, a pioneer in atonal music expression.
Orff was drafted into the army in 1917. After being wounded at the front, he was discharged from service. Upon his return to Munich in 1919, Orff began an intensive study of music from the 16th and 17th centuries, and in particular, the works of the great Italian Baroque composer, Claudio Monteverdi. Orff also co-founded the Güntherschule, an educational center that explored the synthesis of body movement, poetry, and music.
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On June 8, 1937, Carl Orff’s “scenic cantata,” Carmina burana, premiered in Frankfurt Carmina burana ( Songs of Beuren ) is Orff’s setting of texts discovered in the monastery of Benediktbeuern, located south of Munich. The texts are taken from the songs of the goliards—medieval students, monks, and seminarians who seem to have spent as much time carousing as they did studying. The songs of the goliards celebrate (sometimes in the most explicit terms) the pleasures of food, wine, and lovemaking.
Orff scored Carmina burana for soprano, tenor, and baritone soloists, as well as huge choral (large chorus, small chorus, and boy chorus) and orchestral forces. Orff also envisioned dance as an integral part of his “scenic cantata.”
In the early 20th century, many composers attempted to stretch, as far as possible, the traditional concepts of tonality. Some 20th-century composers, such as Schoenberg, even abandoned conventional tonality altogether. Their atonal compositions inspired heated reactions, both by critics and audiences. To this day, the subject of atonality is guaranteed to inspire lively exchanges among music lovers.
In that context, Carl Orff’s Carmina burana represents a stunning departure from the course of much of the concert music of the time. From the opening chorus, “O Fortuna”—a hymn to the inexorable power of Fate—it is clear that Orff’s Carmina burana marks an emphatic return to the forces of melody and rhythm in their most elemental form. 20th–century atonality is nowhere to be found. Instead, Orff’s infectious and unabashedly tonal melodies are repeated over and over, with variety supplied by contrasts in dynamics, and vocal and instrumental colors. Throughout, Carmina burana’s raucous celebration of the philosophy of carpe diem creates an irresistible force of energy guaranteed to leave the audience breathless at the conclusion.
To this day, Orff’s Carmina burana remains one of the most popular of all classical works, a constant presence in the concert hall and on recordings. Carmina burana may also be heard in numerous movies, television shows, and advertisements. More than 80 years after its premiere, Orff’s Carmina burana remains as irresistible as ever.
—Ken Meltzer
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Wade Thomas, baritone
Wade Thomas , a native of Calhoun, Georgia, has performed with both regional and international opera companies throughout his career. Thomas’s vibrant vocal quality and compelling stage presence have garnered acclaim in performances including Marcello in La boheme, Guglielmo in Così fan tutte, Count Almaviva in Le Nozze di Figaro, Germont in La Traviata, Enrico in Lucia di Lammermoor, Tonio and Silvio in I Pagliacci, and Belcore in L’elisir d’amore. Thomas has performed with Capitol City Opera, Atlanta Opera, St. Petersburg Opera, Santa Fe Opera, Central City Opera, Lincoln Center, Tri-Cities Opera, Opera Omaha, Natchez Opera, Opera Theatre of Northern Virginia, Brevard Music Festival, Opera Columbus, Opera Birmingham, Ohio State Opera, and Samford Operaworks. Thomas’ extensive concert and oratorio work include Carmina burana, Mozart and Faure Requiem, Bach Magnificat, and Five Mystical Songs by VaughnWilliams. Thomas is a graduate of Samford University and The Ohio State University and currently a member of the Atlanta Master Chorale and is on music staff at First Presbyterian Church of Atlanta.
Abigail Railford, soprano
Lyric coloratura soprano Abigail Raiford has been noted for her “powerful, luxurious soprano voice, as well as her wonderfully comic way of weeping as the woebegone Elvira” in Tulsa Opera’s 2022 production of Rossini’s L’Italiana in Algeri . In 2023 she was a District Winner of the Metropolitan Opera Laffont Competition for the Tulsa District, received an Incentive Award from the 2022 SAS Performing Arts Company Vocal Competition, and was a finalist in the Emerging Artist Division of the MI Opera Vocal Competition. That same season she joined Central City Opera as a Bonfils-Stanton Studio Artist, performing Krysia in Heggie’s Two Remain and Ida in Die Fledermaus. Railford was also awarded the prestigious Central City Opera Guild’s McGlone Award. A resident and apprentice Artist for multiple seasons with Sarasota Opera, highlights included Second Witch in their 2021 production of Dido & Aeneas and the role of Belinda for family audiences. A former Studio Artist with St. Petersburg Opera, she covered Despina in Così fan tutte and sang Olympia in Davies’ Pinocchio.
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Raiford has won numerous competitions: She won 2nd Prize in the 2021 SAS Performing Arts Company Vocal Competition, was a finalist in the NH Opera Idol Virtual Competition, received an Encouragement Award in the Student Division of the inaugural Camille Coloratura Awards, and won both the Mannes Concerto Competition and the University of Tulsa Concerto-Aria Competition. As a sister of Sigma Alpha Iota, she was awarded the 2022 Career Performance Grant, allowing her to travel to Rome, Italy and study with the incomparable soprano Mariella Devia.
A noted interpreter of the operas of Mozart, signature roles include the Queen of the Night and First Lady in Die Zauberflöte and Despina in Così fan tutte. Other credits are Rose Maurrant in Street Scene, Anicasia in La Dolorosa, and Yum-Yum in The Mikado. Her vocalism has thrilled audiences on the concert stage as well, especially in Milhaud’s Chansons de Ronsard with the Mannes Orchestra, and John Mackey’s Songs From the End of the World with the University of Tulsa Wind Ensemble. She earned a Master of Music degree from the Mannes School of Music as a student of Amy Burton, and received her Bachelor of Music degree from the University of Tulsa, under the tutelage of her mother, Judith Pannill Raiford.
Emory University Symphony Orchestra
The 90-member 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 NYC), recordings (on Atlanta’s NPR Affiliate), and collaborations with soloists and organizations including Janelle Monae, Matt Haimovitz, HBO, the National Basketball Association, and Ben Folds. Membership is by competitive audition and comprises undergraduate and graduate students from diverse disciplines. While the majority of the EUSO includes music majors, many minors and nonmajors participate each season as well.
Emory University Chorus
University Chorus is open to all Emory University students as well as to members of the Emory community! The group holds an important place in the wider Emory community. Undergraduates and graduate students, faculty and staff, parents and their children, workers and retirees, alumni and neighbors, all come together to rehearse each Monday night, united by their common love of singing.
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The chorus participates in the annual Festival of Nine Lessons and Carols, and regularly collaborates with the Department of Music’s instrumental ensembles, including the Emory Wind Ensemble and the Emory University Symphony Orchestra. Recently performed works include the Mozart Requiem, Beethoven’s Symphony No. 9, and the Haydn oratorio, The Creation.
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. Bhasin serves as music director and conductor of both the DeKalb Symphony Orchestra and the Atlanta Chamber Music Festival and has recently led the Virginia Symphony Orchestra, “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. As a trumpeter, he performed and recorded 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), and 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 praised by the New York Times and Chicago Tribune with recent performances by the San Francisco Symphony Orchestra, St. Louis Opera Theater, and the Grand Tetons Festival Orchestra. He received his musical training from Northwestern University, the University of Michigan, and the University of Wisconsin.
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Eric Nelson, conductor
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 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 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 GA 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. He holds degrees in voice and conducting from Houghton College, Westminster Choir College, and Indiana University.
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.
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Emory University Symphony Orchestra
Violin I
Kaito Mimura H : Pennington, NJ Chemistry / Music
Concertmaster, Joel M. Felner, MD, Chair
Performing on the Giovanni Grancino violin, Milan, 1687
Christy Song : Ringgold, GA Biology / Music
Co-Concertmaster, Assistant Concertmaster
Chloe Nelson : Rancho Santa Margarita, CA Chemistry / Music
Thomas Sarsfield Lawrenceville, NJ Music and Business
Eric Zhang Knoxville, TN Physics / Music
Seyon Kim : Santa Clara, CA NBB
Harutoshi Okumura Hong Kong / Nara, Japan Physics / GT Dual Degree
Ruth Jao Clarksburg, MD NBB
Aritro Ray Dallas, TX NBB / Chemistry
Alexander Koeppel New York, NY NBB
Mirielle Ma : Glastonbury, CT Sociology / Biology
Louisa Ma Phoenix, AZ Business / Economics
Christopher Li Holmdel, NJ Biology
Katherine Mao Princeton, NJ Biology
Alyssa Stegall Salinas, CA Political Science / Music
Daniel Wu Buffalo Grove, IL Computer Science
Peter Kim Atlanta, GA Undecided
Violin II
Yihoon Shin : Waterloo, IA Chemistry Principal and Assistant Concertmaster
Edward Goodwin Scruggs Principal Second Chair
Carol Xu Dallas, TX Human Health / Economics / Assistant Principal Music
Jaemin Paik Fresno, CA Business
Seongeun Lee Seoul, South Korea Economics
Ryana Rajesh Wilmington, DE Biology / Economics (Pre-Med)
Katie Shin •s Auburn, GA Engineering Sciences / Music
Dan Kim Bettendorf, IA Biology
David Chung Atlanta, GA Business
Alyssa Chen Belmont, MA Biology
Noah Kann Bethesda, MD Business / Music
Rachel Fann Taipei, Taiwan Psychology
Cheolmin Oh South Korea Marketing
Izzy Hipple Beaufort, SC Biology (Pre-Med)
Mark Arshavsky Atlanta, GA Economics
Sasha Lessin-Burris Minneapolis, MN NBB / Women’s, Gender, and Sexuality Studies
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Viola
Sihyun Jeon San Jose, CA
Biology / Chemistry Principal
Rachel Lee •: Atlanta, GA
Biology / Music Assistant Principal
Siji Osunkoya • Lilburn, GA NBB / Music Composition
Christian Chae s Los Angeles, CA Business, Organization & Management
Andrew Chung Edison, NJ Business / CS
Sewon Park Honolulu, HI Human Health
Caroline Ma s Phoenix, AZ Business / Economics
Victoria Kang Johns Creek, GA Business / Math
Michael Blankfein Westport, CT Anthropology
Sirui Zhou Foothill Ranch, CA NBB / Quantitative Sciences
Jihwan Shin Suwanee, GA Psychology
Malhaar Nair Bethesda, MD Linguistics / Music
Emory Wilson Winston-Salem, NC Chemistry
Ayusha Shrestha Salt Lake City, UT NBB / Political Science
Cello
Caleb Park s Columbia, MD Chemistry / Music Principal
Sean Parker s Baton Rouge, LA Biology / Music Assistant Principal
Tim Cho • Suwanee, GA QSS / ECON
Alex Banul Richardson, TX Biology / Philosophy
Andrew Choi Dallas, TX Computer Science / Physics
Alexander Moon Berkeley Heights, NJ
Neuroscience / Healthcare Innovation Extension
Solomon Kim s Tokyo, Japan Music Composition / Economics
Rachel Seong • Sugar Hill, GA
Biology / Music
Harrison Helms Greensboro, NC History
Chris Park Rye, NY Chemistry
Owen Zealey-Chen Atlanta, GA
Business and Film
Sergey Blinov Atlanta, GA Computer Science
Richard Jensen Pittsburgh, PA
Business / Quantitative Sciences
Sophia Lin-David Boston, MA Political Science / Business
Bass
Alex Petralia Atlanta, GA Music Principal
Jinsun Yoo Seoul, South Korea Computer Science
Charles Ascone s Manalapan, NJ
Mathematics / Computer Science
Max Heeden • Atlanta, GA –
Hannah Perron Atlanta, GA EC 2022
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Flute and Piccolo
Robyn Jin Bellevue, WA Biology
Sara Ju Long Island, NY Chemistry
Julia Nagel s Crozet, VA Music / PPL
Oboe and English Horn
Samantha Lai Dallas, TX Anthropology / Human Biology
Katie Liu Tainan, Taiwan Biostatistics
Eric Xu Short Hills, NJ Applied Mathematics / Chemistry
Clarinet
Isabelle Myers South Beloit, IL Joint History / Art History / Chemistry
Chunjin Park Duluth, GA Biology / Architectural Studies
Eli Parrish Bremen, GA Music Composition / Environmental Sciences
Bass Clarinet
Rodrigo Salinas Lakeland, FL Chemistry
Bassoon and Contrabassoon
Vishaal Kareti • Marietta, GA Computer Science / Math
Nathan Muz Cambridge, MA Applied Mathematics
Horn
Noah Choe Dubai, UAE Biology BS
Michael Bian Buffalo Grove, IL NBB / Ethics
Jose Moreno Dallas, TX BBA / Strategy Management Consulting & Finance
Pulkit Gupta : Dallas, TX Physics / Biology
Trumpet
Joey Chen Beijing, China Music
Natalie Park Decatur, GA Business
Nathaniel Lechtzin Towson, MD Biophysics / Music
Austin Watkinson s Great Falls, VA Music / Political Science / Business
Joseph Rosenbaum Los Angeles, CA Music / Political Science
Trombone and Bass Trombone
Timothy Brewer s Mason, OH Music
Christopher Park • Lilburn, GA Biology
Shiven Sinha Redmond, WA Business / Music
Joshua Peacock Elkhart, IN Physics / CS minor
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Tuba
Graham Wells Atlanta, GA
Percussion and Timpani
BSc Chemistry, 2007
Ginger Lau s San Ramon, CA Physics
Alexa Mohsenzadeh s Barrington, IL NBB / Ethics
Peter Rubin Highland Park, IL Biology / ENVS
Emmy Shi Shanghai, China Psychology / Computer Science
Harp
Brigid May s Holly Springs, NC Music / Classics / English
Piano and Keyboard
Vivian Zhao Phoenix, AZ NBB / Music
Athena Grasso Atlanta, GA Music
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
Emory String, Wind, and Percussion Faculty
Violin
Jay Christy •
Emily Daggett Smith H
Jessica Wu H
Viola
Yinzi Kong H
Paul Murphy •
Cello
Karen Freer •
Roee Harran
Guang Wang H
Bass
Michael Kurth •
Flute
Christina Smith •
Jim Zellers s
• Atlanta Symphony Orchestra
s Atlanta Opera Orchestra
H Vega String Quartet
Oboe
Emily Brebach •
Sasha Shatalova Prior
Clarinet
Laura Ardan
Bassoon
Anthony Georgeson •
Shelly Unger
Horn
Jason Eklund s
Trumpet
Mark Maliniak •
Michael Tiscione •
Trombone
Ed Nicholson s
Nathan Zgonc •
Saxophone
Gary Paulo
Euphonium
Adam Frey
Tuba
Michael Moore •
Percussion
Scott Pollard
Mark Yancich •
Harp
Elisabeth Remy •
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Emory University Chorus
Chorus Administrator
Samantha Frischling
Soprano
Barbara Antley
Jordan Averett
Abigail Balson
Lucky Bao
Anushka Basu
Caroline Beasley
Rachael Berkoff
Katie Boice
Trinitee Dahn
Calisa Dampier
Greta Franke
Rebecca Frieden
Rebecca Frischling
Samantha Frischling
Ariel Gale
Candy Gao
Alto
Carol Allums
Jada Anderson
Alex Berman
Srinidhi Bharadwaj
Hadley Bryant
Wittika Chaplet
Emma Chatson
Joyce Chen
Gloria Coble
Mozelle Cole
Isabella Colindres
Melanie Deville
Sharon Fisher
Rebecca Follman
Kaley Frye
Alexandra Fulford
Emma Gile
Kaela Goldstein
Julia Green
Shayne Goldstein
Grace Graszer
Vivien Huang
Audrey Isakov
Fiona Jones
Ariella Lee
Elizabeth Leslie
Alexa Lisenby
Theresa Mayo
Kylie Measimer
Catherine Minyard
Marian Moss
Ashwini Narayanan
Elise O’Hara-David
Lynn O’Neill
Ellie Paek
Elianna Paljug
Divya Pereira
Zoë Pollock
Anna Ree
Diana Ricketts
Alex Rodgers
Alexa Schwartz
Lucienne “Lulu” Scully
Evelyn Sload
Hannah Soloff
Katherine Springer
Zoe Stephens
Rachel Warhaftig
Annalise Weber
Sara Kathryn Wierwille
Sarah Wiley
Emily Griswold
Sofia Hayes
Rita Helfand
Bryn Higdon
Hannah Hoff
Jacqueline Hubbard
Yifei Li
Karyn Lisker
Ally Mandell
Jenn Mathews
Liane Muir
Cade Nabors
Susan Nelson
Laura Otis
Sol-be Park
Aneeka Patel
Lynn Rogers
Abby Rollins
Faith Schofield
Lillian Shaw
Emma Shibley
Mary Slaughter
Olivia Smith
Rosalind Staib
Nichole Stettner
Anusha Sthanunathan
Ellie Sulser
Cathy Toren
Katya van Anderlecht
Catalina Varela
Dhwani Venkatarangan
Claire Wei
Kelly Weirich
Phyllis Weiss
Nikki Wyman
Serena Ye
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Tenor
Jamie Baker
Charlie Byrne
Aditya Chaturvedi
Sahrudh Dharanendra
Michael Diebert
Pete Duys
sJames Engstrom
Ezra Greidinger
Chuck Hagel
Bass
Jonathan Ackleh-Tingle
Eric Albanese
Austin Beale
Daniel Bell
Eliza Blocker
Terry Chorba
Patrick Czabala
Kushal Daruwala
Paul DeSandre
William Eaglesham
Declan Edwards
Sam Ellis
George Evans
Joe Follman
Thane Henschel
Zeaven Hoxie
Davis Husk
Andy James
Arun W. Jones
Varun Karry
Tyler Krug
Gheric Lindberg
Alex Moss
Matthew Nails
Jack Nickles
Jonathan Owen
Alexander Panos
David Rogers
Davy Song
Bill Stiefel
David Wang
Jordan Friedman
Paul Frysh
Kalani Gela
Santiago Gonzalez del Solar
Steven Harmon
Ian Hogben
Dennis Jones
Michael Lammons
Yifan Liao
John Lilly
Jeffrey Lin
George Lin Wu
Scott Matthews
Steven Mayo
Geoffrey Middleton
Jack Miklaucic
Ed Morris
Ruize Niu
Trey Peterson
Charlie Rogers
Avery Rose
Michael Sorkin
James Steffen
Isaiah Swain
Patan Tippitak
Daniel Weiss
Max Yost
Department of Music Administration
Chair
Stephen Crist
Director of Undergraduate Studies
Bradley Howard
Director of Undergraduate Research
Paul Bhasin
Senior Secretary
Martha Shockey
Academic Department Administrator
Kathy Summers
Program Coordinator
Simone McGaw Evans
Academic Services Coordinator
Julia Hudgins
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Music at Emory
The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in 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 non-major students from across the Emory campus.
Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit music. emory.edu or call 404.727.6280.
Upcoming Emory Music Concerts
Many spring music events at Emory are free to attend. Visit music.emory. edu or schwartz.emory.edu to view descriptions and information for upcoming music events. If an event requires a ticket for attendance, prices are indicated in the listings below in the following order: Full price/Emory student price (unless otherwise noted as the price for all students).
Friday, April 28, and Saturday, April 29, 8:00 p.m., High Lonesome Bluegrass Mass featuring the Chuck Nation Band, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $38/$10 all students, tickets required
Wednesday, May 3, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free
Friday, May 5, noon, Timothy Miller, tenor; William Ransom, piano, ECMSA: Cooke Noontime Concert, Carlos Museum, free online registration required
Sunday, May 7, 1:30 p.m., Emerson Memorial Alumni Concert, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free
Saturday, May 13, 8:00 p.m., Vega Quartet, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free
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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.
404.727.5050
music.emory.edu
