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Home , Nerone (Mascagni), Providence College, Ruggero Leoncavallo

BOSTON UNIVERSITY CONCERT BAND & ALL-CAMPUS

Monday, December 9, 2019

Tsai Performance Center Founded in 1839, Boston University is an internationally recognized institution of higher 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 MUSIC Founded in 1872, Boston University College of Fine Arts School of Music combines the intimacy and intensity of traditional conservatory-style training with a broad 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 Institute.

PERFORMANCE VENUES CFA Concert Hall • 855 Commonwealth Avenue Marsh Chapel • 735 Commonwealth Avenue Tsai Performance Center • 685 Commonwealth Avenue Boston Hall • 301 Avenue December 9, 2019 Tsai Performance Center BOSTON UNIVERSITY CONCERT BAND Jennifer Bill, conductor BOSTON UNIVERSITY ALL-CAMPUS ORCHESTRA Mark Miller, conductor

Celebration Fanfare from Joan Tower (b. 1938) Stepping Stones Arr. Jack Stamp with brightness round about it Nancy Galbraith (b. 1951)

October Eric Whitacre (b. 1970) Angela DiBartolomeo, conductor

The Seasons Philip Sparke (b.1951) I. Spring Sunshine II. Summer Siesta III. Autumn Alone IV. Winter Winds

Minor Alterations: David Lovrien (b. 1963) Christmas Through the Looking Glass

Intermission

Overture to La Forza del Destino (1813–1901) Tamara Dworetz, conductor

“” from Ruggero Leoncavallo (1857–1919)

“Intermezzo” from (1863-1945)

Romeo and Juliet Fantasy-Overture (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 , 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. PROGRAM NOTES

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 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 weather in all its fury and glory, but also returns to music from the first movement as winter gives way to spring once again to restart the yearly cycle. —Philip Sparke 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 —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 —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 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 PROGRAM NOTES 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 opera. Verismo, best depicted by composers Mascagni, Giordano and Puccini, was an operatic genre as well as a literary movement depicting melodramatic , 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 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 in when 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

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 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 . 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 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 , applied faculty at , adjunct professor of saxophone at , 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 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 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 City where she worked in artist 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. CONCERT BAND

Flute Bass Clarinet Chandra Leung Amman Bhatti Y. Joseph McMahan Public Relations 2021 Biochemistry & Alumni 2018 Warren Liu Molecular Biology 2023 Jessica Norrell Public Relations 2022 Samantha Downing Astronomy & Physics 2021 Jordan McMahon Biomedical Engineering 2022 Alumni 2017 Bassoon Abby Kelley Nick Meixsall Jeremy Freudberg Political Science & Public JD (School of Law) 2022 Alumni 2019 Relations 2021 Wing Ning Rene Ross Justin Li Alumni 2017 Alumni 2018 Hospitality Administration Sophia Pinto Dana Zareski 2022 International Relations 2023 Alumni 2019 Xi Li Guannan Zhou Psychology 2023 Alto Saxophone Economics 2023 Xinru Liu Cameron Hill Trombone Statistics (PhD) 2024 Human Physiology & Master Cameron Anstey Priscilla Shine of Public Health 2020 Alumni 2015 Hospitality Administration Savannah Holmes-Farley Ross Chapman 2023 Alumni 2019 JD (School of Law) 2022 Yukai Wu Wyatt Howe Tejas Desai Economics & Math 2023 2022 Mechanical Engineering 2023 Qian Xu Nicola Young Biomedical Engineering 2021 Gabriel Guillermo Alumni 2019 Xin Ye Trombone Performance 2023 Biomedical Engineering PhD Saxophone Dong Seop-Eah Christina Yin Alex Birger Economics 2020 Film & Television 2022 Music Education & Euphonium Primrose Yooprasert Political Science 2022 Quan Pham Alumni 2017, 2018 Julianna Hill Engineering 2023 Zixuan Zhou Medical Engineering 2022 Cinema & Media 2023 Tuba Baritone Saxophone Alex Mowen Oboe Andy Li Alumni 2019 Nicholas Ward Community Member Music Composition 2023 Alan Perry French Horn Medical Science (SMED) 2021 Clarinet Andrew Kelbley Percussion Johanne Antoine Economics & Environmental Helen Ganley Computer Science 2022 Analysis & Policy 2021 & International Angelo D’Amato, Jr. Gretchen McCarthy Relations 2023 Community Member Marine Science 2020 Greyson Griffey Ryan Griffin Priyanka Ramanathan Music Theory & Biology ECB 2022 Biology 2023 Composition 2021 Chris Henighausen Darian Seward James Kang Physics 2022 Mathematics 2023 Advertising 2014 Lay Yen Denise Lee Julia Tordo MBA 2020 Business Administration 2023 Alumni 2019 Kathleen Mahoney Abby Roberts Biomedical Engineering 2023 Trumpet Linguistics 2023 James Robson Sierra Hansen Jason Wilmot Biomedical Engineering 2020 Psychology, Minor in Hospitality Administration Courtney Singer-Coseglia Music Performance 2022 2021 Alumni 2018 Stephanie Hince Gabriel Stillman International Relations & Materials Science Environmental Analysis & (Graduate Student) 2021 Policy 2020 Tao Jacob Levy Journalism 2022 Alumni 2018 ALL-CAMPUS ORCHESTRA

Violin I Violin II Cello Yoo Jin Ahn** Emily Amir Peyton Berning Violin Performance & Chemistry 2023 Music & Psychology 2022 General Biology 2020 Christine Banzon Cameryn Boggio-Shean Yuwen Cai Marine Science 2021 Biochemistry & Molecular Electrical Engineering Melanie Choe Biology 2022 2023 Psychology 2022 Ryan Chon Mina Chung Annalicia Curra Linguistics 2023 Graphic Design 2023 English 2020 Brianna Costilow Andrei Gabor Elizabeth Dellamorte Deaf Studies 2023 Mechanical Engineering Biology, Minor in Music Nora Davis 2022 Performance 2020 International Relations 2022 Lyda Arevalo Gonzalez Caroline Fernandez Zofia Gornicz Psychology 2023 Business Administration Music Theory & Rebecca Kielar 2023 Composition 2022 Math/Economics, Art Zeyu Gu Sydney Holder History 2023 Computer Science 2022 Biomedical Engineering Stephanie Liu Ruotong (Lavender) Liang 2022 Economics & Math 2023 Journalism & Finance Jonas Kaplan-Bucciarelli Erika Minetti 2022 Environmental Analysis & Biochemistry & Stefan Lütschg Policy 2023 Molecular Biology Biomedical Engineering Shraddha Pingali Rinka Murakami 2022 Environmental Analysis & Health Science 2020 Marlee Mullane Policy 2022 Chen Pan Elementary Education Elizabeth Platz CAS Economics 2023 2022 Graduate Student in Christian Paredes Lukuan Peng t Linguistics 2020 Psychology 2022 Mathematics 2020 Shraddha Pingali Molly Shanks Dat Truong Environmental Analysis & Psychology 2021 Biology 2023 Policy 2022 Sushane Sharma Binnan Wang Alex Saacke Economics & Math 2022 Master of Law 2020 Undecided 2022 Ryan VanDoren Michael Yue Narek Sahakian t Neuroscience 2021 Undecided 2023 Film& Television 2023 Hongyang Zhao Viola String Bass Social Studies Education Kirsten Alafriz Jarred Barlow 2023 Neuroscience 2023 Political Science 2020 William Zhou Kate Bernstein Ian Fitzsimmons t Business Administration & Statistics 2020 Undecided 2022 Management 2022 Anna Denfeld Marla Olmstead Astronomy & Physics 2023 Nutrition 2022 Kylor Lachut t Natalie Spitalnic Biochemistry & Molecular English 2023 Biology 2022 Gianna Parisi Environmental Analysis & Policy 2021 Sandya Subramanian Medical Science 2023 Jackson Zubal International Relations 2021

continued Flute French Horn t indicates principal Daniella Chavez Angela DiBartolomeo l indicates concertmaster Economics 2022 DMA in Horn Performance Ayna Molina 2020 Psychology 2023 Jacky Ho-Yin Li Kaitlyn Shreeve DMA in Horn Performance Biomedical Engineering 2020 2020 Justin Gaskey Oboe Graduate Student in Horn Livius Penter Performance Research Fellow at Dana-Farber Cancer Trumpet Institute Cheryl Przytula Nicholas Ward Graduate Student Music Composition 2023 Performance Diploma 2020 Giorgio Zaghen Zambianco Clarinet Neuroscience, Music Brian Beaman Performance Minor 2020 Graduate Student in Epidemiology & Trombone Biostatistics 2020 Benjamin Court Rebecca DeCamp Alumni Anthropology 2020 Kar-Chun Chiu Joshua Shterenberg DMA in Trombone Computer Engineering 2023 Performance 2022 Bassoon Harp Kyra Foss Ruth Mertens Business 2023 Graduate Student in Kian Thompson Music Performance 2021 Marine Science 2023 Bass Trombone Jack Ryan Graduate Student in Music Education 2020 Percussion Jake Acee Graduate Student in Percussion Performance 2020 Jack Barry Graduate Student in Percussion Performance 2020 Timpani Jenny Marasti Graduate Student in Music Performance SCHOOL OF MUSIC STRINGS VOICE HISTORICAL MUSIC EDUCATION Steven Ansell viola * Penelope Bitzas * PERFORMANCE Kevin Coyne Edwin Barker double bass * Sharon Daniels * Aldo Abreu recorder Diana Dansereau * Heather Braun violin James Demler * ++ Sarah Freiberg Ellison cello Ruth Debrot * Lynn Chang violin Lynn Eustis * Greg Ingles sackbut André de Quadros * Hye Min Choi viola Phyllis Hoffman Laura Jeppesen viola da gamba Andrew Goodrich * (SOT) Carolyn Davis Fryer double Betsy Polatin Christopher Krueger Karin Hendricks * ++

Tara Stadelman-Cohen baroque flute bass pedagogy Ronald Kos * Catherine Liddell lute Daniel Doña pedagogy, Douglas Sumi * ++ Tavis Linsin * Robinson Pyle chamber * vocal coaching and repertoire Tawnya Smith * Franziska Huhn harp Kevin Wilson pedagogy natural trumpet Kinh Vu * Mihail Jojatu cello Gonzalo Ruiz baroque oboe Bayla Keyes violin * WOODWINDS, BRASS & Aaron Sheehan voice ENSEMBLES Danny Kim viola PERCUSSION Jane Starkman baroque Jennifer Bill Hyun-Ji Kwon cello Ken Amis tuba violin/viola Leland Clarke * Michelle LaCourse viola * ++ Jennifer Bill saxophone Peter Sykes harpsichord * ++ Joshua Gersen * Warren Levenson guitar Kyle Brightwell percussion Aaron Goldberg * Benjamin Levy double bass Geralyn Coticone flute MUSICOLOGY AND Genevieve LeClair Lucia Lin violin * Terry Everson trumpet * ETHNOMUSICOLOGY William Lumpkin * ++ John Ferrillo oboe Marié Abe * David Martins * Dana Mazurkevich violin Timothy Genis percussion Yuri Mazurkevich violin * Michael Birenbaum Quintero * Mark Miller Nancy Goeres bassoon Victor Coelho * ++ SAB S’20 Richard Nangle guitar Bruce Hall trumpet Jason Saetta Michael Reynolds cello * John Heiss flute Brita Heimarck * Mariah Wilson SAB F’19 Renee Krimsier flute Miki Kaneda * LOA Rhonda Rider cello Gabriel Langfur Joshua Rifkin * OPERA INSTITUTE Todd Seeber double bass tenor/bass trombone Andrew Shenton * (STH) Rita Cote Thomas Van Dyck double bass Kai-Yun Lu clarinet Rachana Vajjhala * Gary Durham Michael Zaretsky viola Don Lucas trombone * ++ Jeremy Yudkin * Angela Gooch Peter Zazofsky violin * David Martins clarinet * Melodie Jeffery Cassell Mark McEwen oboe Jessica Zhou harp COMPOSITION Matthew Larson * Toby Oft trombone AND THEORY William Lumpkin * Elizabeth Ostling flute PIANO Vartan Aghababian Emily Ranii Robert Patterson clarinet * Martin Amlin * ++ Nathan Troup Tanya Gabrielian * Margaret Phillips bassoon Deborah Burton * Allison Voth * Gila Goldstein * ++ Andrew Price oboe Justin Casinghino Linda Jiorle-Nagy * Kenneth Radnofsky Pavel Nersesiyan * saxophone Richard Cornell * EMERITUS Boaz Sharon * Mike Roylance tuba/ Joshua Fineberg * David Hoose conducting euphonium Samuel Headrick * Ann Howard Jones conducting COLLABORATIVE Eric Ruske horn * David Kopp * SAB F’19 Mark Kroll historical performance PIANO Robert Sheena English horn Rodney Lister * Joy McIntyre voice Javier Arrebola * ++ Samuel Solomon percussion Mary Montgomery Koppel William McManus SAB Shiela Kibbe * Richard Stoltzman clarinet Ketty Nez * music education Robert Merfeld Linda Toote flute * Andrew Smith Sandra Nicolucci music education ORGAN John H. Wallace * SAB S’20 Peter Sykes * ++ Steven Weigt * STAFF PIANISTS Jason Yust * SAB S’20 Michelle Beaton voice Anna Carr voice Siu Yan Luk strings * Full-time faculty (SAB) Sabbatical ++ Department Chairs (SOT) School of Theatre Clera Ryu voice LOA Leave of Absence (STH) School of Theology Lorena Tecu * strings ADMINISTRATIVE PRODUCTION AND PERFORMANCE Gregory Melchor-Barz Director Christopher Dempsey Director, Production and Performance Oshin Gregorian Managing Director, Opera Institute Meredith Gangler Librarian, Music Curriculum Library and Opera Programs Mary Gerbi Ensembles Manager Jill Pearson Business Manager Alexander Knutrud Stage Manager Cami Sylvia Staff Assistant Xiaodan Liu Senior Piano Technician/Restorer Lynn Eustis Director of Graduate Studies John Langston Piano Technician Diana Dansereau Co-Director of Undergraduate Studies Daniel Vozzolo Administrative Coordinator Jason Yust Co-Director of Undergraduate Studies UNIVERSITY ENSEMBLES ADMISSIONS AND STUDENT SERVICES Michael Barsano Director, University Ensembles Laura Conyers Director of Admissions Sharif Mamoun Assistant Director, Athletic Bands Megan Anthony Admissions Coordinator Barbara Raney Student Services Manager Benjamin Court Administrative Coordinator, Performance & Applied Studies, and Ensembles Gilberto Cruz Administrative Coordinator, Composition/Theory, Music Education, and Musicology/Ethnomusicology Departments PLEASE JOIN US FOR UPCOMING PERFORMANCES

Tuesday, December 10, 8:00pm TIME’S ARROW NEW MUSIC ENSEMBLE Featuring works by Caine, Feldman, Venables, Cage, Mincek, Weir & Pisaro Rodney Lister, director Free Admission CFA Concert Hall

Wednesday, December 11, 7:00pm JAZZ FEST Big Band I & II and Jazz Combos I & II Aaron Goldberg, Jason Saetta & Warren Levenson, directors Free Admission George Sherman Union

Thursday, January 23, 8:00pm FACULTY RECITAL: TANYA GABRIELIAN, PIANO Free Admission Tsai Performance Center

Monday, January 27, 8:00pm FACULTY RECITAL: LYNN EUSTIS, SOPRANO Free Admission Tsai Performance Center

Wednesday, January 29, 8:00pm FACULTY RECITAL: ALDO ABREU, RECORDER Free Admission Tsai Performance Center

PERFORMANCE VENUES CFA Concert Hall • 855 Commonwealth Avenue Marsh Chapel • 735 Commonwealth Avenue Tsai Performance Center • 685 Commonwealth Avenue Boston Symphony Hall • 301 Massachusetts Avenue