BOSTON UNIVERSITY SYMPHONY ORCHESTRA

Monday, February 10, 2020

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 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 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 VENUES CFA Concert Hall • 855 Commonwealth Avenue Marsh Chapel • 735 Commonwealth Avenue Tsai Performance Center • 685 Commonwealth Avenue Boston Symphony Hall • 301 Massachusetts Avenue February 10, 2020 Tsai Performance Center

BOSTON UNIVERSITY SYMPHONY ORCHESTRA

Joshua Gersen, conductor

Passacaglia, Op. 1 Anton Webern (1883–1945) Daniel Krenz, conductor

Symphony No. 1 (In One Movement), Op. 9 Allegro ma non troppo (1910–1981) Allegro molto Andante tranquillo Con moto (Passacaille)

Intermission

Symphony No. 3 in E-flat major, Ludwig van Beethoven Op. 55, “Eroica” (1770–1827) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto PROGRAM NOTES

Passacaglia, Op. 1 When he began studying composition with Arnold Schoenberg in 1904, Webern had already received a doctorate in musicology from the University of Vienna. His studies there under Guido Adler, one of the great pioneers in the research of older music, culminated in his doctoral dissertation, an edition of the Choralis Constantinus of Heinrich Isaac (ca. 1450–1517), among the greatest German composers of the Renaissance. Webern’s study with Schoenberg reinforced his bent toward earlier music because of the teacher’s emphasis on the works of Bach, Beethoven and Brahms. The Passacaglia, an ancient form of continuous variations on a short, recurring and unchanging theme, was written in 1908, the last year that Webern was a pupil of Schoenberg. Webern’s biographer, Hans Moldenhauer, wrote of the Passacaglia, “The unmistakable Webern physiognomy is already there: soloistic use of instruments; economy and transparency belying the large orchestral apparatus; contrapuntal invention producing a wealth of thematic transformations; extensive use of triplets; subdued dynamics; and, nally, silence as a structural element.” Webern described the piece as consisting of 23 variations following the presentation of the theme, with a “development-like” coda to conclude the work. The eight-measure theme, which outlines the key of D minor, is presented at the outset by pizzicato strings. (The sonority and the silences recall the beginning of the finale of Beethoven’s “Eroica” Symphony.) The theme is heard clearly for only a few variations before it gradually becomes absorbed into the texture of the music. The D tonality and the length of the theme, however, continue to exert their influences throughout the piece. The structural lines of tension are carefully controlled to produce three climaxes during the course of the work, and it is these swells of emotion rather than the individual adventures of the theme that the listener may follow most easily as the piece unwinds. —Richard E. Rodda for The Florida Symphony

Symphony No. 1 (In One Movement) The low opus number of nine suggests that Samuel Barber’s First Symphony (In One Movement)—as he titled it—was an early work, which it was not exactly. He was twenty-five years old when he wrote it, but he had been composing music since he was seven and therefore had eighteen years of experience already behind him. He was fortunate to have been born into a family attuned to recognize his musical gifts. Though his parents were not professional musicians, his aunt, the PROGRAM NOTES Louise Homer, was a mainstay at the , and her husband, Sidney Homer, was a composer, particularly admired for his voluminous production of art songs. When Philadelphia’s Curtis Institute of Music opened its doors to receive its very first students, on October 1, 1924, the fourteen-year old Barber was second in line. (A violinist managed to pass through the portal before him: Max Aronoff, who became well known as a member of the Curtis .) At Curtis, Barber studied principally piano, with Isabelle Vengerova; composition, with Rosario Scalero; and voice, with the Emilio de Gogorza, who was a colleague of Barber’s aunt at the Met. He developed into a fine baritone himself; you might still find a copy of his 1935 recording as vocal soloist in his own Dover Beach, in which he was joined by the Curtis String Quartet. In the spring of 1935, he received two awards in quick succession: a Pulitzer traveling scholarship (announced on May 6) and the Prix de Rome (on May 9). The panel granting the latter cited him as “the most talented and deserving student of music in America” and provided for a two-year residency at the American Academy in Rome, where Barber arrived in early October of that year. But before his trip, he and his fellow Curtis student (who at that point was also his romantic partner) spent the summer in Camden, Maine. Menotti was working on an opera, Amelia Goes to the Ball, and Barber embarked on what would become his First Symphony (In One Movement)—or, as he put it in a letter to a friend that summer, “an orchestra piece of ambitious tendencies.” He took his incipient symphony along to Rome but during his early months there he got sidetracked writing songs instead. He showed little enthusiasm for interacting with other creative types ensconced at the Villa Aurelia, the home of the American Academy. He did at least relish the opportunity to explore Rome, and his home base there afforded a point of departure for travels elsewhere in Europe. His first of several getaways took him to the Anabel Taylor Foundation in Roquebrune (a.k.a Roquebrune-Cap-Martin), a well-heeled town on the French Riviera—not an alpine village, as is usually reported. Although it was an independent organization providing residencies to composers, it maintained a relationship with the American Academy in Rome and accordingly hosted a number of the Academy’s musicians through the years. It was during his stay there from February 15 through March 1, 1936, that Barber completed his symphony, signing off on his manuscript on February 24. The conductor Bernardino Molinari expressed the desire to conduct the Symphony’s first performance, finding it “moderna ma seria” PROGRAM NOTES

(modern but serious) and promising two weeks of rehearsals with the Philharmonic Augusteo Orchestra, as Barber reported in a letter. After one of those rehearsals, the orchestra’s tuba player expressed to the composer his enthusiasm about a passage near the Symphony’s end: “I’ve been waiting fifteen years for a part like that!” The premiere marked a big week for Barber. The Symphony was unveiled at the Villa Aurelia on a Sunday, and on Monday, in the same venue, the Pro Arte String Quartet premiered his String Quartet, the slow movement of which would go on to superstardom as his Adagio for Strings. The next year, the work was performed by four further orchestras: in January by the Cleveland Orchestra, in March by the New York Philharmonic, in June by the London Symphony Orchestra, and in July by the Vienna Philharmonic at the Salzburg Festival. The composer supplied a descriptive program commentary for the New York performances: The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme, in diminution forms the basis of a scherzo section (Vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by the violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony. The world premiere received mixed reviews. Barber later suggested that “at the time it was thought too dark-toned, too Nordic and Sibelian,” at least by the standards of Italian music lovers. The American performances earned more consistently appreciative reviews. The comparisons to Sibelius seem quite on the mark, given the Symphony’s generally ominous mien as well as such specific effects as menacing utterances of brass instruments, powerful use of the lower voices in the orchestra, and melodies decorated by undulating intervals of the third. Pointing out a resemblance to Sibelius was a high compliment. Although that composer is certainly popular today, he was revered even more in the 1920s and ’30s, when many connoisseurs considered his symphonies to be the absolute pinnacle of modern PROGRAM NOTES orchestral writing. His Seventh (and last) Symphony had been unveiled as recently as 1924. It, too, was a symphony whose distinct sections were compressed into a single movement. Among its appreciators was Barber. In fact, on the same pages he sketched his own First Symphony (In One Movement) he wrote out an analysis of Sibelius’s Seventh, leaving no doubt that the pieces were connected in his mind. Curiously, one of the critics who did not point out the kinship was Olin Downes, Sibelius’s most devoted acolyte in the United States. He surely noticed it but may have chosen to withhold what would have been read as unstinting praise. Instead, he suggested in his New York Times review that “the form that Mr. Barber has elected to fill with music seems planned in advance rather than inspired by the potency of his melodic ideas”—perhaps a tacit acknowledgement of how beholden the piece was to Sibelius’s Seventh. He found much to appreciate all the same, particular in the part of the score that signified the slow “third movement,” the section that spotlights the wide-spanning oboe melody. “In these pages, . . . there is broad line and the sense of a real germination of ideas,” he wrote, and he summarized his overall impression in terms that pointed toward a bright future: “The work has the feel and certain tangible evidences of a gifted young musician of 26 seeking and gradually discovering means of self-expression.”— —James M. Keller for San Francisco Symphony

Symphony No. 3 in E-flat Major, “Eroica” “I believe that heaven and earth will tremble when it is performed.” This is what one of Beethoven’s students wrote to a music publisher in Bonn about the Eroica, and he added that Beethoven himself thought that his new symphony was the greatest work he had written up to that time. Certainly it was the grandest. It was his longest and strongest composition to date and it turned the entire genre into a vehicle for powerful expression, both public and private. Though overwhelmed by its scope, contemporary audiences soon came to recognize its extraordinary status. In his recent book on the Beethoven symphonies (Beethoven’s Symphonies: An Artistic Vision), my colleague at the Beethoven Center, Prof. Lewis Lockwood, has written about the naming of this work and its association with Napoleon Bonaparte: The story of Beethoven’s original plan to dedicate it to Napoleon, or name it for him, and his angry decision to tear up this tribute on hearing of Napoleon’s coronation as Emperor, is not a myth. It is graphically illustrated by the title page of the best-known surviving manuscript copy of the score, no doubt the same one PROGRAM NOTES

that his student describes in a famous passage: “In this symphony Beethoven had Bonaparte in mind . . . Beethoven admired him very much at the time, and compared him to the greatest Roman Consuls. I saw this symphony, already copied out in score, lying on his table with the word ‘Bonaparte’ at the extreme top of the title page and at the extreme bottom ‘Luigi van Beethoven,’ but no other words . . . I was the first to bring [Beethoven] the news that Bonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out, ‘Is he then, too, nothing more than an ordinary man! Now he will trample on all the rights of man . . . He will exalt himself above all others and become a tyrant!’ Beethoven went to the table, grasped the title page at the top, tore it in two, and threw it on the floor. The first page had to be newly written, and only then did the symphony receive the title Sinfonia eroica.” Two years later the symphony was published, and in this publication, after the main title, are printed the words “composed to celebrate the remembrance of a great man.” Does this mean Napoleon before he became emperor, or someone else? Lewis Lockwood suggests a different interpretation: Another, and to my mind more convincing, view is that . . . Beethoven intended its title to refer more broadly not to any single individual but to an ideal, mythic figure, whose heroism is represented by the power and weight of this symphony and whose death is commemorated by its Funeral March as second movement. Beethoven found the idea of the “great man” appealing. He composed works on the theme of Prometheus, the creator of humanity and civilization, on the Flemish sixteenth-century hero Egmont, and on the female heroine Leonore, the central figure in his opera Fidelio. It should also be said that he had faith in his own genius, for he could judge that his works would outlive him, as they have for over two hundred years. (This year, in fact, we celebrate the 250th anniversary of the composer’s birth in 1770.) For an overview of the symphony as a whole, let us return once again to Lockwood: For many decades after its composition, the Eroica was recognized especially for its vastness of conception but also its length, a single work that greatly extended the traditional time-scale for symphonic compositions. This level of complexity is apparent from the very beginning of the first movement and then all the way through it, as the opening theme, with its triadic beginning PROGRAM NOTES

and chromatic continuation, influences most of the subordinate themes and motives that spread out across the landscape of the exposition. But it is the triadic motion of the first two measures and its structure as a turning theme that most strongly influences the later thematic content. Hector Berlioz, a Beethoven devotee to the core, called the Funeral March “a drama in itself.” For him the symphony’s subtitle in the first edition clearly meant that not only the Funeral March but the whole work could best be understood as a commemoration of a fallen hero. He added, “I know no other example in music of a style wherein grief is so able to sustain itself consistently in forms of such purity and nobility of expression.” The movement provides Beethoven with room for contrasting themes within the C-minor first section but also for the C-Major section, in which the preceding tragedy gives way to a utopian vision of hope. At the end of the movement the main theme crumbles into short phrases interspersed with silences. Again Berlioz: “When these shreds of the lugubrious melody are bare, alone, broken, and have passed one by one to the tonic, the wind instruments cry out as if it was the last farewell of the warriors to their companions in arms.” The Scherzo is more than twice the length of either of the third movements he had previously composed for his First and Second symphonies. To those later commentators who yearned to find a single narrative throughout the whole symphony, it seemed curious that after the profound funeral rites for that they found in the slow movement, he should come back to life in the Scherzo. But what they missed is that Beethoven was not writing a sequential biography of a single hero, but composing a transcendent symphony on the subject of the heroic that would offer different perspectives on this idea. The Trio contrasts as sharply as possible, with its three French horns (three horns appear here for the first time in the symphonic tradition) vigorously declaiming what to many early listeners sounded like stylized calls to battle, but with an expressivity that no military music could possess. In a remark that rings as true today as it did in the late nineteenth century, George Grove said of these passages, “Surely, if ever horns talked like flesh and blood, and in their own human accents, they do it here.” The theme of the last movement had served Beethoven twice before: as a contredanse for the Viennese ballroom and in the finale to his ballet Prometheus, both composed in the winter of 1800–1801. It is the only theme that Beethoven ever used for so many separate works over his lifetime. It is always in the same key, Eb major, and his use of it in the finale of his new symphony shows that it harbored special meaning for him, perhaps connected to the myth of Prometheus as the hero PROGRAM NOTES who brings civilization to mankind. For all its originality, the finale has had a mixed reception, since for some later listeners it did not wholly satisfy the desire to have a last movement that fully encompasses and resolves the cumulative experience of the first three movements, as is surely the case with the Fifth Symphony and its triumphant finale. Patient listeners are amply rewarded by the richness of the material that follows; but one must admit that it is only in the last phases of the finale that many feel the epic qualities that had been embodied in the earlier movements. The Eroica symphony became a touchstone for many nineteenth- century composers who came after Beethoven, including Berlioz, Mendelssohn, Schumann, and Brahms. Even the egomaniac Wagner said “If there had not been a Beethoven, I could not have composed as I have.” When Beethoven was in his late forties, having composed all his symphonies except for the much later Ninth, he was asked by a friend which was his favorite. Beethoven answered that it was the Eroica. “I would have guessed the Fifth,” said his companion. ‘No,” said Beethoven. “The Eroica.”

—Professor Jeremy Yudkin, with Professor Lewis Lockwood, Co-Directors, Center for Beethoven Research at Boston University

The Center for Beethoven Research will host “Reframing Beethoven,“ a major international conference planned by the Center in conjunction with the Boston Symphony Orchestra in commemoration of the 250th birthday of Ludwig van Beethoven and in honor of the 90th birthday of Lewis Lockwood. The conference will be held at Boston University from September 29 to October 1, 2020.

JOSHUA GERSEN, CONDUCTOR

Joshua Gersen recently concluded his tenure as the Assistant Conductor of the New York Philharmonic, where he most notably made his subscription debut in 2017 on hours notice to critical acclaim. Previous conducting posts include the Music Director of the New York Youth Symphony, and the John S. and James L. Knight Foundation Conducting Fellow of the New World Symphony. He made his conducting debut with the San Francisco Symphony in the fall of 2013 and has been invited back numerous times, most recently replacing Michael Tilson Thomas on short notice for a subscription series in June 2019. Other recent guest conducting appearances include performances with the Chicago Symphony Orchestra, St. Louis Symphony Orchestra, Detroit Symphony Orchestra, Toronto Symphony Orchestra, Hannover Opera, New Jersey Symphony Orchestra, Indianapolis Symphony Orchestra, San Antonio Symphony Orchestra, Phoenix Symphony Orchestra, and the North Carolina Symphony Orchestra. Mr. Gersen was the recipient of a 2015 and 2016 Solti Foundation U.S. Career Assistance Award. He won the Aspen Music Festival’s prestigious 2011 Aspen Conducting Prize and their 2010 Robert J. Harth Conducting Prize, and served as the festival’s assistant conductor for the 2012 summer season under Robert Spano. Also a prolific composer, both Mr. Gersen’s String Quartet #1 and Fantasy for Chamber Orchestra have been premiered in Jordan Hall. His works have been performed by the New Mexico Symphony and the Greater Bridgeport Symphony. His work as a composer has also led to an interest in conducting contemporary music. He has conducted several world premieres of new works by young composers with New York Youth Symphony’s esteemed First Music Program and New York Philharmonic’s Very Young Composers program. He has collaborated with many prominent composers including John Adams, Esa-Pekka Salonen, Christopher Rouse, Steven Mackey, Mason Bates, and Michael Gandolfi. He was principal conductor of the Ojai Music Festival in 2013, leading works by Lou Harrison and John Luther Adams, among others. Mr. Gersen made his conducting debut at age 11 with the Greater Bridgeport Youth Orchestra, and made his professional conducting debut with them five years later in the performance of his own composition, A Symphonic Movement. Mr. Gersen is a graduate of the Curtis Institute of Music, where he studied conducting with Otto Werner Mueller, and the New England Conservatory of Music, where he studied composition with Michael Gandolfi. As an educator himself, Mr. Gersen has worked often with students and ensembles at the Juilliard School, the Manhattan School of Music, Boston University, and the Curtis Institute of Music. He serves as the interim Director of Orchestral Activities at Boston University for the 2019–20 school year. 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 BU’s Opera Fringe Festival. Before arriving at 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. BOSTON UNIVERSITY SYMPHONY ORCHESTRA 1st Violin Beatriz Perona Lopez Bassoon Huiying Ma , *Molly Farrar Zijie Cai v concertmaster *Joel Osinga Katherine Muñoz lª Yu-Tung Kao *Bryan Ping Contrabassoon Alexandra Stoica **Allen Maracle Stephanie Busby Savannah Brown **Sofia Puccio Sarah Elert **Christina Han Horn Isabel Oliart Monica Grady Sophia Addi Angela DiBartolomeo ª Yuwen Wang *Webern & Barber Sarah Gagnon l Emma Chrisman **Beethoven Jessica Tovey Jacky Ho Yin Li v Elena Levi Mitchell Parus Andrew Dicker Avery Cardoza, Trumpet Maya Lynn principal Francis Chiodo l Stella Faux Keifer Fuller Peter Everson v Anna Harris John DeMartino Julian Iralu 2nd Violin Sarah Wager Cheryl Przytula ª Minjia Xu, principal Lindy Billhardt Robert Wollenberg Andrew Lin Nicholas Caux Trombone Pablo Kennedy Savion Washington Kar-Chun Chiu l Ava Figliuzzi Lillian Young Eusung Choe Xinyuan Wang Flute Haotian Quan ª Allie Wei Jacqueline Tianyu Xue Ka Cheung Leung Bartling-John Bass Trombone Sandya Kola Laura Elena Kar-Chun Chiu ª Clara Montes Colmenares l Aleksander Mansouri l Olivia Webb Heather Havens Catherine Miller Jisun Oh ª Tuba Grace Wodarcyk Alyssa Primeau v Colin Laird ª William Peltz Smalley Benjamin Vasko l Piccolo Jacqueline Harp Yonsung Lee, principal Bartling-John ª Caroline Mellott ª Chiung-Hsien Huang Heather Havens l Xueying Piao l Hyojin Kim Susan Bengtson Oboe Timpani Deberly Kauffman Rodion Belousov v Jordan Berini v Rebecca Vieker Haley Russell ª Laurin Friedland ª *Chloe Aquino Lilli Samman l Jeffrey Sagurton l *Hannah Hooven English Horn Percussion **Rohan Joshi Rodion Belousov l Jordan Berini lª **Maurya Dickerson Lilli Samman ª Samuel Metzger Carlos Parra Suarez Zhuqing Zhang Clarinet Personnel Managers Teresa Bloemer Lorena Acosta Rebecca Vieker, lead Anqing Liu Meghan Davis v Kar-Chun Chiu Ryan Dymek l Allen Maracle Lucas LaVoie Yu-Ning Huang, Chen-Fang Tina Tsai ª l Principal in Webern principal ª Principal in Barber Bass Clarinet Jenna Wang v Principal in Beethoven Nayeon Kim Chen-Fang Tina Tsai l Alden Bronson Lucas LaVoie ª Jewel Kim 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 * Betsy Polatin (SOT) Carolyn Davis Fryer double 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 /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 * Mark Kroll historical performance PIANO Robert Sheena English horn Rodney Lister * Joy McIntyre voice Javier Arrebola * ++ Samuel Solomon percussion Mary Montgomery Koppel William McManus Shiela Kibbe * SAB 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 Daniel Vozzolo Administrative Coordinator Diana Dansereau 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

Wednesday, February 19, 8:00pm FACULTY RECITAL: MICHELLE LACOURSE, VIOLA Performing works by Slapin, Hindemith, Martinu, Amlin & Schoenberg With Martin Amlin, piano; Klaudia Szlachta & Bayla Keyes, violin; Hye Min Choi, viola; Rhonda Rider & Hyun-Ji Kwon, cello Free Admission Tsai Performance Center

Thursday, Friday & Saturday, February 27–29, 7:30pm Sunday, March 1, 2:00pm BOSTON UNIVERSITY OPERA INSTITUTE & CHAMBER ORCHESTRA The Rake’s Progress by Igor Stravinsky Libretto by W. H. Auden & Chester Kallman William Lumpkin, conductor | Jim Petosa, stage director $20 General Admission | $10 BU Alumni | $10 Brookline Resident Free with valid BU ID, at the door, day of performance (Non-BU tickets available at the door, cash only) Joan & Edgar Booth Theatre

Thursday, March 5, 8:00pm BOSTON UNIVERSITY WIND ENSEMBLE Featuring Oiseaux exotiques by Oliver Messiaen with commentary by Professor Andrew Shenton Gila Goldstein, piano soloist Also performing works by Barnes, Pann, Woolfenden & Forte David Martins, conductor Free Admission Tsai Performance Center

PERFORMANCE VENUES CFA Concert Hall • 855 Commonwealth Avenue Marsh Chapel • 735 Commonwealth Avenue Tsai Performance Center • 685 Commonwealth Avenue Joan & Edgar Booth Theatre • 820 Commonwealth Avenue