EMORY UNIVERSITY SYMPHONY ORCHESTRA

PAUL BHASIN, CONDUCTOR

TIMOTHY ALBRECHT, ORGAN

WITH DONNA AND MARVIN SCHWARTZ FOUNDATION

ARTISTS-IN-RESIDENCE:

SONIA POSSETTI, PIANO

AND DAMIÁN BOLOTIN, VIOLIN

SATURDAY, OCTOBER 20, 2018, 8:00 P.M.

EMERSON CONCERT HALL SCHWARTZ CENTER FOR PERFORMING ARTS

MUSICEMORY 2

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PROGRAM

Huapango (1941) José Pablo Moncayo(1912–1958)

Papel Picado Sonia Possetti (b.1973) / Damián Bolotin (b.1965)

Pavadita Anselmo Aieta (1896–1964)

Ausencia en tus Ojos Possetti

Escualo Astor Piazzolla (1921–1992)

Bullanguera Possetti

Sonia Possetti, piano Damián Bolotin, violin

Symphony No. 3 in C minor, op. 78 “Organ Symphony” Camille Saint-Saëns (1835–1921)

I. Adagio – Allegro moderato – Poco adagio II. Allegro moderato – Presto – Maestoso – Allegro

Timothy Albrecht, organ

DONNA AND MARVIN SCHWARTZ FOUNDATION ARTIST IN RESIDENCE PROGRAM This concert, and all the educational opportunities in the Emory Department of Music this week with guest artists Sonia Possetti and Damián Bolotin, is made possible by the Donna and Marvin Schwartz Artist in Residence program and by the Friends of Music.

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PROGRAM NOTES

Notes on the program by Ken Meltzer except where noted.

Huapango (1941)One of the great traditions in classical music is the incorporation of folk elements into concert works. As the great Czech composer Antonín Dvořák acknowledged: “I myself have gone to the simple, half-forgotten tunes of the Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people. He gets in touch with the common humanity of his country.” An irresistible example of the blending of folk and classical elements is the orchestral work, Huapango, by the Mexican composer, conductor, instrumentalist, and educator, José Pablo Moncayo (1912–1958). Moncayo completed Huapango in 1941. The premiere took place on August 15 of that year, with Carlos Chávez conducting the Orquesta Sinfónica de México.

Moncayo based his Huapango on the Mexican folk dance of the same name that he encountered during visits to Veracruz. The huapango, juxtaposing duple and triple meters, is performed by a wide variety of ensembles, both vocal and instrumental. Moncayo’s Huapango incorporates three authentic Mexican folk dances, “Siqui Siri,” “Balajú,” and “El Gavilán.” The work features two quick-tempo outer sections framing a slower-tempo central episode. The vibrant folk dances, couched in Moncayo’s scintillating orchestral colors, have made Huapango one of the most beloved works of its kind. As French composer Darius Milhaud once remarked: “When in the grey light of a Parisian winter, I want there to be sun in my flat, I listen to a record of Huapango.”

Papel PicadoBeginning with a classic fugue, Papel Picado moves into a soulful meditation, and finishes by recovering the vitality and the rhythm of the opening. This work was arranged especially for this evening’s performance by the composer.

—note by Possetti and Bolotin Ausencia en tus OjosThe modern and emotional Ausencia en tus Ojos is marked by a clear sense of melancholy, which leads to further expressive musical languages towards the middle section of the work. —note by Possetti and Bolotin

BullangueraBullanguera, named after one of the most significant African-inspired rhythms from Buenos Aires, has been performed by the Orquesta Nacional de Música Argentina and the BBC Symphony Orchestra, among others. The work has also been selected as the theme music for the Fundación Sistema de Orquestas Infantiles y Juveniles de Argentina. —note by Possetti and Bolotin

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Bolotin and Possetti will perform both Pavadita and Escualo as a duo, featuring two towering tango composers: Piazzolla and Aieta.

Symphony No. 3 in C minor, op. 78 (1886)Camille Saint-Saëns composed his Third Symphony at the request of the Philharmonic Society of London. Saint-Saëns had been contemplating a new symphony for some time. A few months after the 1885 commission, the composer informed the philharmonic that the work was well under way. “It will be terrifying, I warn you . . . . This imp of a symphony has gone up a half-tone; it didn’t want to stay in B minor and it is now in C minor. It will be a treat for me to conduct it. Will it be a treat, though, for the people who hear it? That is the question. It’s you who asked for it. I wash my hands of the whole thing.”

During spring 1886 while in Paris, Saint-Saëns had the opportunity to play excerpts on the piano of his new symphony for Franz Liszt. Saint-Saëns was a teenager when he first met Liszt. A virtuoso keyboard artist in his own right, Saint-Saëns was mesmerized by Liszt’s talents: “It would be impossible to give any idea of what he was like to those who never heard him in full possession of his talent. . . . Never again shall we see or hear anything like it.” For his part, Liszt hailed the young Saint-Saëns as the “world’s greatest organist.” Liszt and Saint-Saëns became great friends and champions of each other’s works. Saint-Saëns, who venerated Liszt for “occupying himself . . . with the highest forms of composition,” fashioned several symphonic poems that bear the older composer’s influence. Liszt, in turn, remarked, “While I am composing, I often ask myself the question: ‘Would this please Saint-Saëns?’ The affirmative encourages me to carry on, despite the weariness of age and other lassitudes.” Liszt died in Bayreuth on July 31, 1886, at the age of 74. The published score of the Saint-Saëns Third Symphony bears the dedication “à la Mémoire de Franz Liszt.”

The premiere of the Third Symphony took place in London’s St. James’s Hall on May 19, 1886. The evening was a great personal triumph for Saint-Saëns. The composer led the Philharmonic Society of London in his new symphony, and was also the soloist in his Fourth Piano Concerto. The London audience’s response to the symphony was generally positive. After the concert, Saint-Saëns was given an audience with the Prince of Wales, later crowned King Edward VII. The January 9, 1887, Paris premiere, again conducted by Saint-Saëns, was yet another success. After the performance, as Saint-Saëns descended the podium, composer Charles Gounod proclaimed: “There goes the French Beethoven!”

The Saint-Saëns Third, featuring ingenious thematic manipulation and brilliant orchestration, is one of the most important French symphonies of the second half of the 19th century. Camille Saint-Saëns did not compose another symphony during the final 35 years of his life. As he remarked: “I have given all that I have to give . . . . What I have done I shall never do again.”

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The Third Symphony, like the Fourth Piano Concerto, is divided into two principal sections, in order, as the composer stated, to avoid “interminable repetition.” Still, the work “embraces in principle the four traditional movements, but the first, halted in its development, serves as the introduction to the Adagio, and the Scherzo is left by the same process to lead to the finale.”

The Third Symphony comprises two principal sections, each with two parts. Part I begins with a brief introduction (Adagio), leading to the principal Allegro moderato, and a restless string figure that appears in various guises throughout the Symphony. In the slow-tempo portion of Part I (Poco adagio), the organ accompanies the violins, violas, and cellos, as they introduce the affecting principal melody.

The opening portion of Part II (Allegro moderato), serving the function of a traditional scherzo, opens with a dialogue between the strings and thundering timpani. A quicksilver Presto episode introduces, according to the composer, “a fantastic spirit.” The final portion of the “Organ Symphony” (Maestoso; Allegro) brings the work to a majestic close.

EMORY UNIVERSITY SYMPHONY ORCHESTRA

The Emory University Symphony Orchestra (EUSO) presents an annual season of dynamic performances with major works from the established orchestral repertoire and new works of the 21st century. The EUSO also combines forces regularly with Emory’s celebrated University Chorus to feature masterworks of the rich symphonic-choral tradition. 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 Concerto and Aria Competition.

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 with appropriate backgrounds.

The EUSO is featured regularly on Atlanta’s National Public Radio affiliate with broadcast performances including Beethoven symphony No. 9, Holst The Planets, Shostakovich symphony No. 5 and No. 10, Tchaikovsky symphony No. 4 and No. 6, and Philip Glass Cello Concerto No. 2 with acclaimed cellist, Matt Haimovitz.

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Timothy Albrecht, organThe American Organist hails Timothy Albrecht, Atlanta’s Emory University organist, for his “creative, fertile imagination . . . electric performances . . . Lisztian virtuosity.” Recitals span Alaska to the Andes, and Texas to Taiwan. The Frankfurter Allgemeine Zeitung cites his “ever-present artistry and virtuosity.”“Unforgettable, because inimitable,” writes the Darmstädter Beiträge zur neuen Musik. Nobel Peace Prize–winner Desmond Tutu once wrote him about an upcoming performance, “I am so looking forward to that . . . knowing you will play as if your life depended

on it!” He has performed organ music of Olivier Messiaen before His Holiness the XIV Dalai Lama.

Ambidextrous and possessing perfect pitch, Albrecht first studied piano with East European Eugenia Prekosh. Elected to Phi Beta Kappa while at Oberlin College, he earned a doctorate at the Eastman School of Music, representing the United States at the Sixth International Bach Competition in Leipzig. England’s Cambridge University, where he has spent two sabbatical research leaves, has conferred him with Life Membership.

At Emory, Albrecht headed the graduate organ degree programs for a quarter of a century. He teaches master classes across the country for many chapters of the American Guild of Organists, and he has performed and taught in Europe and Asia. He has also taught a master class at the Juilliard School in New York. His discography includes nine solo compact discs, and he has also composed 12 volumes of published Grace Notes for Organ.

Paul Bhasin, conductorPaul Bhasin serves on the faculty of Emory University as director of wind studies and interim director of orchestral studies. In this capacity, he conducts the Emory University Symphony Orchestra, Emory Youth Symphony Orchestra, and Emory Wind Ensemble, 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 recent

performances at the Kennedy Center in Washington, D.C., and throughout the People’s Republic of China. Bhasin’s most recent guest engagements include appearances with the Virginia Symphony Orchestra (including live radio broadcasts of subscription concerts), American Youth Philharmonic,

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Williamsburg Symphony, New Jersey Youth Symphony, and at Interlochen Arts Academy. He has also led performances as a guest conductor with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra. Ensembles under his direction have collaborated with soloists from the San Francisco Symphony, Atlanta Symphony, and Richmond Symphony. He has led honor orchestras and served as a guest orchestral clinician throughout the United States, and he has presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference.

Bhasin is an accomplished orchestral trumpeter, having performed and recorded with the Virginia Symphony and Opera, Columbus (Ohio) Symphony, New World Symphony, and the Civic Orchestra of Chicago, and at the music festivals of Aspen, Tanglewood, and Ravinia. With these institutions he has performed under the batons of Michael Tilson Thomas, James Conlon, James DePriest, Leonard Slatkin, Andreas Delfs, and Gustav Meier and participated in the conductor training program at Aspen under David Zinman and Murry Sidlin. A committed trumpet teacher, his students have attended prestigious conservatories and music schools and have won first prize at major competitions including the National Trumpet Competition. He has been featured as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, and the Chautauqua Music Festival, and at the International Dvořák Festival (Prague, Czech Republic). Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels, and his 2015 Centaur Records release features the music of Brian Hulse and is performed by principal soloists from the Richmond and Virginia Symphonies. A forthcoming CD project with Centaur will feature Atlanta Symphony Orchestra principals as concert soloists with Emory ensembles.

Bhasin’s transcriptions and arrangements are published by Balquhidder Music and have been performed and commissioned in the US 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 Symphonic Brass (Washington, D.C.). In 2015, Bhasin composed and conducted the orchestral score to 9:23 Films’ motion picture, Hogtown (award winner at the Berlin, Los Angeles, and Nashville International Black Film Festivals, and Cannes Festival Marché du Film). Michael Phillips of the Chicago Sun-Times writes that the film was “. . . scored beautifully by composer Paul Bhsin . . . better than the entirety of the last few features I’ve seen, period.” In 2016, reviewer Ben Kenigsberg of the New York Times named the film a “Critic’s Pick” and one of the “Top 10 Films of 2016.”

Bhasin’s previous appointments include positions at the University of Wisconsin–Green Bay, Triton College, and the College of William and Mary. He received his musical education from the University of Wisconsin–Madison, Northwestern University, and the University of Michigan.

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Sonia Posetti Composer and pianist Sonia Possetti breathes new life into tango by reinvigorating the traditional tango rhythms and reforming the typical tango ensemble. Possetti was born May 24, 1973, in the town of Chascomús. She began playing classical piano at eight years old and studied at the Provencal Conservatory of Chascomús for nine years. At the age of 17, Possetti moved to Buenos Aires to pursue a career in tango and entered into the Escuela de Música Popular de Avellaneda (EMPA), where she studied with maestros Orlando Trípodi and Rodolfo Mederos. Shortly after

graduation, she began teaching repertory and interpretation at EMPA, which she continues presently, and she began her career as a tango pianist. Possetti has performed with various ensembles, including Tangata Rea and Leopoldo Federico’s orchestra. She also had the rare opportunity to study composition and arranging with the great tango maestro Horacio Salgán from 1996–1997. After working in the duo formation with Bolotin for six years, she formed the Sonia Possetti Quinteto in 2002 consisting of piano, violin, bandoneon, bass, and percussion. Dedicated to performing her original tango compositions, the ensemble released the CD Mano de obra in 2003, which made her first big mark in tango.

In 2003 Possetti was nominated as a Tango Revelation Artist by Clarín, a daily newspaper in Buenos Aires; in 2004, she was awarded the Madrina de honor (Honorary Godmother) of the VI Buenos Aires Tango Festival; and in 2005 the quintet received a Konex Merit Diploma in the category of Tango Ensemble. Recently, Possetti augmented her ensemble configuration to a sextet with the addition of the trombone. In 2010, the sextet released the CD, Cayó la ficha, and it was featured on the 2010 and 2012 Tango Festivals in Buenos Aires. Her music has been performed by the BBC Symphony in London and the National Orchestra Juan de Dios Filiberto of Argentina. In 2017, she was honored in her hometown of Chascomús with a concert of her music.

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Damián BolotinViolinist, composer, and arranger, Damián Bolotin (b. May 1, 1965, Buenos Aires) is a Renaissance man who traverses all sectors of music in Buenos Aires today, including tango, classical, folkloric, and jazz, as well as music for theater and film. He began studying classical violin at age eight. Early in his career, Bolotin explored klezmer and jazz improvisation; the latter caught the attention of Rodolfo Mederos, the renowned tanguero who was exploring electronic tango during the late 1980s. Bolotin joined his quintet in 1988 to add a flavor of jazz to the ensemble.

Since that point in his career, Bolotin has had a long history as a tango orchestral violinist working with such maestros as Julián Plaza, Fernando Suarez Paz (the violinist in Piazzolla’s orchestra), Daniel Binelli, and Leopoldo Federico. He has also worked with such internationally acclaimed musicians as Lalo Shiffrin, Martha Argerich, and Arturo Sandoval, for whom he arranged the orchestra for the 2012 Latin Grammy Award–winning CD Tango Como Yo Te Siento. In 1996, Bolotin formed a tango duo with Possetti, and they recorded two CD’s together, Entre nosotoros (1998) and Ida y vuelta (2001). He still performs with Possetti’s sextet, as well Orquesta Nacional de Música Argentina “Juan de Dios Filiberto.” He formed his own string quartet in 2005, called Cuerdas Pop-temporaneas. In 2006, they released the CD Horo pico, which features Bolotin’s original tango compositions as well as arrangements of tangos by Astor Piazzolla. Bolotin formed a new chamber group, CUMPAS (Cuerdas para la Música Popular Argentina y Latinoamericana), with two violins, cello, bass, and percussion, which most recently performed the Centro Cultural Kirchner in Buenos Aires in October 2016.

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EMORY UNIVERSITY SYMPHONY ORCHESTRAThe Joel M. Felner, MD, and Edward Goodwin Scruggs ChairsThe two named chairs, concertmaster and principal second violin, are in recognition of instruments given to the Emory University Symphony Orchestra in the value of $350,000. Joel M. Felner is associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for 37 years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of music and friends of Emory University. The concertmaster plays a 1687 Grancino and the principal second an 1870 Scarampella.

VIOLIN I

Claire Roesler Western Springs, IL Music/ChemistryJoel M. Felner MD Concertmaster ChairPatricia Lin • Atlanta, GA Music/ChemistryAssistant ConcertmasterHyerin Yoon Great Neck, NY Music/ChemistryAmy Zhang • Johns Creek, GA Music/Human HealthCaroline Sikuta ∞ Naples, FL Music/EconomicsKathy Li • Lilburn, GA Music/BiologyJudy Oh Auburn, AL Music/BiologyEmily Chen Wexford, PA ChemistryJonathan Park Decatur, GA PsychologyMeg Winata Houston, TX Music/Nursing 14CMatthew Huang Shrewsbury, MA BusinessHaley Snyder Atlanta, GASofia Ayres Aronson Shaker Heights, OH Biology/Creative WritingKatie Lee Naples, FL BusinessAriana Rahgozar Dix Hills, NY Music 16C

VIOLIN II

Catherine MacGregor • Marietta, GA MusicEdward Goodwin Scruggs Principal Second ChairTrevor Chun •Ω Alpharetta, GA Music/BusinessAssistant PrincipalLesley Mun Vernon Hills, IL Music/BiologyAlec Reinhardt • Decatur, GA Music/Applied MathBen Furman Atlanta, GA NBBPaolo Mutia Richmond, VA Environmental SciencesDavid Chen East Lyme, CT UndecidedFranck Daryl Nana Tangpi Reminderville, OH Music/BusinessCameron White Chicago, IL Music/BiochemistrySizhe (Alex) Ren Changsha, Hunan, China Business/Computer SciencesAngela Cao Ω Edison, NJ Music/MathematicsKristin Wadsworth Tampa, FL UndecidedCarol Hou Ω Cherry Hill, NJ Applied Math/Quantitative SciencesGloria Jung Centennial, CO UndecidedEllie Coe Roswell, GA Russian StudiesEmma Kantor Oakland, CA Creative Writing/Film Studies

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VIOLA

Emma DeJarnette •∞ Snellville, GA Music/Quantitative SciencesPrincipalZola Berger-Schmitz Venice, GA Music/Political ScienceAssistant PrincipalJi Won Lee Princeton, NJ Music/BiologyDuncan Tam Hamden, CT MusicWilson Hsu Ω Chesnut Hill, MA BusinessMinnie Yang West Lafayette, IN History/Media StudiesAlex Sabol Bethesda, MD Music/NBBJabin Sohng Las Vegas, NV Music/BiologyJulia Borthwick • Atlanta, GA PsychologySobin (Sophie) Ahn Seoul, Korea MusicSophia Weinstein Ω Brooklyn, NY International StudiesLucas Mock Durham, NC UndecidedTalin Handa Melbourne, FL NBB/ChemistryChris Breuer Aurora, IL Business

CELLO

Anna Bing • Atlanta, GA Music/Spanish LiteraturePrincipalMolly Ball Ω Virginia Beach, VA Music/PhilosophyAssistant PrincipalEric Yang Houston, TX Music/MathematicsSean Parker Baton Rouge, LA Music/BiologySirian Yi • Suwanee, GA Music/PsychologyClaire Lee Suwanee, GA Music/International AffairsHwanwook Seong • Atlanta, GA UndecidedBrian Le Richardson, TX Music/BusinessHaley Roesler Western Springs, IL Music/Quantitative SciencesChris Fenger Greensboro, NC MusicJake Kanef Lexington, MA UndecidedAmanda Ramirez Ω Atlanta, GA Music/Biology

BASS

Dashiell Wakeman • Atlanta, GA MathematicsPrincipalHannah Perron ∞ Princeton Junction, NJ UndecidedMax Heedon • Atlanta, GA Undecided ZijianTan Suwannee, GA Music/BiologyAlex Petralia Atlanta, GABijean Ford Durham, NC Immunology, PhDKait McGann-Ludwin Palm City, FL Business 17BEric Shute Chamblee, GA

FLUTE AND PICCOLO

Claire Mahon •∞ Norcross, GA BusinessClaudia Wahoski •∑ Fayetteville, GA Music/BiologyOlivia Stam Cumberland Foreside, ME Music/Psychology

OBOE AND ENGLISH HORN

Daniel Shin Holmdel, NJ BusinessRia Brown Ω Houston, TX BiologyJane Farrell Worthington, OH Undecided

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EMORY UNIVERSITY SYMPHONY ORCHESTRACLARINET AND BASS CLARINET

Kelsey Newman ∞ Martinsville, VA Music/BusinessEster Ro • Sugar Hill, GA Music/PsychologyJosh Pynn • Decatur, GA Music/Economics

BASSOON

Sohil Shah Ω Edison, NJ Music/Political ScienceAllison Rose •∞ Marietta, GA Music/Quantitative ScienceCaitlin MacDonald Scotland, UK Emory Bobby Jones Scholar

HORN

Samuel Edwards ∞ Palm Beach, FL Music/PhilosophyOwain Thorogood Havertown, PA BusinessDanielle Staffin Bridgewater, NJ Music/BusinessDavid Pickworth Naples, FL Music 99C

TRUMPET

Jacob Germany •∞ Alpharetta, GA Music/ChemistryAndrew Mahoney Atlanta, GA Chemistry, PhD studentTony Kasper Huntington, NY Music/Environmental Science

TROMBONE

Max Inman ∞ Cary, NC Music/ChemistryGraham Crain Ω Maryville, TN Undecided

BASS TROMBONE

Ethen Feldman ∑ Minneapolis, MN Political Science

TUBA

Sean Delaney ∞ Winchester, MA Music/Business

TIMPANI AND PERCUSSION

Christopher Prugh Ω Swarthmore, PA Film Studies/BiologyJason Goodman Los Angeles, CA Music/Political ScienceZoe Zimmerman ∑ Ooltewah, TN BiologyDana Kahn ∑ Evergreen Park, IL Music/Political Science

HARP

Amanda Melton • Kennesaw, GA Music 18C

PIANO AND CELESTE

Rachel Chon Centerville, VA Music/BusinessLeo Zhao Pasadena, CA Music

NBB: Neuroscience and Behavioral Biology• Emory Youth Symphony Orchestra Alumni

∞ Woodruff / Music Woodruff ScholarΩ Edward Goodwin Scruggs Lesson Scholarship

∑ Emory Friends of Music Scholarship for Applied Lessons

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EMORY STRING, WIND,AND PERCUSSION FACULTY

Laura Ardan, clarinet * Roee Harran, cello Jessica Sherer, fluteEmily Brebach, oboe * Yinzi Kong, viola Ω Christina Smith, flute *Marc Boehm, trombone Michael Kurth, bass * Stuart Stephenson, trumpet *Jay Christy, violin * Michael Moore, tuba * Amy Trotz, horn **Jason Eklund, horn † Ed Nicholson, trombone † Shelly Unger, bassoonElizabeth Fayette, violin Ω Gary Paulo, saxophone Guang Wang, cello ΩKaren Freer, cello * Scott Pollard, percussion Jessica Wu, violin ΩAdam Frey, euphonium Elisabeth Remy, harp * Mark Yancich, percussion * Anthony Georgeson, bassoon * Sasha Shatalov, oboe Jim Zellers, flute †

*Atlanta Symphony Orchestra † Atlanta Opera Orchestra

** Atlanta Ballet Orchestra Ω Vega String Quartet

DEPARTMENT OF MUSIC ADMINISTRATION

Kevin Karnes, ChairKristin Wendland, Director of Undergraduate StudiesLynn Bertrand, Director of Graduate Studies Martha Shockey, Senior SecretaryKathy Summers, Academic Department AdministratorSasha Shatalov, Program CoordinatorJulie Hudgins, Academic Services Coordinator

MUSIC AT EMORYThe department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in our department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, our faculty and ensembles also welcome the participation of non-major students from across the Emory campus.

Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit music.emory.edu or call 404.727.1401.

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FRIENDS OF MUSIC

EXECUTIVE COMMITTEE MEMBERSAngelika Pohl, PresidentRay DuVarney, Immediate Past PresidentLinwood Keith, TreasurerGayle Mahon, VP, MembershipLilian Bryan, VP, HospitalityJeffrey Young, VP, CommunicationsMary Emma McConaughey, Chair, Grants Committee

AT–LARGEJanie Woods Alexander, Mary Brantley, Gray Crouse, Jim Overbeck, Hank Siegelson, and Melinda Young

EX–OFFICIOGary Motley, Chair Candler Concerts CommitteeKevin Karnes, Chair, Department of MusicKathy Summers, Department of MusicMartha Shockey, Department of MusicCaitlin Schile, Development, Arts and Sciences

MEMBERS WHO MADE GIFTS BETWEEN JAN. 1, 2017 AND AUG. 28, 2018

*denotes Advisory Board member

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COMPOSERS $2,500 AND UPGary and Cindy FrischlingGuy and Charlotte Pfeiffer

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ARTISTS $500–$999

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James BrossDr. Martine Watson BrownleyE. Pope Bullock & Sarah McPheeBrenda and Cary BynumDorothy Chitwood*Gray* and Marge CrouseFrank and Patricia DalyDeborah D. Floyd and Ann B.

DealDonald and Barbara DefoeDr. Francine Dykes and

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FrancoLynn L. HartScott and Carrie Putterman

KitnerDr. James T. and Mrs. Berta

LaneyPolly PricePamela H. and Christopher

Martin

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AmericaDr. Henry J. Siegelson and

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PATRONS $300–$499

Douglas S. WinnieJeffrey E. and Melinda R. YoungAnonymousJanie Woods Alexander*Cathy and Wilfred ArnettMrs. Leslie R. BakerNancy BarberDr. Michael and Mrs. Joan W.

BernardinoRobert Berry and Jane SewardLynn and Maglyn BertrandRebecca BialkoAdrienne and Roy T. BlackJerome and Elaine BlumenthalLindsay D. BogtyGordon Boice and

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MatthewsJoyce FraserDrs. Carla Freeman and

Robert L. B. GoddardJohn Foote and Laura WaddickAllen and Sharon* Garrison

Dr. Larry GilgerCharles B. and Mary Kathryn

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GreenwaldDr. Martin I. and Doris GoldsteinKaren D. and Vernon GriffithDr. Carole L. HahnReverend A. Kempton Haynes Jr.Sacha HelmyCamilia HeningerMichael and Suzanne HeningerRebecca L. HerringLinda Bauer HollyJames Honkisz & Catherine BinnsIBM CorporationJeffrey M Kahn and Holly K.

MillinsKevin C. KarnesMiriam KarpLinwood and Dorothy KeithBob and Jane KiblerAndrea and Edward KrakovskyAnna LambrosAlfred Land and Elizabeth KirkDr. Frank Lechner and

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Peter Craig WithersAnne A. Lester*Gloria Liu and David CostelloDr. Jo Marie LyonsDolores M. MalvitzEdward and Cammie McCarveyGayle MahonClaudio and Savanna MapelliJohn and Linda McCarter

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Dr. Andrew PattersonRev. Dr. John H. and

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SPONSORS $100–$299

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Edward F. Sugarman and Beth Greenblat Sugarman

Judith* TagerDr. and Mrs.* Kenneth TaratusLeslie M. Taylor and David PrattOliver and Barbara ThompsonAllison Leigh Tillotson and

John TillotsonBarry and Louisa TitusConstance Tooze

Nicolaas F. & Geertruida van VlietRobert and Anne VanceJorge and Mary Jane VilanovaLinda ViskElizabeth A. WaltonLaurie Jowers WareEdward Weldon and

Jane Powers WeldonDr. Ellis and Mrs. Norma P. West

Clare WhitfieldDr. and Mrs. F. Brown

WhittingtonW. Dean and Mary Kay WilcoxDan and Snow WilliamsDavid C. and Dina WilliamsRussell F. WinchDelores Whitfield Perrin Wright

and Dr. Charles Wright

Myrna AbramsonDavid W. and Carol G. AllenDr. Maria* Archetto and

Ralph Hickman Jr.Cecil and Elizabeth ArnoldJames H. and Mary BaileyPeter and Geneva BenoitMartha and Walter BishopStanley and Laura BlackburnAlisha J. BlandingKatherine BoiceManuela BornsteinMarvin A. and Mary BrantleyLillian BryanLoren and Ruth Ann CarterMichelle CasalsPatricia A. ClarkHenry and Claudia ColvinRichard S. Colvin, MDDon CruseCatherine and William CurletteThomas L. CzerwinskiJohn P. and Donna DevlinMargaret and Paul EllingsonElissa EyeGary FalconRasmus and Susie FengerJanet Foster and Rainer Luedtke Bernard GoldsteinJennifer and Gabriel GouldLinda Graves and Phillip Roberts

Drs. Jon and Karin Gunnemann Victoria Espitia–HardemanLaura J. and John HardmanBetty and Billy HarrellAlan and Lucy HinmanMargaret Overton Kelso and

Charles KelsoDr. Daniel and Mrs. Marcia

KlenbortEmily Loveman KisberDr. William J. and Caroline

Klopstock Donald and Dorothy LangleyKaren LindauerEmily MapelliKenneth and Sarah Leathers

Martin Dan D. MasliaAnnette McBrayerDavid G. MoriartyThe Rev. Anne White MortonDr. Brigitte Buchmann Nahmias Serge P. NeprashDaniel and Rosabelle NewtonWalter and Mary O’BriantGrace Eunkyung OhDr. Giselle Ow–YangAlexander and Meghan PageDr. Giglia Anne ParkerMarcia Pauley and Bruce BurtonG. Ernest Plunkett, III

Beaupre PrestonGeorge and Cynthia QuillianJudith Raggi–Moore and Danny

Moore Vicki and Joseph RiedelTed and Cindy RunyonNorma RushingEric and Rosie Henson Sampson Barbara and Melvin SeligmanScott and Lauren ShankmanCecelia V. ShannonGeorge and Cynthia Shepherd Martha ShockeyClaudia Richards ShorrRoberta L. ShoupMr. Robert and Dr. Lynne E. SloopEd Stansell and Lyndel LeritzMartine Kennedy van

Voorthuysen Mary–Ellen Hunt VianMary E. WardTed and Mudie WeberDr. Kristin F. WendlandIrene WolkoffSusan E. WoodsZachary YoungbloodAngelica Zhang

MEMBERS $50–$99

SPONSORS $100-$299 (CONTINUED)

WERNER WORTSMAN MEMORIAL ORGAN Werner Wortsman 47C was raised in Germany with a love for classical music and opera, and at age 13 came to the United States to escape Nazi rule. He served in United States Army intelligence in World War II before majoring in journalism at Emory. Living most of his adult life near campus, Wortsman (1925–2009) owned a radio station, wrote two books, and participated in Emory alumni events. The value he placed on education, music, and the arts inspired his bequest to the Schwartz Center for Performing Arts at Emory. The organ, which serves as the visual focal point in the Schwartz Center’s Emerson Concert Hall, was named for him in 2011, in recognition of his generous gift to the Arts at Emory.

17

Arts at Emory Box Office/Audience Information404.727.5050 • arts.emory.edu

IN CONSIDERATION Please turn off all electronic devices.

PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.

COUGH DROPS Available in the lobby.

USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social fraternity. Call 404.727.6640 for ushering opportunities.

EVENT AND PROGRAM INFORMATION Available online at arts.emory.edu.

ACCESSIBILITY The Schwartz Center for Performing Arts is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Arts at Emory Box Office at 404-727-5050, or by email at boxoffice@emory.edu. For seating accommodations, please contact us at least 24 hours in advance of the event.

COVER PHOTO © Trevor Chun Photography. TREE LIGHTS AND EXTERIOR ARCHITECTURAL BUILDING LIGHTS Made possible by a generous gift from Donna and Marvin Schwartz.

UPCOMING MUSIC EVENTSGo to music.emory.edu to view the complete list of upcoming music events. Ticket prices are listed in the following order: Full price/Emory student price (unless otherwise noted as the price for all students). For more information contact the Arts at Emory Box Office at 404.727.5050, or visit arts.emory.edu.

Sunday, October 21, 4:00 p.m., Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free

Sunday, October 21, 4:00 p.m., Just Jazzin’ Around, ECMSA: Family Series, Michael C. Carlos Museum, free

Friday, October 26, 8:00 p.m., Sudden Light, Emory Choirs Concert, Schwartz Center, Emerson Concert Hall, free

Saturday, October 27, 8:00 p.m., Best of Beethoven, Concertgebouw Preview, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free

Wednesday, October 31, 8:00 p.m., Daniel Hope and Friends: AIR–A Baroque Journey, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $50/$5

Sunday, November 4, 7:00 p.m., Emory’s Annual Concerto and Aria Competition, Schwartz Center, Emerson Concert Hall, free

Friday, November 9, noon, Emory’s Young Artists, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free

Saturday, November 10, 8:00 p.m., Bradley Howard, tenor, faculty recital, Lee Thompson, piano, Schwartz Center, Emerson Concert Hall, free