BOSTON UNIVERSITYCONCERTBAND &ALL-CAMPUSORCHESTRA

Monday, December 9, 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

Celebration Fanfare from Stepping Stones

with brightness round about it

OctoberAngela DiBartolomeo, conductor

The SeasonsI. Spring SunshineII. Summer SiestaIII. Autumn AloneIV. Winter Winds

Minor Alterations: Christmas Through the Looking Glass

Intermission

Overture to La Forza del Destino Tamara Dworetz, conductor

“Intermezzo” from Pagliacci

“Intermezzo” from Cavalleria Rusticana

Romeo and Juliet Fantasy-Overture

BOSTON UNIVERSITY CONCERT BANDJennifer Bill, conductor BOSTON UNIVERSITY ALL-CAMPUS ORCHESTRAMark Miller, conductor

December 9, 2019Tsai Performance Center

Joan Tower (b. 1938)Arr. Jack Stamp

Nancy Galbraith (b. 1951)

Eric Whitacre (b. 1970)

Philip Sparke (b.1951)

David Lovrien (b. 1963)

Giuseppe Verdi (1813–1901)

Ruggero Leoncavallo (1857–1919)

Pietro Mascagni (1863-1945)

Pyotr Ilyich Tchaikovsky(1840-1893)

PROGRAM NOTES

Celebration Fanfare from Stepping Stones (1993)

The music for the ballet Stepping Stones (1993) was commissioned by choreographer Kathryn Posin for the Milwaukee Ballet. Joan Tower’s rhythmically and harmonically muscular score was developed in close collaboration with Posin’s choreography. Tower commented: “As a composer, I’ve always thought of myself as a closet choreographer. Texture, space, speed, direction, all the words that apply to dance also apply to music.” Friend and fellow composer Jack Stamp suggested to Tower that the final movement, Celebration Fanfare, would transcribe well into an arrangement for wind band, not suspecting that she would give him the task. The rising tones of the Fanfare are fitting for the progressive stages of a woman’s development, which is the subject of the ballet.

—Notes from the Publisher

with brightness round about it (1993)

With brightness round about it is a melodic, tonal work that develops largely through the use of minimalist techniques, which combine with extensive use of percussion and piano to create an exotic atmosphere throughout the development section.

The work begins very softly with lush, gentle sounds that underlie a thematic line divided among several instruments. The smaller motives that are created through these divisions then combine to form a collage, which in turn becomes background material for the introduction of a dreamy, ethereal piano solo. The mood suddenly shifts with an outburst in the woodwinds as the theme is stated forcefully in the brass. After the minimalist development section, a recapitulation of this forte section is stated. Following a grand climax, the work concludes softly with the piano solo gradually fading into silence.

—Nancy Galbraith

October (2000)

Something about the crisp autumn air and the subtle changes in light always make me a little sentimental, and as I started to sketch I felt the same quiet beauty in the writing.

The simple, pastoral melodies and the subsequent harmonies are inspired by the great English Romantics, as I felt this style was also perfectly suited to capture the natural and pastoral soul of the season. I’m happy with the end result, especially because I feel there just isn’t enough lush, beautiful music written for winds.

October began at a restaurant in Chicago, when I was first introduced to Brian Anderson. Brian, a high school band director from Fremont, Nebraska, knew my work and wanted to commission me, but couldn’t find the finances. If I remember correctly I didn’t immediately hear back from him, and I just assumed the gig would never materialize.

About a year later I get this phone call from him and he says that he has put together a commissioning consortium of 30 high school bands from Nebraska. 30 bands! I’ve dealt with institutional bureaucracy for a while now and I can’t possibly imagine how he brought all of those people together, let alone get them to agree on a commission.

October is my favorite month. Something about the crisp autumn air and the subtle change in light always makes me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughn Williams, Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season.

I premiered the orchestral version with the Royal Philharmonic Orchestra at the Royal Festival Hall in London on 15 May 2019.

—Eric Whitacre

The Seasons (2005)

The Seasons was commissioned by the Kappa Kappa Psi National Band Fraternity and the Tau Beta Sigma National Band Sorority. It was first performed by the National Intercollegiate Band, conducted by the composer, at their biennial National Convention held in Lexington, Kentucky, on July 26th 2005.

Following many earlier models by composers such as Vivaldi and Glazunov, Philip Sparke has taken the yearly cycle of the seasons to inspire a framework for this four-movement suite.

1) Spring Sunshine: The opening movement exploits the wide range of colours available from the concert band to describe a bright spring morning

2) Summer Siesta: A rippling figure in the clarinets underscores a calm and serene melody to conjure up a quiet rest by the river on a hot summer’s afternoon

3) Autumn Alone: A solo clarinet opens this intense movement which sees autumn as heralding the dark days of winter

4) Winter Winds: The last movement describes stormy winter weatherin all its fury and glory, but also returns to music from the first movementas winter gives way to spring once again to restart the yearly cycle.

—Philip Sparke

PROGRAM NOTES

PROGRAM NOTES

Minor Alterations: Christmas Through the Looking Glass (2007)

Looking for something REALLY different this Christmas? Here’s a game of holiday hide-and-seek for your audience! Minor Alterations: Christmas Through the Looking Glass is a medley of favorite Christmas tunes, transposed from major to minor keys then disguised, layered and morphed even more. From the ominous Deck the Halls at the start to the final, frenzied Nutcracker Suite finale, each tune is lovingly twisted into something new and inventive.

—Note from the Publisher

Overture to La Forza del Destino (1862)

Early in his career, Verdi became the most talked about composer in Italy. By the end of his long and astonishingly productive life, he was probably the most beloved composer in the world. His rise was swift—after a late start and the failure of his first two operas—and relatively free from major setbacks (although he never understood why his beloved Macbeth didn’t catch on). And the range of his life could not have been greater—from his childhood in a dirt-floored house in Roncole (more of a crossroads than a village) to a retirement marked by the kind of prestige, wealth, and international fame few composers ever enjoy.

Of his more than two dozen operas, from Oberto to Falstaff—spanning fifty-four years and including some of the most beloved works ever staged—none has a more rousing or popular overture than La forza del destino. When it was first performed in 1862, the opera opened with a modest and conventional prelude, a device that had often served Verdi well in the past. La forza del destino, however, is one of a handful of operas that Verdi later extensively reworked, and when he revised the score in 1869, he replaced the prelude with this magnificent full-scale overture. It offers a preview of the opera’s highlights, from the stirring “destiny” motive to Leonora’s soaring prayer, but it is shaped and paced with such skill and ingenuity that it not only sharpens our appetite for the complete opera, it stands perfectly on its own in the concert hall.

—Phillip Huscher for Chicago Symphony Orchestra

“Intermezzo” from Pagliacci (1892)

Pagliacci or “clowns” is an opera in two acts with libretto and music written by Ruggero Leoncavallo. Based on the real-life murder and love triangle of one of the Leoncavallo’s servants when Rugerro was a boy, Pagliacci is a play-with-a-play about the behind-the-scenes fallout among a traveling troupe of clowns in Southern Italy. The intermezzo

from Pagliacci occurs between the two acts of the opera, and serves as an introduction to the second act. The second half of the intermezzo contains beautiful flowing lines, in the tradition of the Italian verismo opera. Verismo, best depicted by composers Mascagni, Giordano and Puccini, was an operatic genre as well as a literary movement depicting melodramatic realism, such as the troubles, violence and love of the common person or poor students, as opposed to plots based on gods, mythological creatures and royalty. Rather than a recit-aria formation with bel canto singing, verismo operas were through-composed, with few breaks, and the singing favored passion and declamation.

—Tamara Dworetz

“Intermezzo” from Cavalleria Rusticana (1890)

“It was a pity I wrote Cavalleria first. I was crowned before I was king.” Thus did Pietro Mascagni evaluate his own musical career, citing his youthful success in 1890 with Cavalleria Rusticana. He attempted to repeat this triumph in the remaining 55 years of his life but to no avail. The only one of his 15 other operas occasionally staged is L’amico Fritz, a gentle comedy, the opposite of grim and gritty Cavalleria. Sadly, in his later years, Mascagni became a mouthpiece for Italy’s Fascist government. In 1929 he took over as conductor at La Scala in Milan when Arturo Toscanini resigned in protest over the Fascist regime, and in 1935 he composed an opera Nerone as a tribute to Mussolini— although why anyone would want to be likened to the emperor Nero is anyone’s guess.

Mascagni came close to total obscurity. Responding to an advertisement for a one-act opera competition promoted by a publisher, he composed his masterpiece in only a few weeks but did not consider it suitable, choosing to send in an act from an earlier opera instead. His wife, however, submitted the score of Cavalleria without his knowledge, and the rest is history. Cavalleria is an adaptation of the novella by the Sicilian writer Giovanni Verga, the originator and most important writer of the verismo literary movement. Verismo, or “realism,” portrayed the brutality of the social environment and characters of rural Sicily and Southern Italy.

The single act includes an adulterous love triangle, jealousy, betrayal and a duel to the death. The Intermezzo opens the final scene, as the people are in church celebrating Easter Sunday, just before the fatal duel.

—Elizabeth and Joseph Kahn for Modesto Symphony Orchestra

PROGRAM NOTES

PROGRAM NOTES

Romeo and Juliet Fantasy-Overture (1869)

In the winter of 1868–69, Tchaikovsky was, for the only time in his life, intensely smitten with a woman, Désirée Artôt, a Belgian soprano. Tchaikovsky’s intentions were serious, but Artôt suddenly brought their relationship to an end by marrying a baritone colleague of hers. When Tchaikovsky next saw her on the stage he wept all evening.

Tchaikovsky was ready to have the composer Mily Alexeievich Balakirev tell him to write a work based on Shakespeare’s Romeo and Juliet, which is indeed what Balakirev did, going so far as to tell Tchaikovsky how to do it, proposing a key scheme and even writing out four measures of music to show how he would begin such a piece. Balakirev was not always pleased with the way Tchaikovsky worked out “his” ideas. At first, only the broad love theme aroused his enthusiasm. It is “simply delightful,” he wrote. “There’s just one thing I’ll say against this theme, and that is that there’s little in it of inner, spiritual love, only a passionate physical languor (with even a slightly Italian hue), whereas Romeo and Juliet are decidedly not Persian lovers but European.” Balakirev continued to comment, suggest, blame, and praise, and Tchaikovsky continued to compose—buoyed by the praise, stimulated by the blame, and becoming more confident in his themes and more imaginative in his reading of the play.

He listened carefully at the premiere, which was an indifferent success. That summer he subjected his overture to drastic revisions, finding the present evocative beginning, devising a stronger close, articulating more vividly what came between. Ten years later he returned to Romeo and Juliet, and it was then that he found the superb coda. Again, he put strong ideas in place of weak, he integrated, he refined. And he produced a masterpiece.

—Michael Steinberg for San Francisco Symphony

JENNIFER BILL, CONDUCTOR

Saxophonist and conductor, Dr. Jennifer Bill has performed in Asia, throughout Europe and the United States. She performs solo and chamber music with a variety of groups including BRUSH|REED, Pharos Quartet, and ēmergere. As a conductor she flourishes as a wind band director and clinician. Dr. Bill is a Selmer Artist.

Dr. Bill currently leads the Boston University Concert Band and is an active band clinician throughout New England. She previously led the Providence College Symphonic Winds from 2009-2017. Dr. Bill conducted the NYSBDA honor band and the NYSCAME/SCMEA All-County Honor Band in 2018, led the BU Concert Band in a tour of Ireland in May of 2015 with performances in Dublin, Galway, Killarney and Macroom, was a guest conductor with the Hong Kong Wind Ensemble in May of 2014, and in May of 2011 led the PC Symphonic Winds in a tour of Italy with performances in Napoli, Maiori, and Monte Porzio Cantone (Roma).

A versatile saxophonist, Dr. Bill has performed as a soloist as well as a contemporary chamber musician with a diverse group of artists including vocalists, clarinetists, cellists, flutists, violinists, taped media, percussionists, wind quintet, and dancers. Currently she is working with visual artist Linnea Maas in the experimentation of the auralvisual in a collaboration named BRUSH|REED. BRUSH|REED has performed in Hong Kong, Scotland, and the USA. Dr. Bill has participated in numerous world premieres for saxophone including most recently Thinking in Four Places by Justin Casinghino, Second Flight by Joan Tower as part of World-Wide Concurrent Premieres, and Faustus: a SaxOpera by John Plant as part of World-Wide Concurrent Premieres. She has been a guest soloist with the Boston University Wind Ensemble, the BUTI Wind Ensemble, the Hong Kong Wind Ensemble, the Rhode Island College Wind Ensemble, and the Northeastern University Wind Ensemble. Pianist, Yoshiko Kline, and Dr. Bill’s debut album, Divergent Reflections, was released in 2019.

A dedicated educator, Dr. Bill has given masterclasses at universities in China, Hong Kong, Scotland, and throughout the United States. Dr. Bill is currently faculty at Boston University, performance faculty at Boston College, applied faculty at Rhode Island College, adjunct professor of saxophone at Stonehill College, and adjunct professor of music at Pine Manor College. She is the saxophone instructor, wind ensemble coordinator, and assistant director of the saxophone workshop for the Boston University Tanglewood Institute. She serves on the Board of Directors for World-Wide Concurrent Premiers and Commissioning Funds, Inc. Dr. Bill is also the sole organizer, director and officer of Music Performance & Education, Inc.

MARK MILLER, CONDUCTOR

Mark Miller is an active conductor, clarinetist, and composer in the greater Boston area. In addition to conducting the Boston University All-Campus Orchestra since 2006, he has been on the conducting staff of the Boston Youth Symphony Orchestras since 1987 and currently conducts the Repertory Orchestra. He is also conductor of the chamber orchestra at the Community Music Center of Boston, and works with the Harvard-Radcliffe Orchestra. As a clarinetist, he serves as principal clarinet of the Cape Cod Symphony and has performed with the Simon Sinfonietta, the Plymouth Philharmonic, ALEA III, Hyperprisms, the New Bedford Symphony, the Boston Philharmonic, the Central Massachusetts Symphony, and the Scarborough Chamber Players. With the wind quintet Arcadian Winds, specializing in contemporary music, he has premiered countless new works and performed many of the classics of the chamber music repertoire. He has appeared as clarinet soloist with the Simon Sinfonietta, the Cape Cod Symphony Orchestra, Harvard’s Mozart Society Orchestra, and the Boston Youth Symphony Orchestras. As a conductor, he has led many concerts by the various BYSO orchestras and has conducted the 2004 Rhode Island All-State Orchestra, the 2001 Massachusetts Southeast District Festival Orchestra, the North Shore Philharmonic, and the Falmouth Chamber Orchestra. He has also coached orchestras and orchestra wind sections at Harvard, Brandeis, Wellesley, and the Longy School. During the summer season, he has performed in the Meeting House Chamber Music Festival (Cape Cod) and the Warebrook (Vermont) Contemporary Music Festival, has coached for the Chamber Music Center at Wellesley College, and conducted the orchestras at the Summer Youth Music School at the University of New Hampshire and the South Shore Conservatory Summer Wind Ensemble. Mr. Miller currently teaches clarinet privately and at Foxborough High School, where he also conducts the clarinet choir. He has been commissioned to write several substantial works for Foxborough’s nationally-acclaimed bands and wind ensembles. His original compositions and arrangements have been performed by Arcadian Winds and the Arcadian Chamber Orchestra; his wind quintet arrangements are quite popular and have been performed by quintets throughout North America and Europe. Mr. Miller was born and raised in Pensacola, Florida, and attended the Florida State University, where he earned a bachelor of music degrees summa cum laude in composition and clarinet performance. He holds a master’s degree in composition from Boston University. He has studied clarinet with Eugene Gonzalez, Fred Ormand, and Michael Webster, and composition with Harold Schiffman, Theodore Antoniou, Joyce Mekeel, and Robert Sirota. Mr. Miller appears as clarinet soloist on several recordings by the Zamir Chorale of Boston, and his compositions, arrangements, and transcriptions for wind quintet have been performed and recorded by Arcadian Winds.

ANGELA DIBARTOLOMEO, CONDUCTOR

Angela DiBartolomeo is currently pursuing a Doctor of Musical Arts degree in Horn at Boston University, studying with Eric Ruske, where she also serves as a teaching assistant for the BU Concert Band. She has recently performed with the Lexington Symphony, Plymouth Philharmonic, Vermont Symphony Orchestra, Cape Ann Symphony, New Hampshire Philharmonic, and Keene Chamber Orchestra. She is currently the horn instructor with Boston Youth Symphony Orchestra Preparatory Winds and Intensive Community Project.

Angela has played in orchestras under such conductors as Bramwell Tovey, Karina Canellakis, Benjamin Zander, Joshua Gersen, H. Robert Reynolds, and Mallory Thomson, and perfomring around the world in countries including Mexico, Cuba, Singapore, Germany, France, Monaco, United Kingdom, Canada, Italy, Switzerland, and Austria Prior to her Doctoral studies, Angela lived in Singapore where she performed with the Singapore Lyric Opera, the English National Ballet, Korean National Opera, the Metropolitan Festival Orchestra, and the Cameron MacKintosh international touring production of Les Miserables. Previously, Angela lived in New York City where she worked in artist management at Opus 3 Artists and arts administration with the New York Philharmonic. She received her Master’s in Horn Performance from Boston University, studying with Eric Ruske, and her Bachelor’s in Horn Performance from the University of New Hampshire.

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.

FluteAmman Bhatti Biochemistry & Molecular Biology 2023Samantha Downing Biomedical Engineering 2022Abby Kelley Political Science & Public Relations 2021Justin Li Hospitality Administration 2022Xi Li Psychology 2023Xinru Liu Statistics (PhD) 2024Priscilla Shine Hospitality Administration 2023Yukai Wu Economics & Math 2023Qian Xu Biomedical Engineering 2021Xin Ye Biomedical Engineering PhDChristina Yin Film & Television 2022Primrose Yooprasert Alumni 2017, 2018Zixuan Zhou Cinema & Media 2023

OboeNicholas Ward Music Composition 2023

ClarinetJohanne Antoine Computer Science 2022Angelo D’Amato, Jr. Community MemberRyan Griffin Biology ECB 2022Chris Henighausen Physics 2022Lay Yen Denise Lee Business Administration 2023Kathleen Mahoney Biomedical Engineering 2023James Robson Biomedical Engineering 2020Courtney Singer-Coseglia Alumni 2018Gabriel Stillman Materials Science (Graduate Student) 2021Iris Tao Journalism 2022

Bass ClarinetY. Joseph McMahan Alumni 2018Jessica Norrell Astronomy & Physics 2021

BassoonJeremy Freudberg Alumni 2019Rene Ross Alumni 2018Dana Zareski Alumni 2019

Alto SaxophoneCameron Hill Human Physiology & Master of Public Health 2020Savannah Holmes-Farley Alumni 2019Wyatt Howe Mathematics 2022Nicola Young Alumni 2019

Tenor SaxophoneAlex Birger Music Education & Political Science 2022Julianna Hill Medical Engineering 2022

Baritone SaxophoneAndy Li Community Member

French HornAndrew Kelbley Economics & Environmental Analysis & Policy 2021Gretchen McCarthy Marine Science 2020Priyanka Ramanathan Biology 2023Darian Seward Mathematics 2023Julia Tordo Alumni 2019

TrumpetSierra Hansen Psychology, Minor in Music Performance 2022Stephanie Hince International Relations & Environmental Analysis & Policy 2020Jacob Levy Alumni 2018

Chandra Leung Public Relations 2021Warren Liu Public Relations 2022Jordan McMahon Alumni 2017Nick Meixsall JD (School of Law) 2022Wing Ning Alumni 2017Sophia Pinto International Relations 2023Guannan Zhou Economics 2023

TromboneCameron Anstey Alumni 2015Ross Chapman JD (School of Law) 2022Tejas Desai Mechanical Engineering 2023Gabriel Guillermo Trombone Performance 2023Dong Seop-Eah Economics 2020

EuphoniumQuan Pham Engineering 2023

TubaAlex Mowen Alumni 2019Alan Perry Medical Science (SMED) 2021

PercussionHelen Ganley Business & International Relations 2023Greyson Griffey Music Theory & Composition 2021James Kang Advertising 2014 MBA 2020Abby Roberts Linguistics 2023Jason Wilmot Hospitality Administration 2021

CONCERT BAND

Violin IYoo Jin Ahn** Violin Performance & General Biology 2020Yuwen Cai Electrical Engineering 2023Mina Chung Graphic Design 2023Andrei Gabor Mechanical Engineering 2022Lyda Arevalo Gonzalez Psychology 2023Rebecca Kielar Math/Economics, Art History 2023Stephanie Liu Economics & Math 2023Erika Minetti Biochemistry & Molecular BiologyRinka Murakami Health Science 2020Chen Pan CAS Economics 2023Christian Paredes Psychology 2022Molly Shanks Psychology 2021Sushane Sharma Economics & Math 2022Ryan VanDoren Neuroscience 2021Hongyang Zhao Social Studies Education 2023William Zhou Business Administration & Management 2022

Violin IIEmily Amir Chemistry 2023Christine Banzon Marine Science 2021Melanie Choe Psychology 2022Annalicia Curra English 2020Elizabeth Dellamorte Biology, Minor in Music Performance 2020Caroline Fernandez Business Administration 2023Zeyu Gu Computer Science 2022Ruotong (Lavender) Liang Journalism & Finance 2022Stefan Lütschg Biomedical Engineering 2022Marlee Mullane Elementary Education 2022 Lukuan Peng t Mathematics 2020Dat Truong Biology 2023Binnan Wang Master of Law 2020Michael Yue Undecided 2023

ViolaKirsten Alafriz Neuroscience 2023Kate Bernstein Statistics 2020Anna Denfeld Astronomy & Physics 2023Kylor Lachut t Biochemistry & Molecular Biology 2022Gianna Parisi Environmental Analysis & Policy 2021Sandya Subramanian Medical Science 2023Jackson Zubal International Relations 2021

CelloPeyton Berning Music & Psychology 2022Cameryn Boggio-Shean Biochemistry & Molecular Biology 2022Ryan Chon Linguistics 2023Brianna Costilow Deaf Studies 2023Nora Davis International Relations 2022Zofia Gornicz Music Theory & Composition 2022Sydney Holder Biomedical Engineering 2022Jonas Kaplan-Bucciarelli Environmental Analysis & Policy 2023Shraddha Pingali Environmental Analysis & Policy 2022Elizabeth Platz Graduate Student in Linguistics 2020Shraddha Pingali Environmental Analysis & Policy 2022Alex Saacke Undecided 2022Narek Sahakian t Film& Television 2023

String BassJarred Barlow Political Science 2020Ian Fitzsimmons t Undecided 2022Marla Olmstead Nutrition 2022Natalie Spitalnic English 2023

continued

ALL-CAMPUS ORCHESTRA

FluteDaniella Chavez Economics 2022Ayna Molina Psychology 2023Kaitlyn Shreeve Biomedical Engineering 2020

Oboe Livius Penter Research Fellow at Dana-Farber Cancer InstituteNicholas Ward Music Composition 2023

Clarinet Brian Beaman Graduate Student in Epidemiology & Biostatistics 2020Rebecca DeCamp Anthropology 2020Joshua Shterenberg Computer Engineering 2023

Bassoon Kyra Foss Business 2023Kian Thompson Marine Science 2023

French Horn Angela DiBartolomeo DMA in Horn Performance 2020Jacky Ho-Yin Li DMA in Horn Performance 2020Justin Gaskey Graduate Student in Horn Performance

Trumpet Cheryl Przytula Graduate Student Performance Diploma 2020Giorgio Zaghen Zambianco Neuroscience, Music Performance Minor 2020

Trombone Benjamin Court Alumni Kar-Chun Chiu DMA in Trombone Performance 2022

Harp Ruth Mertens Graduate Student in Music Performance 2021

Bass TromboneJack Ryan Graduate Student in Music Education 2020

PercussionJake Acee Graduate Student in Percussion Performance 2020Jack Barry Graduate Student in Percussion Performance 2020

TimpaniJenny Marasti Graduate Student in Music Performance

t indicates principal l indicates concertmaster

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

Tuesday, December 10, 8:00pmTIME’S ARROW NEW MUSIC ENSEMBLEFeaturing works by Caine, Feldman, Venables, Cage, Mincek, Weir & PisaroRodney Lister, directorFree AdmissionCFA Concert Hall

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

Thursday, January 23, 8:00pmFACULTY RECITAL: TANYA GABRIELIAN, PIANOFree AdmissionTsai Performance Center

Monday, January 27, 8:00pmFACULTY RECITAL: LYNN EUSTIS, SOPRANOFree AdmissionTsai Performance Center

Wednesday, January 29, 8:00pmFACULTY RECITAL: ALDO ABREU, RECORDERFree AdmissionTsai Performance Center

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