BOSTONUNIVERSITYCHAMBERORCHESTRA

Monday, November 25, 2019

Tsai Performance Center

BOSTON UNIVERSITY Founded in 1839, Boston University is an internationally recognized institution of higher education and research. With more than 33,000 students, it is the fourth-largest independent university in the United States. BU consists of 16 schools and colleges, along with a number of multi-disciplinary centers and institutes integral to the University’s research and teaching mission. In 2012, BU joined the Association of American Universities (AAU), a consortium of 62 leading research universities in the United States and Canada.

BOSTON UNIVERSITY COLLEGE OF FINE ARTS Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in Music, Theatre, and Visual Arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master relevant 21st century skills. CFA offers a wide array of undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/cfa.

BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSICFounded in 1872, Boston University College of Fine Arts School of Music combines the intimacy and intensity of traditional conservatory-style training with a broad liberal arts education at the undergraduate level, and elective coursework at the graduate level. The school offers degrees in performance, conducting, composition and theory, musicology, music education, and historical performance, as well as artist and performance diplomas and a certificate program in its Opera Institute.

PERFORMANCE VENUESCFA Concert Hall • 855 Commonwealth AvenueMarsh Chapel • 735 Commonwealth AvenueTsai Performance Center • 685 Commonwealth AvenueBoston Symphony Hall • 301 Massachusetts Avenue

Dybbuk

1. Invocation and Trance 2. David & Jonathan (The Pledge)3. Variation O – Messengers (Angelic Messengers)3a. Kabbalah4. Dream4a. Kabbalah 5. Alchemy – Variation A 6. Alchemy – Variation M 7. Alchemy – Variation N 8. Alchemy – Variation X 9. Alchemy – Variation Y10. Alchemy – Variation Z 11. Alchemy – Variation O 12. Leah (Maiden’s Dance) 13. Possession 14. Demon 15. Pas de Deux 16. Exorcism 17. Reprise and Coda

Leroy Y. Davis, baritoneErik Danielson, bass-baritone

Intermission

BOSTON UNIVERSITY CHAMBER ORCHESTRAJayce Ogren, conductor

November 25, 2019Tsai Performance Center

Leonard Bernstein (1918–1990)Reorchestrated by

Garth Edwin Sunderland

Three Studies from Couperin1. Les Amusemens2. Les Tours de passe-passe3. L’Âme-en-peine

Daniel Krenz, Tamara Dworetz, Jacob Schnitzer, conductors

Symphony No. 103 in E-flat Major, “Drumroll”

I. Adagio—Allegro con spiritoII. Andante più tosto allegrettoIII. MenuettoIV. Finale: Allegro con spirito

Thomas Adès (b. 1971)

Franz Joseph Haydn (1732–1809)

PROGRAM NOTES

DybbukPremiered by New York City Ballet in 1974, and conceived in collaboration with his long-time creative partner Jerome Robbins (with whom he had created Fancy Free, On The Town, and West Side Story), Dybbuk is an abstraction, more than an adaptation, of the classic Yiddish drama by S. Ansky. The play tells the story of Channon and Leah—pledged to each other at birth, her father instead marries her to another, despite their true love. Channon is visited by ‘The Messenger,’ turns to the Kabbalah, and becomes a Dybbuk, a vengeful spirit. He possesses Leah, is exorcised, and the two lovers are finally united in death, and oblivion.

The Bernstein/Robbins work is not, however, a story ballet. Though its overall shape follows the play, it is a series of tableaux-in-movement inspired by dramatic moments from the Ansky source. The oppressive ‘Community’ music frames the work, which Robbins exemplified through a rigid, unbreaking line for the men of the corps, and the central ‘Variations’ are a set of dazzling solos, also for the men, costumed in the style of The Messenger, representing aspects of the Kabbalah. Only Leah is given a name in the ballet, in her ‘Maiden Dance’. Bernstein later wrote, looking back on the work:

…Ansky’s Dybbuk is really a drama about dualisms—Good and Evil. Ends and Means. Male and Female. Justice and Necessity. Self and Society, etc., with all their problematic intercombinations, and especially the duality of the so-called True World as opposed to this world in which we seem to reside. In Ansky’s sense, ‘this world’ is really limited to the tiny but teeming area of the Russian-Polish ghetto; the True World is the world of angels, the ten spheres, the sources of Being.

For both Robbins and Bernstein, the work was a pathway to exploring their Jewish identity. But for Bernstein, it was also a chance to show what he could do. At the time, the hegemony of serialism in American concert music formed its own oppressive community, and the broad popularity of Bernstein’s music was often greeted with a sneer from the establishment. The material of Dybbuk is created from three sources—an octatonic scale, used for music representing ‘This World,’ and infused with Bernstein’s Jewish/Ukranian heritage; three tone rows, used for the music representing the ‘True World’; and Kabbalistic numerology, which deeply informed the technical construction of the entire score. Bernstein’s incredible skill at synthesizing vastly different styles of music from the entire spectrum of human expression is on bold display. Nevertheless, the score was dismissed by a New York Times critic for its ‘prevailingly tonal… conservative’ tone.

Dybbuk is music unlike anything in Bernstein’s catalogue. Over the course of the score it becomes increasingly wild and savage, culminating in the terrifying ‘Exorcism,’ which features a dazzling 7/8 canon in which the voices enter on different, disruptive off-beats,

and building to a terrifying, apocalyptic climax. The score contains moments of great beauty as well, in particular the searingly passionate pas-de-deux between Leah and the demon who possesses her.

Although Bernstein crafted two Suites from the score, it is one of his least-performed works. In fact, of the 5,000+ worldwide performances during the Bernstein Centennial, [Lost Dog New Music Ensemble’s was] the *only* concert performance of the work in any form, with only New York City Ballet reviving the original ballet, despite the fact that the current season is simultaneously the Jerome Robbins Centennial.

History has come ’round on Bernstein—the global celebration of his Centennial has shown the depth of feeling for both the man and his music. His talent was extraordinary, his reach as a communicator and composer unparalleled. It is my hope that this new sinfonietta orchestration will help Dybbuk to become more frequently and broadly programmed, and at last become recognized as an integral part of the most important legacy in American music.

—Garth Edwin Sunderland (excerpted)

Three Studies from CouperinFançois Couperin (1668–1733) filled four big volumes with music to scurry, leap, swoon or tease under the fingers. Adès had a first brush with this great encyclopedia of wit, passion and intelligence in 1994, when he arranged the harpsichord piece Les Barricades mistérieuses, a strange instance of Baroque minimalism, for instrumental septet. In 2006 he returned for more, in response to a commission from the Basel Chamber Orchestra, and produced this triptych, in which the keyboard originals are reconfigured for dual ensembles of strings with seven woodwind and brass soloists plus a percussion player.

The adaptation is extremely subtle. Couperin’s style involves a lot of repetition, which Adès varies by delicately altering the orchestration or by adding shadows or haloes to the parts, so imitating and extending the techniques of touch and registration a performer at the harpsichord would use. Similarly, he scrupulously notates the kind of languorously drawn rhythm Couperin might have expected for the last piece here.

‘Les Amusemens’ has two matching segments, in G major and G minor, each having a rondeau section whose repeats frame two couplets. Adès’ use throughout of muted strings with horns and lowish woodwind (alto and bass flutes, clarinet, bassoon) creates a study in felted sonorities, beautifully answering the syncopation between the hands in the original. The percussionist’s arrival is marked in the second couplet of the G major section by strokes on two tuned metal bars, from which the player moves to marimba.

Syncopated imitation features again in the D major centrepiece ‘Les Tours de passe-passe’ (Conjuring Tricks) to bring about gamesome

PROGRAM NOTES

PROGRAM NOTES

and deceptive textures that Adès realises with a rare combination of subtlety and sense of fun. Here the percussionist is on rototoms and timpani, and uses both to give the ending a wallop. (This piece was also chosen by Richard Strauss as one of the eight he arranged for chamber orchestra as his Divertimento of 1940–41).

‘L’Âme-en-peine’ (The Soul in Torment), in B minor, a chain of indeed painful cadences, uncovers another world of feeling

—Paul Griffiths for London Symphony Orchestra

Symphony No. 103 in E-flat Major

Franz Joseph Haydn was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed the Symphony No. 103 in London in the winter of 1794–95 and led its first performance on March 2, 1795, at the King’s Theatre. He made some changes, notably to the end of the finale, after his return to Vienna that August and reintroduced the work there in its revised form on September 21. At [this concert] we hear the revised version.

The score of Haydn’s Symphony No. 103 calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings. It is likely that the winds were doubled at the first performance and certain that Haydn conducted from the fortepiano.

Haydn, at sixty-three, was at the summit of skill and invention, without rival as the world’s most eminent and most loved composer and having found in London an ideally understanding audience. He visited England twice, each time for about a year and a half. What he wrote for his concerts there and for various patrons and publishers centers most famously on the twelve symphonies, six for each stay, for the concerts organized first by Johann Peter Salomon, later by Giovanni Battista Viotti. The Drumroll is the last but one in the second series. Here is what the Morning Chronicle had to say about the premiere of the Drumroll:

Another new Overture, by the fertile and enchanting HAYDN, was performed; which as usual, had continual strokes of genius, both in air and harmony. The Introduction excited the deepest attention, the Allegro charmed, the Andante was encored, the Minuets, especially the Trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.

Well might the introduction have “excited the deepest attention.” It begins with the long kettledrum roll on E-flat from which the symphony takes its name, and from this emerges a phrase, quiet, very slow, for low strings with bassoon, with flute and oboes joining in to make a cadence in its fifth and sixth measures. Right away there is a problem: what to do with the drumroll? Haydn put no dynamic marking on it, neither is there any in the part from which the London timpanist played. Salomon, who made two arrangements of this symphony,

PROGRAM NOTES

one for piano trio and one for piano quintet, put a crescendo and a decrescendo sign—which musicians call hairpins—into the former and fortissimo into the latter. The hairpin version became traditional, making this the first of innumerable symphonies from Schubert’s Unfinished to Bartok’s Concerto for Orchestra with mysterious creeping-bass beginnings. H.C. Robbins Landon, on the other hand, is a fortissimo man: at his suggestion, Hermann Scherchen adopted that version to exciting effect in his 1950 recording, and Landon also proposes fortissimo-decrescendo as the primary reading in his Universal complete edition of the symphonies. The choice is the conductor’s, and the main thing is that this Intrada, as Haydn labels it, be impressive.

Of what follows the drumroll, Landon writes: “Without knowing the score, and listening to a performance with closed eyes, no one could possibly tell the meter of the opening.” He also suggests that the first notes of this theme are an intentional reference, though “oblique,” to the Dies irae (as quoted so famously by Berlioz and Rachmaninoff). Haydn does on occasion quote plainchant in his symphonies, for example in No. 26, Lamentatione, and in No. 49, La passione. Even so, I was skeptical about both of Landon’s contentions, only to have someone who was listening to a recording without knowing the score comment both on the mystery of the meter of those slow bass notes and on the fact that the first four notes were those of the Dies irae.

With the unfolding of the introduction comes some clarity but also even more mystery as Haydn, with greatest deliberation, prepares an entry in C minor. The moment the Allegro begins we discover that he meant no such thing. The alternation of G and A-flat with which the Adagio closes is picked up and reinterpreted as belonging to E-flat major, which is just what the first twenty-five measures of the introduction—before the C minor red herring—would have led us to expect. It is an amazingly organic—and subtle—transition from introduction to Allegro; one of the rare precedents is a work Haydn knew and loved well, Mozart’s Symphony No. 39, also in E-flat.

But even as Haydn now sets us firmly in place harmonically, he sets us a new metrical puzzle: it takes a full eight measures before we know for certain where “one” is and how to get in step with Haydn’s buoyant stride. After so much expansiveness in the Adagio, the exposition goes by quickly indeed: the contrasting theme is even more of a pop tune than the first one, and just before it—as a present to the sharp-eared and attentive—there is a quick allusion to the matter of the introduction.

The development is long (longer than the exposition by a full dozen measures) and adventurous, and among its adventures is another appearance—quite ghostly this time—of the music of the introduction. The recapitulation, on the other hand, is startlingly condensed; it also becomes astonishingly serious, assuming a tone and suggesting

PROGRAM NOTES

harmonic shadows we thought we had left behind us with the Adagio. What all this leads to is nothing less than a third reappearance of that dark introductory music—drumroll and all—but this time in the original slow tempo! A coda, quick and brief, again brings the Adagio theme in allegro tempo, which we now hear as a combination that ties everything together. A touch as surprising as any is added by some new high horn calls.

The Andante, which the London audience liked so well that it demanded an encore, is based on two folk songs from the region around the Esterházy estates. The movement is a set of variations; however, Haydn obviously chose the two songs for their consanguinity, so that one gets the impression that the second, C major theme is itself already a variation of the first, C minor one (sharping the F in the second tune is a clever ruse). Haydn makes two variations on each theme, covering a wide range of musical characters from the martial to the playful. Viotti, his distinguished concertmaster, got a rewarding solo, as had his predecessors Tomasini (at Eszterháza) and Salomon in earlier symphonies. The coda, with its demonstration of how to go from C major to C major by way of E-flat, is wonderful. By the way, Haydn’s quickening of Andante by the addition of “più tosto Allegretto” (“more like an Allegretto”) was one of his Vienna afterthoughts.

The minuet is a moment of relaxation. The Trio, with its delicately chosen doublings of string lines by woodwinds (or vice versa), is a tour-de-force of textural subtlety, as well as a show of how innocent beginnings may give rise to unlikely complexities.

And now the finale, perhaps Haydn’s greatest. The first movement had suggested two things, one large and one small. First there was the idea that one theme might establish dominance over an entire movement; at the end, there was that surprising, but so purposefully planted, flourish of horns. Haydn now picks up both threads, the second first. He begins with a call for the two horns alone. This is followed by an unmeasured silence, after which Haydn gives us the horn call again, though now as the accompaniment to a springy violin tune. At this point, ten seconds into the movement, we have met all of its thematic material.

Haydn is never as lavish with themes as Mozart; indeed, drawing maximal variety and event from a monothematic design is a singularly characteristic manifestation of his inventive mind. But even for Haydn, this finale is a bravura display of making very little go very far. To the very end he keeps us surprised—he wrote only “surprise symphonies”—both with what he does that is new and with what he reveals about what is familiar. Back in Vienna, he tightened the last pages. Given his overriding concern with concentration, he was undoubtedly right; on the other hand, he heroically sacrificed a joke too good to remain forever unheard.

—Michael Steinberg for the San Francisco Symphony

JAYCE OGREN, CONDUCTOR

Jayce Ogren has established himself as one of the most innovative and versatile conductors of his generation. From symphonic concerts to revolutionary community service programs to operatic world premieres, Mr. Ogren is a leader in breaking down barriers between audiences and great music.

Mr. Ogren began his career as Assistant Conductor of The Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra, a concurrent appointment he held from 2006–2009. In the years since, he has conducted many of the world’s most prominent orchestras,including the BBC Symphony, Boston Symphony, EnsembleIntercontemporain, Hong Kong Philharmonic, Los Angeles Philharmonic,New York Philharmonic, the Dallas and San Francisco Symphonies, and the Saint Paul Chamber Orchestra, in programs ranging from Mozart to Beethoven through Sibelius and Bernstein, to presenting U.S. and world premieres of works by Steve Mackey and Nico Muhly.

Among the numerous progressive projects Mr. Ogren has conducted are the New York premieres of Leonard Bernstein’s only opera, A Quiet Place, and puppeteer Basil Twist’s The Rite of Spring, both at Lincoln Center; the world premiere of David Lang’s symphony for a broken orchestra, bringing together 400 student, amateur and professional musicians in Philadelphia; and the world premiere of Jack Perla’s Shalimar the Clown at Opera Theatre of St. Louis.

A longtime collaborator of singer/songwriter/composer Rufus Wainwright,Mr. Ogren conducted the 2012 U.S. premiere of his opera Prima Donna at the Brooklyn Academy of Music, and led its recording with the BBC Symphony on Deutsche Grammaphon in 2016. Mr. Ogren and Mr. Wainwright have since appeared together throughout the world, with ensembles such as the National Arts Centre Orchestra in Ottawa, the Orchestre national d’Île-de-France in Paris and the Toronto Symphony.

A devoted educator, Mr. Ogren was invited by renowned poet Paul Muldoon to create an interdisciplinary studio class at Princeton University forthe 2017-2018 academic year. He has worked with students at the Brevard Music Center, the Juilliard School, Manhattan School of Music,Music Academy of the West and Verbier Festival. In 2016, he presented a unique workshop in orchestral rehearsal techniques for music teachers at Carnegie Hall in collaboration with the Carnegie Hall Weill Music Institute and the Juilliard School Pre-College. For his own part, Mr. Ogren earned his Master’s in conducting at the New England Conservatory and studied as a Fulbright Scholar with Jorma Panula.

A native of Hoquiam, Washington, Jayce Ogren lives in Brooklyn, New York with his wife Carly, an architect, and their son, Alistair. An avid athlete, he has run the Big Sur, Boston and New York City marathons, the JFK 50 Miler trail run, and the Ironman Lake Placid triathlon. As an individual member of 1% for the Planet, Mr. Ogren is proud to connect his artistic work with his deep love of nature and concern for the environment.

DANIEL KRENZ, CONDUCTOR

Daniel Krenz is a Master’s student studying with Joshua Gersen and Bramwell Tovey at Boston University where he serves as an assistant conductor for the symphony orchestras. This year he was also named as the Music Director for the Bay Colony Brass, the premiere brass ensemble in the Boston area. In 2019 he made his operatic debut conducting John Musto’s Later the Same Evening at the Opera Fringe Festival.

Before Boston University, Daniel received a Master’s degree in Musicology from Brandeis University where his thesis on Act III of Lulu was awarded the Sandy Shea Fisher award in artistic achievement. While at Brandeis University he served as the assistant conductor to the orchestra, and at the capstone concert of the 2018 Leonard Bernstein Festival for the Creative Arts he led the ensemble in Bernstein’s Candide Overture and Stravinsky’s Firebird. Previously he spent two summers at the Bard Conductor’s Institute where he studied with Leon Botstein, Mark Gibson, Lawrence Golan, and the late Harold Farberman.

TAMARA DWORETZ, CONDUCTOR

2nd prize winner in the Boston Pops’ Bernstein-inspired conducting competition, Tamara Dworetz recently served as assistant conductor to Bramwell Tovey, Principal Conductor of the BBC Concert Orchestra, at the 2019 Proms in London. Tamara was selected as one of six conductors to participate in a two-week residency in the Dallas Opera’s prestigious Hart Institute for Women Conductors, which culminated in a final concert with the Dallas Opera Orchestra and professional singers. Previously, Tamara served for two years as Assistant Conductor for the Austin Symphony Orchestra. She was a Conducting Fellow for the 2019 Cabrillo Festival of Contemporary Music for which she received the Bruno Walter Conducting Fellowship. In various capacities, Tamara has conducted the Moscow Symphony Orchestra, Boston Pops, New Symphony Orchestra (Sofia, Bulgaria), Cabrillo Festival Orchestra, DeKalb Symphony Orchestra, and Butler Opera Center, as well as the University of Texas University & Symphony Orchestras, Indiana University Brass Choir, Emory Youth Symphony Orchestra, Boston University Symphony Orchestra and All-Campus Orchestra, and Boston Youth Symphony Orchestra.

JACOB SCHNITZER, CONDUCTOR

Jacob Schnitzer is a conductor, composer, and curator based in Boston, Massachusetts and Austin, Texas. Committed to breaking barriers between art forms, Jacob works with artists from a wide array of disciplines to incorporate music into public programs, performance and visual art exhibitions, silent film screenings, theater productions, and improvised dance. He is a founding member and co-Artistic Director of the contemporary chamber orchestra collective Density512 in Austin. Jacob has served as co-Director and Conductor of The University ofTexas Lab Orchestra, Music Director of The University of Texas Engineering Chamber Orchestra, and Artistic Director of Con Moto Brass Ensemble.

Jacob remains active composer for orchestra, chamber ensemble, solo, wind and brass ensembles, and performance art installation. His works have been commissioned for performances at Carnegie Hall, El Real Conservatorio Superior de Música de Granada, University of Tirana (Albania), the Bay View Music Festival, and the Blanton Museum of Art..

Jacob is completing a Master of Music in Orchestral Conducting at Boston University with Bramwell Tovey and Joshua Gersen. He holds a BM in Music Studies from The University of Texas at Austin where he studied composition with Yevgeniy Sharlat, Dan Welcher, and Donald Grantham and horn with Patrick Hughes.

Imagine Yourself...

...Onstage at Symphony HallJoin the Boston University Symphonic Chorus, BU’s premier community choir

Performing with the BU Symphony Orchestra at Symphony HallApril 7, 2020

Open to all members of the BU communityRehearsals on Wednesday evenings

For more informationemail: jespina@bu.edu

LEROY Y. DAVIS, BARITONE

Recent highlights include debuts at The Opera Theatre of St. Louis as Pastor/Layabout Man/James/Kaboom in Fire Shut Up In My Bones as a Gerdine Young Artist, The Phoenicia Festival as Belcore in L’elisir d’Amore, Boston Opera Collaborative as Leporello in Don Giovanni, and Odyssey Opera as Ernesto Malcom in Maria, Regina d’Ighilterra. Leroy was also seen as Forester in Cunning Little Vixen, Joe St. George in Dolores Claiborne and Pablo Picasso in After Life at Boston University’s Opera Institute. Previous credits include Maximilian in Candide as an Apprentice Artist with Chautauqua Opera, and a mainstage debut at the Florentine Opera as Aeneas/Adonis in their double bill of Dido and Aeneas and Venus and Adonis, Papageno in The Magic Flute and A Mandarin/Ping in Turandot with Shreveport Opera, Fiorello in Il Barbiere di Siviglia and Maitre D’/Farley in Sister Carrie (world premier and recording) as a Studio Artist with the Florentine Opera, a concert of new American operatic works from the Florentine’s recording anthology at Opera America’s National Opera Center in New York City, and the bass soloist for Bruckner’s Te Deum with the Milwaukee Symphony Orchestra.

ERIK DANIELSON, BASS-BARITONE

Erik Danielson began his singing career performing with his parents at two years old, and has been consistently performing ever since. He sang with the Rockford Kantorei for 3 years, then was a member of the Texas Boy’s Choir for 9 years. Since then he has obtained Bachelor’s degrees in Vocal and Piano Performance from Texas Christian University, along with Master’s degrees in Vocal Performance and Conducting from Southwestern Seminary. He is currently a member of the Opera Institute at Boston University where he is pursuing a career in opera. He has also performed extensively as a collaborative pianist with both instrumentalists and vocalists, along with teaching private voice and piano, and coaching both voice and clarinet. He has served as the Associate Minister of Music at Northwest Bible Church in Fort Worth and the Minister of Music at Northlake Baptist Church in Dallas. He currently sings with the Choir of the Church of the Advent in Boston. He has performed major roles in both opera and musical theater, including Captain von Trappe in Sound of Music, both Leporello and Commendatore in Don Giovanni, with upcoming roles as Nick Shadow in The Rake’s Progress and Publio in La clemenza di Tito.

1st ViolinSarah Elert, concertmasterXinyuan WangJessica Tovey ªAva FigliuzziClara MontesSandya KolaReyna FloresSamuel Chung

2nd ViolinHuiying Ma, principalAllie WeiFreya Liu ªIsabel OliartAnna HarrisJacqueline BensenSean LeeStella Faux

ViolaDeberly Kauffman, principalCelia DaggyChloe AquinoYonsung Lee ªHyojin KimCarlos Parra Suarez

CelloYeji Yoo, principalMichael D’ArrigoEsther BenjaminYu-Ning Huang ªMinyung SuhJewel Kim

BassNoëlle Marty, principalPablo Kennedy ªSarah WagerAlyssa Brown

FluteMadeline Horvat ªlHayden Tutty ªMatthew Lee v PiccoloMadeline Horvat

Alto FluteHayden Tutty

Bass FluteMadeline Horvat

OboeKatrina Kwantes lRodion Belousov v

English HornKatrina Kwantes

ClarinetMeghan Davis lBrandon VonRyan Dymek ªv

E-flat ClarinetMeghan Davis

Bass ClarinetRyan Dymek

BassoonKatherine Muñoz lZijie Cai ªv

ContrabassoonKatherine Muñoz

HornJessica Young lvMitchell Parus ª

TrumpetCheryl Przytula lJohn P. Johnson vDoug Mccurdy ª

Trombone/Bass TromboneKar-Chun Chiu l

HarpRuth Mertens

Piano/CelesteLinsy Wang

TimpaniLaurin Friedland v

PercussionJennifer Marasti lªLaurin Friedland

Personnel ManagersKatrina Kwantes, leadKar-Chun Chiu

l Principal in Bernsteinª Adès Soloists and 2nd Orchestra String Principalsv Principal in Haydn

BOSTON UNIVERSITY CHAMBER ORCHESTRA

SCHOOL OF MUSICSTRINGSSteven Ansell viola *Edwin Barker double bass * Heather Braun violinLynn Chang violinHye Min Choi violaCarolyn Davis Fryer double bassDaniel Doña pedagogy, chamber * Franziska Huhn harpMihail Jojatu celloBayla Keyes violin *Danny Kim violaHyun-Ji Kwon celloMichelle LaCourse viola * ++Warren Levenson guitarBenjamin Levy double bass Lucia Lin violin *Dana Mazurkevich violinYuri Mazurkevich violin * Richard Nangle guitarMichael Reynolds cello * SAB F’19Rhonda Rider celloTodd Seeber double bass Thomas Van Dyck double bass Michael Zaretsky violaPeter Zazofsky violin *Jessica Zhou harp

PIANOTanya Gabrielian *Gila Goldstein * ++Linda Jiorle-Nagy *Pavel Nersesiyan *Boaz Sharon *

COLLABORATIVE PIANOJavier Arrebola * ++ Shiela Kibbe * SABRobert Merfeld

ORGANPeter Sykes * ++

VOICEPenelope Bitzas *Sharon Daniels * James Demler * ++Lynn Eustis *Phyllis HoffmanBetsy Polatin (SOT)Tara Stadelman-Cohen pedagogyDouglas Sumi * ++ vocal coaching and repertoireKevin Wilson pedagogy

WOODWINDS, BRASS & PERCUSSIONKen Amis tubaJennifer Bill saxophoneKyle Brightwell percussion Geralyn Coticone flute Terry Everson trumpet * John Ferrillo oboeTimothy Genis percussionNancy Goeres bassoonBruce Hall trumpetJohn Heiss flute Renee Krimsier fluteGabriel Langfur tenor/bass tromboneKai-Yun Lu clarinetDon Lucas trombone * ++ David Martins clarinet *Mark McEwen oboeToby Oft tromboneElizabeth Ostling fluteRobert Patterson clarinet *Margaret Phillips bassoonAndrew Price oboeKenneth Radnofsky saxophoneMike Roylance tuba/ euphoniumEric Ruske horn * Robert Sheena English hornSamuel Solomon percussionRichard Stoltzman clarinetLinda Toote flute *

HISTORICAL PERFORMANCE Aldo Abreu recorderSarah Freiberg Ellison celloGreg Ingles sackbutLaura Jeppesen viola da gambaChristopher Krueger baroque flute Catherine Liddell luteRobinson Pyle natural trumpetGonzalo Ruiz baroque oboe Aaron Sheehan voiceJane Starkman baroque violin/violaPeter Sykes harpsichord * ++

MUSICOLOGY ANDETHNOMUSICOLOGYMarié Abe * Michael Birenbaum Quintero *Victor Coelho * ++ SAB S’20Brita Heimarck * Miki Kaneda * LOAJoshua Rifkin * Andrew Shenton * (STH) Rachana Vajjhala *Jeremy Yudkin *

COMPOSITIONAND THEORYVartan AghababianMartin Amlin * ++Deborah Burton * Justin CasinghinoRichard Cornell *Joshua Fineberg *Samuel Headrick *David Kopp * SAB F’19Rodney Lister *Mary Montgomery KoppelKetty Nez * Andrew SmithJohn H. Wallace * SAB S’20Steven Weigt *Jason Yust * SAB S’20

MUSIC EDUCATIONKevin CoyneDiana Dansereau *Ruth Debrot *André de Quadros * Andrew Goodrich *Karin Hendricks * ++Ronald Kos *Tavis Linsin *Tawnya Smith *Kinh Vu *

ENSEMBLESJennifer BillLeland Clarke *Joshua Gersen *Aaron Goldberg *Genevieve LeClairWilliam Lumpkin * ++David Martins *Mark MillerJason SaettaMariah Wilson

OPERA INSTITUTERita CoteGary DurhamAngela GoochMelodie Jeffery CassellMatthew Larson *William Lumpkin * Emily RaniiNathan TroupAllison Voth *

EMERITUSDavid Hoose conductingAnn Howard Jones conductingMark Kroll historical performanceJoy McIntyre voiceWilliam McManus music educationSandra Nicolucci music education

STAFF PIANISTSMichelle Beaton voiceAnna Carr voiceSiu Yan Luk stringsClera Ryu voiceLorena Tecu * strings

* Full-time faculty ++ Department ChairsLOA Leave of Absence

(SAB) Sabbatical(SOT) School of Theatre(STH) School of Theology

ADMINISTRATIVEGregory Melchor-Barz DirectorOshin Gregorian Managing Director, Opera Institute and Opera ProgramsJill Pearson Business ManagerCami Sylvia Staff AssistantLynn Eustis Director of Graduate StudiesDiana Dansereau Co-Director of Undergraduate StudiesJason Yust Co-Director of Undergraduate Studies

ADMISSIONS AND STUDENT SERVICESLaura Conyers Director of AdmissionsMegan Anthony Admissions CoordinatorBarbara Raney Student Services ManagerBenjamin Court Administrative Coordinator, Performance & Applied Studies, and EnsemblesGilberto Cruz Administrative Coordinator, Composition/Theory, Music Education, and Musicology/Ethnomusicology Departments

PRODUCTION AND PERFORMANCEChristopher Dempsey Director, Production and PerformanceMeredith Gangler Librarian, Music Curriculum LibraryMary Gerbi Ensembles Manager Alexander Knutrud Stage ManagerXiaodan Liu Senior Piano Technician/Restorer John Langston Piano TechnicianDaniel Vozzolo Administrative Coordinator

UNIVERSITY ENSEMBLESMichael Barsano Director, University EnsemblesSharif Mamoun Assistant Director, Athletic Bands

PLEASE JOIN US FOR UPCOMING PERFORMANCES

Thursday, December 5, 8:00pmBACH COMPETITION WINNERS’ CONCERT Featuring pieces for strings by J.S. BachFree AdmissionCFA Concert Hall

Satruday, December 7, 2:00pmOPERA SCENESMusic Direction by Allison Voth, Matthew Larson & Angela Gooch Stage Direction by Nathan Troup, Emily Ranii & Gary Durham Scenes by Bizet, Mozart, Gluck, Handel, Poulenc & WeberFree AdmissionCFA Concert Hall

Monday, December 9, 8:00pmCONCERT BAND AND ALL-CAMPUS ORCHESTRAJennifer Bill & Mark Miller, conductorsFree AdmissionTsai Performance Center

Wednesday, December 11, 7:00pmJAZZ FESTBig Band I & II and Jazz Combos I & IIAaron Goldberg, Jason Saetta & Warren Levenson, directorsFree AdmissionGeorge Sherman Union

PERFORMANCE VENUESCFA Concert Hall • 855 Commonwealth AvenueMarsh Chapel • 735 Commonwealth AvenueTsai Performance Center • 685 Commonwealth AvenueBoston Symphony Hall • 301 Massachusetts Avenue