BOSTON UNIVERSITYWINDENSEMBLE

Tuesday, October 8, 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

Festive Overture, Op. 96

An Elegent Sufficiency (Boston Premiere)

Flourishes and Meditations on a Renaissance Theme

Intermission

Fanfare After Seventeenth Century Dances

I. Paul Peurl: “Newe Padouan, Intrada, Däntz, und Galliarda” (1611)II. Johann Hermann Schein: “Banchetto Musicale” (1617)III. Isaak Posch: “Musicalische Ehrnfreudt” (1618)

October

TritticoI. Allegro maestosoII. AdagioIII. Allegro marcato

BOSTON UNIVERSITY WIND ENSEMBLE

David Martins, conductor

October 8, 2019Tsai Performance Center

Dmitri Shostakovich (1906–1975)Trans. Donald Hunsberger

Shawn W. Davern (CFA’17) (b. 1994)

Michael Gandolfi (b. 1956)

Donal R. Michalsky (1928–1975)

Eric Whitacre (b. 1970)

Václav Nelhýbel (1919–1996)

PROGRAM NOTES

Festive Overture, Op. 96

The Festive Overture was composed in 1954, in the period between Symphony No. 10 and the Violin Concerto. Its American premiere was given by Maurice Abravanel and the Utah Symphony Orchestra on November 16, 1955. In 1956, the New York Philharmonic under Dmitri Mitropoulos presented the overture in Carnegie Hall.

A Russian band version of the overture was released in 1958 and utilized the standard instrumentation of the Russian military band, i.e., a complete orchestral wind, brass and percussion section plus a full family of saxhorns, ranging from the Bb soprano down through the Bb contrabass saxhorn. This new edition has been scored for the instrumentation of the American symphonic band.

The Festive Overture is an excellent curtain raiser and contains one of Shostakovich’s greatest attributes—the ability to write a long sustained melodic line combined with a pulsating rhythmic drive. In addition to the flowing melodic passages, there are also examples of staccato rhythmic sections which set off the flowing line and the variant fanfares. It is truly a “festive overture.”

—Donald Hunsberger

Dmitri Dmitriyevich Shostakovich was a Russian composer who lived under the Soviet regime. Shostakovich had a complex and difficult relationship with the Soviet government, suffering two official denunciations of his music, in 1936 and 1948, and the periodic banning of his work. Shostakovich’s response to official criticism and, more importantly, the question of whether he used music as a kind of abstract dissidence is a matter of dispute. It is clear that outwardly he conformed to government policies and positions, reading speeches and putting his name to articles expressing the government line. It is also generally agreed that he disliked the regime, a view confirmed by his family and his letters to Isaak Glikman.

Shostakovich prided himself on his orchestration, which is clear, economical, and well-projected. This aspect of Shostakovich’s technique owes more to Gustav Mahler than Rimsky-Korsakov. His unique approach to tonality involved the use of modal scales and some astringent neo-classical harmonies à la Hindemith and Prokofiev. His music frequently includes sharp contrasts and elements of the grotesque.

His most popular works are his 15 symphonies and 15 string quartets. His works for piano include 2 piano sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, six concertos, and a substantial quantity of film music.

—The Wind Repertory Project

An Elegent Sufficiency

Shawn William Davern is an American composer, arranger, conductor, trombonist and educator. He currently serves as Director of Bands at Forest Park High School in the Prince William County Public School system, where he oversees the instruction of three concert bands, jazz band, percussion ensemble, AP music theory and the Forest Park High School Marching Bruin Band, a fourteen-time Virginia Honor Band.Davern received his bachelor’s degree in Music Education at Boston University in 2017, where he studied trombone with Don Lucas and conducting with David Martins. He also studied abroad at the Royal College of Music in London. Davern received his master’s degree in wind conducting at James Madison University in 2019, where he served as the graduate assistant of the university’s concert and athletic band program under the direction of Dr. Stephen Bolstad. Shawn is also a proud alumni of the Gamma Alpha Chapter of the Brotherhood of Phi Mu Alpha Sinfonia. During his time in Massachusetts, Shawn was the recipient of the 2017 Massachusetts Music Educators Association Promising Young Music Educator Award. He also served as Coordinator of Jazz Ensembles at Boston University and Manager of the Boston University Big Band. Shawn has appeared as a guest conductor with the Boston University Trombone Choir, James Madison University Trombone Choir, Jazz Ensemble, Jazz Band, Symphonic Band and Wind Symphony in concert.

An Elegant Sufficiency derives its namesake from an old-fashioned line that my grandfather, Clark Edward Briggs, was famous for quoting. At any given family gathering or meal, whenever my grandfather was finished eating, he would state aloud “I have had an elegant sufficiency, any more would be a vulgar superfluity.” There was something about the quote that has always resonated with me, whether it was the eloquent syntax of the line or just the sheer finesse of how he spoke. I have always thought that this quote best encapsulated the grace, sophistication, and ingenuity of my grandfather, his generation, and the time of which he grew up in. From a life well lived of 91 years, An Elegant Sufficiency focuses on a specific moment in my grandfather’s life that he shared with his greatest love, my grandmother Betty Mahaffy Briggs.

In 1945, World War II was well under way when Clark received his deployment orders to ship out from Boston, Massachusetts to France as an Army Engineer. During this time in history, the date and location of deployment of American troops was highly classified; not even loved ones were privy to this information. Having been married for only a few months, Clark was determined to say goodbye to his new bride, not knowing what the future would hold. In a long-distance phone

PROGRAM NOTES

PROGRAM NOTES

call to Betty, he was able to convey that he would be attending church, The Mother Church, with his friend on Sunday. Betty, knowing in her heart that it was somehow code, realized that his friend was a Christian Scientist and that The Mother Church was in Boston. With the help of her parents, Betty got on the first train to Boston to reunite and say goodbye to Clark.

In its essence, An Elegant Sufficiency serves as a musical narration of my grandparent’s journey through Boston to reunite with each other at the First Church of Christian Science. I have often envisioned their subsequent journeys through the dark streets of 1940’s Boston through the lens of a noir film and in my composition, I attempted to emulate the most popular musical idiom at this time in history, American Jazz. Within the piece, the flugelhorn and flute family act as musical representations of my grandparents, embodying their separate experiences as they eventually come together on the steps of the church. The piece centers around the pitches C, Eb and Bb, a collection of both of Betty and Clark’s initials. The crystal glasses make many appearances as well, as my cousins, brother and I traditionally would annoy our elders at family gatherings with the high-pitched hums. Whether it’s saying goodbye to a loved one before a long journey or eating a delicious meal until reaching satisfaction, An Elegant Sufficiency celebrates those tender moments that we all share with the people we care for most. With time ever fleeting, these brief instances in life are truly enough; to remember who we fight so hard for and who makes the briefest of moments so special. I hope you find some form of contentment with An Elegant Sufficiency.

—Shawn Davern

Flourishes and Meditations on a Renaissance Theme

Michael Gandolfi was born on July 5, 1956 in Melrose, Massachusetts. A self-taught guitarist, he started experimenting with rock and jazz improvisation at the age of eight. As his improvisational skills developed he became increasingly interested in music composition and, in his teens, began formal study. He received his bachelor and master degrees in music composition from the New England Conservatory of Music, as well as fellowships for study at the Yale Summer School of Music and Art, the Composers Conference, and the Tanglewood Music Center.

Mr. Gandolfi is the recipient of numerous awards including grants from the Fromm Foundation, the Koussevitzky Music Foundation, the John Simon Guggenheim Foundation, and the American Academy of Arts and Letters. His music has been performed by many leading groups including the Boston Symphony Orchestra, the BBC Symphony

Orchestra, the San Francisco Symphony Orchestra, the Tanglewood Music Center Orchestra, the Orpheus Chamber Orchestra, the St. Paul Chamber Orchestra, the Los Angeles Chamber Orchestra, and the Nieuw Sinfonietta Amsterdam.

Last season, Mr. Gandolfi’s Pinocchio’s Adventures in Funland, written for young audiences, was premiered by the New Millennium Ensemble—and featuring David Margulies as narrator—at New York’s Merkin Concert Hall. It was commissioned by the Elaine Kaufman Cultural Center on a text by Dana Bonstrom. It will receive several performances this season, including performances by the Boston Musica Viva and the Boston Modern Orchestra Project. Mr. Gandolfi is presently completing commissions from the Michael Vyner Trust (a piano concerto), and the Pro Arte Chamber Orchestra. His music has been recorded on the Deutsche Grammophon and CRI labels.

He was a visiting lecturer on music at Harvard University from 1996–1999 and is a faculty member of the New England Conservatory of Music and the Tanglewood Music Center.

—Tanglewood Music Center

The work was commissioned by “The President’s Own” United States Marine Band and is dedicated to them, their director, Colonel Michael J. Colburn, and their assistant director, Major Jason K. Fettig.

Flourishes and Meditations on a Renaissance Theme is a set of seven variations on an anonymous Renaissance melody that is simply titled Spagnoletta. It is derived from a popular melody titled Españoleta or ‘Little Spanish Tune’. The titles of the different variations are as follows:

Variation I. (A Cubist Kaleidoscope)Variation II. (Cantus in augmentation: speed demon)Variation III. (Carnival)Variation IV. (Tune’s in the round)Variation V. (Spike)Variation VI. (Rewind/Fast Forward)Variation VII. (Echoes: a surreal reprise)

I first knew this melody as quoted by Joaquín Rodrigo in his Fantasia para un gentilhombre for guitar and orchestra. I also found this tune in the 1970s in a collection of Renaissance songs for classical guitar, and I have played it in that form countless times over the years. I was motivated to probe this elegant tune with which I have been acquainted for four decades, with the expectation that it would prompt a wealth of ideas unique to such a longstanding relationship. The beauty and elegance of the original tune resides in its simplicity, so I chose to present it at the outset of the piece in a clear and streamlined orchestration.

PROGRAM NOTES

PROGRAM NOTES

The form of Spagnoletta is AA BB and Coda. The first part of Flourishes and Meditations on a Renaissance Theme consists of variations I and II. Each of these variations adheres strictly to the form of Spagnoletta. Additionally, Variation I has a kinship to cubist painting in which various features of the original are fragmented, framed and juxtaposed, resulting in a kaleidoscopic amplification of its details. Variation II uses the entire Spagnoletta melody as a cantus firmus while new melodies and lines are sounded over it, an ancient musical technique popular in medieval and renaissance times.

The second part is comprised of variations III, IV and V. These variations are the most wide-ranging of the set, but always maintain motivic connections to Spagnoletta. Variations III and V are each expressed in AA form and largely derived from the original. Variation IV uses the original motives in layered ostinato in canon.Variations VI and VII form the third and final part of the piece and function as the coda, recycling previously heard thematic material that leads to a final cadence. In this spirit, Variation VI points in two directions: it forecasts the main texture of Variation VII while briefly reflecting upon each variation already heard (in reverse order). Variation VII returns to the original Spagnoletta melodies but places them in a new “dream-like” environment featuring a series of pulsating patterns and textures interwoven with strands of each of the original melodies, all of which move the piece to a gentle close.

—Michael Gandolfi

Fanfare After Seventeenth Century Dances

Donal Michalsky was born in Pasadena, CA, in July of 1928. He attended the University of Southern California (USC), where he completed his Bachelor of Music, Master of Music and Doctor of Musical Arts degrees. While at USC, he studied music theory with Halsey Stevens and orchestration with Ingolf Dahl. In 1958, Michalsky was selected as a Fulbright scholar and became a student of Wolfgang Fortner in Freiberg, Germany.

From 1960 until his death in 1975, he was professor of composition, theory and music history at California State University, Fullerton. During these years, he received many ASCAP awards. Michalsky’s music is characterized by lyric, Romantic lines, effective use of counterpoint with a dodecaphonic bent but with generally conservative harmonies and phrasing. His forms paraphrase traditional models.

—David Cope, rev. Greg A Steinke

The Fanfare After Seventeenth Century Dances was commissioned by the 1965 Ojai Music Festival, Ingolf Dahl, Director. It was the opening piece of the first concert, an evening outdoor program for winds.

A comparison with the original dances will reveal the extent of recomposition: alternating dance sections, transpositions, shortened and extended meters, displaced octaves, overlapping harmonies, added counterpoints—all to create a self-contained, closed form. In other words, I continued the long tradition of parody composition.

—Notes excerpted from the score

October

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.

Grammy® Award-winning composer and conductor Eric Whitacre is among today’s most popular musicians. His works have been programmed worldwide by millions of amateur and professional performers, while his ground-breaking Virtual Choirs have united singers from over 120 different countries. Eric, a graduate of the prestigious Juilliard School of Music, is presently Artist in Residence with the Los Angeles Master Chorale, following five years as Composer in Residence at the University of Cambridge, UK.

—ericwhitacre.com

Trittico

Václav Nelhýbel was a Czech composer and conductor. Nelhýbel studied composition and conducting at the Prague Conservatory of Music and musicology at the universities of Prague and Fribourg, Switzerland. As a student, he was already affiliated with Radio Prague as composer and conductor. At age 18, he was conducting the Czech Philharmonic as an assistant to Rafael Kubelik. By 1948, he had become active in Swiss National Radio as composer/conductor, and from 1950 to 1957 he served as co-founder and music director of Radio Free Europe in Munich. During this time, he functioned as guest conductor with numerous European orchestras, including the Vienna Philharmonic, Munich Philharmonic, Bavarian Symphony, and Orchestra de la Swisse Romande. Beginning in 1957 he lived in the United States, becoming a U.S. citizen in 1962, and was active as a composer, conductor and lecturer up to his death in 1996.

PROGRAM NOTES

PROGRAM NOTES

In 1962, Nelhýbel received his first exposure to a concert band. He wrote: “The first band I heard played a piece by Persichetti, and it was so good I just caught fire. I was fascinated with the possibilities of what you can do with half an acre of clarinets, half an acre of flutes, and half an acre of percussion. So I said, why not try it? I did, and it seemed to open new creative channels in my mind.”

A common trait in the Nelhýbel “sound” would seem to be a panchromatic melodic system, not serial in the dodecaphonic sense, but one which has a strong relation to one gravitational center. This relation to the ‘gravitional center’ generates and releases tensions which Nelhýbel calls the human element in music and is the sine qua non of communication between composer and listener. He is not a revolutionary innovator. He is, rather, a synthesist, bringing all of past techniques into a harmonious entity. Nelhýbel often employed thematic material from his Czech heritage.

—The Wind Repertory Project

Trittico was composed in 1963 for Dr. William D. Revelli who gave the first performance of the work in the spring of 1964 in Ann Arbor with the Symphonic Band of the University of Michigan.

The first and third movements are, in several ways, related to one another: their character is brilliantly forward-moving and energetic; the main theme of the first movement reappears in the culmination point of the third movement and the instrumentation of the movements is identical (standard), with the individual instruments themselves being used quite similarly.

The second movement is a strongly contrasting dramatic scene with turbulent recitatives and expressive woodwind solos, punctuated by low brass and percussion. The emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at the very end with an extremely intense phrase to conclude the movement. The dramatic character is underlined by the strong use of percussion which is extended by a second timpani player, and piano.

—Notes from the score

DAVID MARTINS, CONDUCTOR

With a dual career as a clarinet performer and conductor, David J. Martins balances orchestral and chamber venues with an active teaching and conducting schedule. He is a Master Lecturer in the School of Music at Boston University where he is Music Director of the Wind Ensemble and teaches Applied Clarinet, Chamber Music, and Graduate Conducting.

In the Spring of 2019, the Boston University Wind Ensemble released on Summit Records its third recording of four works by BU composers for wind ensemble, three of which were written for the ensemble. In 2015, the ensemble released its second recording of Trumpet Concerti with Boston University Professor Terry Everson. In 2013, the ensemble released its first recording of Ketty Nez’s piano concerto entitled Thresholds on Ravello Records, and in 2014 they premiered the wind ensemble transcription of John Williams’ Tuba Concerto with Mike Roylance, principal tuba of the Boston Symphony Orchestra. The ensemble also performed at the 2014 CBDNA East Conference.

Professor Martins is Professor Emeritus of the University of Massachusetts Lowell, Department of Music, where he was the Wind Ensemble Director and clarinet faculty for 35 years. He is also the founding music director of both the Rivers Conservatory Youth Wind Ensemble (2014–2017) and the Rhode Island Philharmonic Youth Wind Ensembles, where he was conductor of the senior division from 2002–2012. During his ten-year tenure as Music Director of the Metropolitan Wind Symphony (of which he is now Director Emeritus), the ensemble performed at the National Conference of the Association of Concert Bands and commissioned numerous new compositions. Since the summer of 1999, Mr. Martins has served on the faculty of Boston University Tanglewood Institute as Director of Wind Activities for the Young Artist Orchestra and, since the summer of 2005, conducts the Boston University Tanglewood Institute Wind Ensemble.

Professor Martins is a member of the Boston Ballet Orchestra, Boston Pops Esplanade Orchestra, and the Bach, Beethoven and Brahms Society Orchestra. He performs as a substitute with the Boston Symphony Orchestra, Boston Pops Orchestra, and the Springfield Symphony. For 25 years, he performed as second clarinet with the Rhode Island Philharmonic Orchestra. He has also performed with Boston Lyric Opera, Symphony New Hampshire, Landmarks Orchestra, Boston Classical Orchestra, Pro Arte Chamber Orchestra, Boston Modern Orchestra Project, Alea III, Musica Viva, and Monadnock Music Festival. He can be heard on orchestral and chamber recordings on the BSO, CRI, Koch, Titanic, Gasparo, and Albany labels. He was a Berkshire Music Festival Tanglewood Fellow and holds degrees from the Eastman School of Music and the University of Lowell, College of Music.

PiccoloLaura Elena ColmenaresGrace HelmkeMatthew Lee Kimberly Steininger

FluteJacqueline Bartling-John mLaura Elena Colmenares ªHeather HavensGrace HelmkeMatthew Lee vtAlyssa Primeau lt]Kimberly SteiningerCaitlin ThompsonBarrett Yueh

Alto FluteHeather Havens

OboeRodion Belousov v]Alessandro Cirafici lKatrina Kwantes tHaley RussellLilli Samman mHannah Staudinger ª

English HornAlessandro CiraficiHaley Russell tHannah Staudinger

E-flat ClarinetLorena AcostaBrandon Von

ClarinetLorena AcostaAlexander BirgerYiqiao Chen lRyan Dymek t]Ghazal Faghihi ªSam FredrickNicole GallegosAlyssa GoinsIsabella HarkopfLucas LaVoieChen Fang Tina Tsai vBrandon VonJoelle Wang mMacy WoudenbergTing-hua Wu t

Bass ClarinetLucas LaVoieRyan Dymek Alyssa Goins

Contrabass ClarinetLucas LaVoie

BassoonZijie Cai lªAbigail GroteJulia Klauss mKatherine Muñoz vtFrancesca Panunto t]

ContrabassoonJulia KlaussFrancesca Panunto

Soprano SaxophoneChristopher Moretti v

Alto Saxophone Christopher Moretti l]Chenguang Wang ªmKyle Sousa

Tenor Saxophone Christopher MorettiSabrina Scotti

Baritone Saxophone Kyle SousaJordan CooperChenguang Wang

TrumpetKendall AndrewsFrancis ChiodoXan DenkerPaige DyerPeter Everson lKyra Hulligan Julian IraluJohn P. Johnson ªBrendan MathiesonDouglas MccurdyDavid OrtizCheryl Przytula ]Zoe Ronen mRobert Wollenberg vt

FlugelhornPeter Everson

BOSTON UNIVERSITY WIND ENSEMBLE

French HornSophia AddiGrace ClarkeAngela DiBartolomeo ltmChristian Gutierrez v]Spencer KleinEliana LontokMitchell ParusKeianna WenJessica Young ªt

TromboneKar-Chun Chiu lEusung ChoeSkye Dearborn t]Haotian Quan vJulio RiveraPaul Seitz ªBilly SheahanJustin SimsConnor Thummel mTianyu Xue

Bass TromboneAleksander Mansouri lv]Ryan Shaw ªm

Euphonium Eusung ChoeJulio Rivera ªv]Justin Sims lm

TubaColin Laird ªvmBenjamin Vasko l]

Double BassJohn DeMartino

PianoShu-Peng Simon Wang

TimpaniWilliam Altmannsberger vArnor Chu mSamuel Metzger lBryan Round ªCasey Voss ]

PercussionWilliam Altmannsberger lArnor ChuLaurin Friedland ]Theodore GigstadLauren Girouard ªmSamuel MetzgerBryan RoundCasey Voss v

Personnel ManagersCheryl Przytula, leadLilli Samman

l Principal in Shostakovich

ª Principal in Davern

v Principal in Gandolfi

t Personnel in Michalsky

m Principal in Whitacre

] Principal in Nelhýbel

BOSTON UNIVERSITY WIND ENSEMBLE

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 Chairs

LOA 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 Assistant

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

Friday October 11, 8:00pmFACULTY RECITAL: KETTY NEZ, COMPOSITION & PIANOLawrence Stomberg, cello; Ketty Nez, piano Featuring works by Henriette Bosmans, David Osbon, Nadia Boulanger, and Ketty NezFree AdmissionCFA Concert Hall

Thursday, October 17, 8:00pmBU JAZZ SHOWCASEFeaturing Combos, Jazz Saxophone Ensemble & Big BandsFree AdmissionCFA Concert Hall

Friday, October 25, 8:00pmBU SYMPHONY ORCHESTRAJayce Ogren, conductor Featuring works by Debussy, Adams, and R. SchumannFree AdmissionTsai Performance Center

Thursday, October 31, 8:00pmBU CHAMBER ORCHESTRA & BU SINGERSJoshua Gersen, conductorFeaturing A Midsummer Night’s Dream by Felix MendelssohnJames Demler & Penelope Bitzas, narratorsFree AdmissionTsai Performance Center

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